An old glue relining is firm and stable. Under an old, yellowed varnish. There is very good preservation of the paint surface with very good detail throughout and strong coloration. There are some old, discolored retouches visible to naked eye in the tree at upper left, in sky upper center, and on the side of the building at the right side (one of which is over what appears to be a small diagonal tear or scratch). Under UV light: the retouches mentioned above fluoresce; there is also some retouching on shoulder, arms and legs of Susannah and on face of the Elder at left. A more recent retouch can be seen on the bottom of the red drapery of the Elder at right side. This painting would benefit from a light cleaning and a readdressing of the older, discolored restorations. In an elaborately carved and gilt wood frame.
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.

Jean-Baptiste van Loo, a member of an artistic dynasty, was the grandson of the painter Jacob van Loo, and son of the painter Louis-Abraham van Loo, with whom he first trained. His earliest works in his native city of Aix-en-Provence were mostly religious paintings for local churches. He moved to Rome in 1714, where he studied with Benedetto Luti, and in 1719 moved to Paris.  He was approved for the Royal Academy in 1722 and received as a full member in 1731.  After a move to London in 1737, he had a highly successful career as, primarily, a portrait painter. 

According to Antoine-Joseph Dézallier d’Argenville, the artist’s early biographer, during the period van Loo was in Rome, he was commissioned to paint a”Suzanne” for an English client.¹

 

1.  See J.-A. Dézallier d’Argenville, Abrégé de la vie des plus fameux peintres..., Paris 1762, vol. IV, p. 389.