Pietro Paolo Bonzi, called Gobbo dei Frutti or Gobbo dei Carracci

Pedro Caro (1761-1811), 3rd Marqués de la Romana, Palma de Mallorca;
By descent to Alvaro Caro y Széchényi, the third son of the 5th Marqués de la Romana, who married Isabel Guillamas y Pineyro, Marquesa de Villamayor y Condesa de Torrubia;
Thence by descent.

The colour is a little warmer than the catalouge illustration suggests, the copper support is flat and stable. The painting is now very dirty and its varnish layer discoloured, with some recent splashes. There is a small 50mm loss on the left hand side and two further losses, of smaller size, above and below this in the trees and on the river bank. There is a small 50 mm diagonal scrape in the centre of the sky and another small loss upper centre. The paint surface apart from this is extremely well preserved with little or no sign of wear. Inspection under ultra violet light reveals no recent intervention or repair. This lot is offered with a plain giltwood frame with some damages.
"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."

The attribution is due to Drs. Luuk Pijl on the basis of photographs. Drs. Pijl has pointed to the existence of a related drawing by Paul Bril, located and dated 'Rome 1609', which most likely provided inspiration for the setting of this hunting scene.¹ That drawing spawned a small painting on copper by Bril, featuring Laetona and the peasants, which Pijl dates to circa 1615 on stylistic grounds. Pijl believes the drawing was thus retained in the Bril studio for use both by him and his students for many years after its execution. Bril's drawings that were sent away to Venice or Antwerp to be engraved were all incised, which this is not, further arguing in favour of Pijl's theory.

1. In the British Museum; see C. Brown, Dutch Landscape. The Early Years, exhibition catalogue, London 1986, p. 93, cat. no. 3.