Studio of Sir Peter Paul Rubens Siegen 1577 - 1640 Antwerp and, Studio of Frans Snyders Antwerp 1579 - 1657

In the collection of Queen Christina of Sweden (1626-1689), according to Bürger and the 1864 sale catalogue;
John Watkins Brett;
His deceased sale, London, Christie's, 9 April 1864, lot 798, for £68 5s to Normandy, as 'Rubens and Snyders';
Recorded at  Easton Neston by February 1889 when listed as in the Small Drawing Room;
Thence by family descent.

Manchester, Art Treasures of the United Kingdom, 1857, cat. no. 542, as by Rubens;
Leeds, Natioanl Exhibition of Works of Art, 1868, cat. no. 868, as by Rubens and Snyders (as still in the collection of  J.W. Brett).

W. Bürger, Trésors d'art en Angleterre, 3rd edition, Paris 1865, pp. 186-87;
A. Lavice, Rêvue des musées d'Angleterre, Paris 1867, p. 148, as by Rubens (as in the collection of J.W. Brett);
M. Rooses, L'oeuvre de P.P. Rubens, Histoire et description de ses tableaux et dessins, vol. V., Antwerp 1890, p. 339, no. 637;
T.G. Litchfield, 3, Bruton St., London, The Valuation and Inventory of the more important Furniture, China, Articles of Vertu, Decorations and Pictures at Easton Neston, February 1889, typed document (Family Archive);
Anon. compiler, Specification of Pictures and Furniture belonging to T. Fermor-Hesketh, Esq. at Easton Neston House, Towcester, Northamptonshire, 1st August 1917, where listed 'In Garden Entrance Hall, Large Painting of Meleager and Atalanta hunting the Calydonian Boar by Rubens and Snyders, £1500';
Phillips & MacConnal, 25 Castle Street, Liverpool, Inventory of  the Contents of Easton Neston House, Northamptonshire, 1919, 'Picture Hall, Large Gallery Picture, Meleager and Atalanta hunting the Wild Boar, Rubens and Snyders, £1500';
Archibald Phillips, 16, Conduit Street, London W1, Inventory and Valuation of the Household Furniture, ornamental effects, Pictures and other items at Easton Neston House, Towcester, Northants., February 1927, 'Drawing Room 5. Fine Large picture of Meleager and Atalanta hunting Caledonian Boar by Rubens and Snyders £2000';
A. Balis, Corpus Rubenianum: Rubens Hunting Scenes, vol. XVIII, New York 1986, cat. no. 12, Copy (1) pp. 181, 182, 185-87, reproduced fig. 81.

The painting has a rather heavy old relining which is however sound and stable. The paint surface is very dirty and covered by an extremely discoloured and dirty, old varnish. Although thin in some localised areas, like the flowing white garment of the huntress, the paint surface is generally quite well preserved. Once the old varnish has been removed the painting will improve enormously. There is a vertical seam that runs through the huntress's outstretched left arm, but no signs of further seams. There is a restored vertical tear above her head (c. 20cm) and a series of smaller tears above the spears at the top centre; another restored tear is in the extreme upper right corner (c. 15cm). There are a number of small restored damages scattered throughout, but for a canvas of this size and age they are relatively few; there is a restored damage, for example, on the rightmost hunter's knee and some resotration down the back of his left leg, and a small group of restorations in the sky above the boar's head. The painting is in good condition overall but would benefit from a surface clean. Sold with a 19th century composite plaster gilt frame, in good condition. AF*
"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 original painting was one of a group of eight paintings commissioned by King Philip IV,  that Rubens took to Madrid in 1628.  The Calydonian Boar Hunt and its pendant Diana and Nymphs hunting Deer, were amongst this group which hung in the Alcazar Palace in Madrid until the devastating fire on the night of the 24th December 1734, when much of the Alcazar was destroyed. These paintings, never mentioned in inventories of the Spanish Royal Collections again, are considered to have been destroyed in the fire.
Of the many copies that exist, Balis (see Literature) considers the present painting to be the best.