Frans Floris the Elder

Chavaillon collection;
Their sale, Hôtel des ventes de Châtellerault, Christophe Sabourin, 1 June 2003, lot 135;
There purchased by the present owner. 

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work is noticeably unrestored. The panel is flat. No reinforcements have been added on the reverse. The panel is slightly curved from left to right, and there is a 2 inch unrestored crack in the center of the top edge. The paint layer is dirty, but there is no significant or noticeable thinness to the paint layer. For a work of this period, the condition is particularly good.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

This striking Profile Portrait of a Woman only came to light in June 2003 and was quickly accepted as an autograph work by Floris. It is signed with the artist's monogram.  Carl van de Velde believes it is probably a study for an unknown painting and considers it to be the best and most likely the prime version of the three known versions of the subject (written communication, September 2003).  He has also suggested a date toward the very end of the artist’s career, circa 1565-70. After examining the painting in the original in November, 2003, Professor Van de Velde reaffirmed his opinion that this picture is autograph (oral communication with current owner, November 12, 2003).

A second version, also a panel, is in the collection of the Marquess of Bath, Longleat, Wiltshire (47 by 32.5 cm.) which Van de Velde listed among Floris's autograph works, but expressed doubts about the attribution.¹   A third version, catalogued by Van de Velde as a copy, was once in the collection of the Merchant Taylors’ Hall, London (oil on panel; 45.5 by 33 cm.), where it was attributed to Otto van Veen.²

1. C. van de Velde, Frans Floris (1519/20-1570) Leven en Werken, Brussels 1975, vol. I. pp. 302-03, cat. no. 163, reproduced vol. II, fig. 86.  
2.  Ibid, vol. I, p. 303.  See also F.M. Fry, A Historical Catalogue of the Pictures…at the Merchant Taylors’ Hall, London 1907, p. 19 cat. no. 8; ill. p. 69).