Circle of Frans Floris the Elder

Bought by the mother of the present owner, probably in the 1960s.

The actual painting is softer in tone and has less contrast than the catalogue illustration suggests. The panel has been cradled. It seems to consist of 5 horizontal planks. The paint surface has grown very dry, which has resulted in flaking and minor paint losses throughout, e.g. along the joints in the upper half, in the centre left, and in the lower left corner. Two small horizontal cracks of approximately 5 cm. can be seen along the left edge. A horizontal repaired scratch of similar size can also be seen in the lower half along the right edge. A few tiny dents are visible along the outer edges. Discoloured retouchings, some slightly crude, can be observed along the joints, in the red and yellow draperies, in the woman's bare leg and on her arm and shoulder, in the nose of the man on the right. The paint surface is under a fine craquelure pattern which varies in places, and is covered with an uneven, dry and dirty layer of varnish. Inspection under ultra violet light confirms the aforesaid retouchings, and reveals additional scattered retouchings throughout. Offered unframed. (MW)
"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."

This subject, together with Lot and his Daughters, was popular in 16th Century Antwerp, probably because it allowed for a legitimate depiction of an erotic encounter between old and young.  Jan Massys and his studio painted several Susannas, as did the Master of the Prodigal Son and Frans Floris, among others.  All of them liked to set the subject in a lush garden, with lavishly ornamented fountains and sculpture, as here.

This picture, though similar in style to the above masters, and typical of Antwerp pictorial production in the third quarter of the 16th Century, is not derived in its composition from any obvious prototype.