STUDIO OF SIMON VOUETPARIS 1590 - 1649 | Christ and the adulterous woman

The actual painting is more tonal and shows more contrast than the catalogue illustration (which is too yellow) would suggest. The panel is on a nice single piece of (probably) oak panel, beveled on all sided and gessoed on its reverse. On the reverse there is a panel mark (lower left), as noted in the catalogue entry. The painted surface seems to be in a good condition with its colours nicely preserved. A minor vertical retouched crack can be seen running inwards at circa 16 cm from the left edge. The painting is covered with a very fine and dense craquelure pattern consistent with its age. The varnish layer is matt and a bit discoloured. Tiny strengthenings can be observed around the columns, in the eyes of the figure on the left, and some in the sky and in the clothing. Under UV light The varnish layer shows different areas of fluorescence. It shows up being more opaque toward the edges and in the central part. We can see the retouching along the old crack mentioned above, and some other strengthening also mentioned above. Offered with an imitation tortoise shell veneer black frame. Le tableau présente en réalité des couleurs plus contrastées que sur l’illustration au catalogue. Le panneau est constitué d’une seule planche (probablement) de chêne, biseautée sur chaque côté et préparé au gesso au dos. Le panneau porte également au verso une marque de panelier en bas à gauche, comme indiqué au catalogue. La couche picturale semble en bon état, les couleurs sont bien préservées. Une légère craquelure verticale restaurée est visible, partant d’environ 16 cm du bord gauche. Le tableau présente un réseau de craquelures fines et denses. Le vernis est mat et légèrement décoloré. De petites usures sont visibles au niveau des colonnes, dans les yeux du personnage à gauche, dans le ciel et dans les habits. A la lampe UV Le vernis présente différentes zones d’opacité, il est notamment plus opaque dans les angles et dans la partie centrale. Nous remarquons quelques restaurations le long de la craquelure verticale mentionnée ci-dessus, et toutes celles également déjà mentionnées. Dans un cadre noir imitant l’écaille de tortue.
"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."

The panel was made by the Antwerp panelmaker Melchior de Bout (active circa 1625/6-1658) who probably also worked in Paris around the middle of the seventeenth century; De Bout's 'ready-made' panels were not only used by Dutch and Flemish painters but also by Stosskopf, Charles Le Brun and other painters (see A. Koopstra, 'De Antwerpse 'witter ende paneelmaker' Melchior de Bout (werkzaam 1625/26-1658): leverancier van 'ready-made' panelen voor de Parijse markt', in: Oud Holland, no. 123, 2010, pp. 108-124).

We are grateful to Prof. em. Dr. Jørgen Wadum, Keeper of Conservation, Statens Museum for Kunst in Copenhagen, Denmark for his help in cataloguing this lot.