Circle of Willem van Herp the Elder

The catalogue illustration is representative for the actual painting. The canvas has a stable relining (wax). There are a few paint losses along the right edge and a small repaired and retouched damage is visible in the upper left corner. Otherwise, no major damages seem to be apparent, and the paint surface seems to be in excellent condition. Particularly the brushstrokes in the draperies have been very nicely preserved. Small discoloured retouchings, relating to older paint losses can be observed in the upper centre, in the yellow drapery, in the stairs lower centre, along the right edge, in the woman's drapery in the lower left corner. The paint surface is covered with a dirty and very shiny layer of varnish. The somewhat coarse craquelure pattern varies in places. Inspection under ultra violet light confirms the aforementioned retouchings, and reveals a few tiny additional scattered retouchings in the costumes of the figures, in the stairs and in the putti, and some slightly larger spots of retouching in the sky. Offered in a plain black wood frame with a gilt fillet, 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.
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."

This composition is derived from the well-known composition by Rubens in the Koninklijk Museum voor Schone Kunsten, Antwerp (inv. no. 306). In the present work, which is likely to have originated within the circle of Antwerp painter Willem van Herp, the figures have been reversed and copied in a horizontal format. 
The handling of the colours, with their strong contrast of tone, and the facial expressions of the figures, are strongly reminiscent of Van Herp's work. The charmingly gentle and lean face of the young Virgin can be compared to the face of the Virgin in the Annunciation by Van Herp which was sold New York, Christie's, 29 January 1998, lot 55. Both the posture of the figures, and the view of a formal garden setting, are very similar to another painting which was sold New York, Christie's, 6 april 1989, lot 246. 
In the 16^th Century, representations of scenes from the Virgin's life and of her veneration became increasingly popular, and remained so after the Counter-Reformation in spite of slight disapproval by the Church because of their apocryphal character. The Education of the Virgin became a favourite theme, in a very strict sense, with the Virgin learning to read at her mother's knee, with Saint Joachim looking on.