Follower of Sir Peter Paul Rubens and Follower of Jan Brueghel the Elder

The support consists of four horizontal panels joined together on the reverse by several small dovetail battens and these are visible on the front of the panel. There are three horizontal cracks, two of which are secured by small battens, and all of which are also visible on the painted surface. The paint surface is largely secure although there are some small scattered paint losses, particularly along the joins and cracks. Inspection under UV light reveals scattered retouchings, notably along the panel joins and cracks. Offered in a later wood and plaster gilt frame with some losses.
"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."

There are two other known versions of this composition. The first is in the Alte Pinakothek in Munich, inv. no. 731, and, although originally thought to be by Rubens, is now thought to be by a follower of Rubens and Jan Brueghel the Elder (see K. Ertz, Jan Brueghel der Ältere, Köln 1979, p. 401, cat. no. 476, reproduced.) The second, the whereabouts of which is now unknown, also appears to be by a follower of Rubens (see B. Werche, Hendrick van Balen, Turnhout 2004, vol. I, p. 241, cat. no. E 32 and vol. II, p. 509, cat. no. E 32, reproduced).