Flemish School, second half of the 16th Century

The actual painting is a bit softer in tone than the catalogue illustration suggests. The panel consists of three horizontal planks of which the joins are visible to the front and is cradled. Some areas of abrasion can be observed, e.g. in the sky upper right. There's minor frame abrasion to the upper edge. The paint surface is under a fine craquelure pattern, which has a tendency towards cupping, especially in the female figure. Retouchings can be seen throughout, e.g. on the woman's face, the draperies, in the background areas and along the joins. There is one horizontal scratch to the centre close to the upper edge, which has been filled and restored. The varnish seems to be recently cleaned. Inspection under ultra violet light reveals extensive restoration. Offered in a later black wooded frame with gilt and velours inlay in good condition. (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.
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This work is closely related to a painting recorded with Karl Loevenich, New York in 1928, which was attributed to the Master of the Prodigal Son by M. Díaz Padrón (see M. Díaz Padrón, 'Un tríptico inédito del "Maestro del Hijo Pródigo" en el Museo de Pontevedra', in Boletín del Museo del Prado, vol. 2, 1981, pp. 5-10, reproduced p. 8,  fig. 6). The present painting however is not sufficiently similar in style to works by the Master of the Prodigal Son to justify an attribution to him. Further versions are known which show the same composition, see for example a work sold, Berlin, Spik, 10 June 1942, lot 62, as Flemish School circa 1550 and one sold Zürich, Koller, 10/22 November 1971, lot 2932 as Circle of Quinten Massys.

We are grateful to Suzanne Laemers of the R.K.D., The Hague for her help in cataloguing this lot.