Michiel Sweerts and Studio

Canvas appears to be relined. Overall the painting has good retention of paint, impasto and coloring. Around edges of canvas there is rubbing from frame, as well as discolored retouching visible to the naked eye. Paint has thinned in selected areas, revealing canvas behind only slightly, such as in the standing male to the left with hands on head. These areas are limited though and overall paint quality, as stated, appears good. U.V. light reveals a thick varnish over parts of the canvas, predominantly over the darks in the left and middle background. Foreground figures are in very good condition, with the exception of a patch of retouching on the far left figure. U.V. light also reveals aforementioned retouching along edges of canvas. In a carved wooden frame with gilded metallic detailing.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This painting is a reduced version of Sweerts' monumental work of the same title, formerly in the collection of Saul P. Steinberg¹ and now in the collection of the Los Angeles County Museum of Art (AC 1997.10.1).  That painting, which is oil on canvas and measures 46 3/4 by 67 1/4 in. (118.7 by 170.8 cm.), has been dated to circa 1650 when Sweerts was still residing in Rome.

Lindsey Shaw-Miller has examined the present painting firsthand and believes that, though it post-dates the Los Angeles version, it is of roughly the same period, and that Sweerts himself may have painted parts of it.  The technique in certain areas, such as the women in the foreground, is convincing as by Sweerts himself, whereas other areas, such as some of the faces and draperies of the background figures are more generalized and less convincing.  She speculates that, possibly, while the larger version was still in Sweerts' studio in Rome, the smaller version could have been executed partly by him and partly by students, as a type of instructive exercise for his pupils.

1.  Sold New York, Sotheby's, January 30, 1997, lot 34.