ヘントの祭壇画
The division of surviving works between Hubert, early Jan van Eyck, and other painters has been the subject of great debate among art historians, involving the "Ghent Altarpiece", the many different hands that can be detected in the Turin-Milan Hours, and other pieces. In the 19th and early 20th centuries the inscription on the "Ghent Altarpiece" was usually taken at face value, and most unsigned works now given to the early years of his brother Jan were attributed to Hubert. After a period in the mid-20th century when there was a strong tendency to attribute work away from Hubert, he has made something of a comeback in recent decades, but there is still a wide range of opinion among specialists. He is likely to have begun The Three Marys at the Tomb now in the Museum Boijmans Van Beuningen in Rotterdam, but this seems to have been finished by another artist some decades later and has suffered from the restoration. Drawings in the Albertina, Vienna of the Apostles have been attributed to him and the British Museum has a drawing copying a lost "Capture of Christ" that relates to parts of the "Ghent Altarpiece".