Workshop of Quinten Massys

The large panel consists of one piece of wood that has been marouflaged to another newer single piece of wood. The varnish appears clear and even, the paint surface is stable and there are no major damages visible. Inspection under ultraviolet light reveals an old and sensitively executed campaign of localised retouchings and strengthenings throughout. In fair condition. Offered in a gilt wood carved frame 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."

A good workshop production after the presumed original sold in these Rooms, 9 July 2008, lot 8, for £1,800,000, and now in the Liechtenstein Princely Collections. This powerful composition clearly made a considerable impact on contemporary artists for at least sixty versions and adaptations are known, all of differing quality. The design draws inspiration from Massys' double-portrait of A Moneychanger and his wife of 1514, today in the Louvre, but also from Marinus van Reymerswaele's Tax gatherers in the National Gallery, London.¹

Further works which repeat the design of the Liechtenstein painting and seem to be of comparable quality include those formerly in the Solly and Cailleux collections in Paris, the former of which is now in the Louvre.² Other replicas are recorded in the Achmann collection, Switzerland; the Museo Stibbert in Florence; and formerly in the Oppenheim collection in Cologne.³

1. See L. Silver, The Paintings of Quinten Massys, Oxford 1984, p. 211, cat. no. 16, reproduced plate 118; and M. Davies, National Gallery Catalogues, Early Netherlandish School, London 1987, pp. 82-85, reproduced.
2. Reproduced respectively in the exhibition catalogue Flemish and Belgian Art, London, Royal Academy 1927, no. 245, and Silver, op. cit., plate 121.
3. For a full listing of these and other variants see L. Campbell, 1985, pp. 115-17, cat. nos. A-E.