Simon de Vos

Bought by the great-grandfather of the present owner in the 1930s.

The actual painting is less red and more subdued in tone than the catalogue illustration suggests. The panel consists of two horizontal planks which are flat and stable, and is uncradled. The paint surface us under a fairly clear varnish. There's some minor frame abrasion along the outer edges. Minor retouching can be made out along the join. The paint surface is secure and nicely preserved. Inspection under UV light reveals very few tiny scattered retouching. Overall, this painting is in very good condition. Offered in a decorative gilt plaster and wood 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."

In 1615 Simon became a pupil of Cornelis de Vos (1584-1651), to whom he was not related. In 1620 he became a master in the Antwerp Guild of Saint Luke. He initially specialised in small vivid genre scenes and Caravaggesque themes, but also painted merry companies and musical scenes in a style related to that of German painter Johan Liss (1595-1630). After 1640, inspired by both Anthony van Dyck (1599-1641) and Peter Paul Rubens (1577-1640) he turned away from genre scenes altogether and mainly painted biblical subjects and small cabinet paintings.

This painting is possibly the prime version of a composition known in two other autograph versions: one recorded in the collection of Lord Spencer, Althorp House, Northamptonshire, by 1851, and the other in the collection of Augusto Caraceni, Rome, 1962. However, none of these versions is as detailed and sumptuous as the present composition. In the latter two paintings the subject is set in a shack and only partially in a grotto, and they lack additional background motifs and characters such as the fountain with the putto and the young boy serving himself a drink. The abundantly composed scene, the elegant, twisting figures and the rich colour palette all are typical for de Vos' work. The still life elements such as the grapes and shells, which are not present in any of the other compositions either, are rendered in such an extraordinarily accurate manner, that one might suggest that they are by a different artist, one close to Jan Breughel the Younger (1601-1687).

Bacchus was evidently a favourite subject of the artist, since he is the main protagonist in several of his works. Another lavish Bacchanal was sold in these Rooms, 8 May 2007, lot 108, and the figure of Bacchus closely resembles the figure of Bacchus in a painting, signed and dated 1639, sold, London, Sotheby's, 6 December 2007, lot 133. This jovial Bacchanal can also be interpreted as an allegory of the five senses.