VENETIAN SCHOOL, FIRST HALF OF THE SEVENTEENTH CENTURY | An allegorical scene with representations of Susannah and the Elders, along with other painted symbols of vanity and time

Longhi collection, Florence;
Acquired by the present collector, 2014.

The canvas has been relined and is stable on its stretcher. The image reads well beneath a slightly discolored varnish, and there is a fine pattern of craquelure across the surface of the canvas. The painting has received restoration in the past, but the retouches are stable. Inspection under UV reveals this prior restoration campaign. In addition to strokes of inpainting to address craquelure in each quadrant, retouching is also visible in scattered spots throughout. More concentrated retouching is visible in some scattered old repairs, for example, near center of the left edge, in a few places around the flying figure left of center, at occasional spots in the fountain, and near the female figure seated at right. The painting is offered in a simply carved darkwood frame with decorative giltwork at the corners.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Riccardo Lattuada, to whom are grateful, has tentatively suggested an attribution to Joseph Heintz the Younger for this fascinating allegorical scene.  Heintz was the son and pupil of the Prague painter Joseph Heintz the Elder and stepson of Matthäus Gundelach.  Though born in Augsburg, his career was largely spent in Italy, notably in Venice and Rome, where in 1644 Pope Urban VIII made him a Knight of the Golden Spur.  Although he is well-remembered for his renderings of Venetian ceremonies and festivities, he also turned his hand to allegorical scenes, recognized for their energetic handling and sometimes bizarre details, that parallels those found in the present work.  Among his most famous allegorical scenes, teeming with a myriad of figures and symbols is today in the Kunsthistorisches Museum in Vienna.¹ 1.   Oil on canvas, 130.5 by 164 cm., inv. no. 9096.