Follower of Sir Peter Paul Rubens

The panel is cradled and covered by a protective layer of wax. There is a very fine vertical split through the panel just right of the centre. There is an area of flaking paint along the lower margin, and one or two lost flakes of paint upper right, most of which have been overpainted in the past. There is no other apparent restoration.
"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."

Derived from the painting of Ansegisel and Saint Begga by Rubens of circa 1612–15 in the Kunsthistorisches Museum, Vienna (see M. Jaffé, Rubens, Milan 1989, p. 195, no. 248, reproduced). The painter of the present work has here omitted the figure of her husband Ansegisel, son of St Arnulf, Bishop of Metz. After his death Saint Begga became Abbess of the convent at Andenne on the river Meuse and the founder of numerous churches.