Gillis van Valckenborch

Conradi, Hannover (1729-69);

Acquired with a large part of the Conradi collection by an ancestor of the present owner in circa 1809.

The catalogue illustration is too red in tone. The canvas has been relined to its full extent or has been folded at the edges for a smaller frame before, and is thus a little uneven around its periphery. The canvas has two old seams, to the left of centre and centre right. The paint surface is now dirty and its varnish layer discoloured. There are few old damages visible to the naked eye, the largest being a 10 x 10 rectangular damage in the upper right corner, a 15 cm vertical tear near the centre right edge and a 5 x 5 damage lower right. There have been a large number of repairs to the foreground areas, most notably to the flesh tones in nearly all the figures, especially the reclining female nude in the left foreground; these have discoloured and are visible under ultra-violet light. A more general scattering of more minor repairs should be allowed for. Offered in a modernplain wood frame with a gilt slip in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Gillis van Valckenborch was the son of Marten van Valckenborch, nephew of Lucas van Valckenborch and brother of Frederick van Valckenborch.  By 1586, Marten and his two sons had settled in Frankfurt-am-Main, where Lucas joined them in 1592-93.   This picture, typical of the artist in its large scale and composition packed with swirling figures, was almost certainly painted in Frankfurt.  Most of Gillis' few surviving works are on large canvases of this oblong format, a type also favoured by his uncle Lucas, including the latter's market scenes painted around this date in collaboration with the young Georg Flegel.  
A comparable large picture by Valckenborch, incorporating similarly posed contorted figure groups, is in the Schönborn collection at Pommersfelden. Although described as a Feast of Sea Gods, it probably also represents the Wedding of Neptune and Amphitrite. It was first described in the Schönborn collection in Gaibach’s catalogue of 1721, but omitted from Frimmel’s catalogue of 1894. Valckenborch's mannerist style, notable for its precise drawing, strong colours and panoramic landscapes, was well suited to mythological scenes involving large animated groups of figures and dramatic action.