Attributed to Jacopo Amigoni

The canvas has been laid down on masonite board. under a dirty and uneven old varnish. overall, there is generally good preservation of the paint surface. some old discolored retouches are visible to naked eye on torso of putto at center and scattered in background. there are some scuffs at extreme edges. under UV: there is retouching over a repaired damage in the background above central putto and retouching to the torso and arms of same putto. also, the arm, back and thigh of the putto on the right fluoresce, but this may be due to selective cleaning and not to retouching. some scattered inpainting of the craquelure also shows up under uv light. In an elaborately carved and gilt wood frame with stylized leaves at corners; some nicks and losses to the gilding.
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.

Most famous for his history paintings and the grand fresco cycles he painted in Germany, Amigoni also produced a small number of genre paintings of putti or young children at play.  When in England he painted a Putti playing with a Lamb and Putti playing with a Goat which were used as overdoors for Hampton Court Palace (inv. 629 and 711), and other examples such as allegories and even religious paintings in this vein are extant (for a discussion of some of these see A. Scarpa Sonino, Jacopo Amigoni, Soncino 1994, pp.144-147).  The unusual subject of the present canvas suggests that it too was used in a similar fashion, perhaps together with a pendant of a parallel theme.  It may, in fact, be identifiable with a picture that appeared in the mixed sale held at Christie's on April 10-11, 1797, lot 46 described as "Puss tantalised."  Sadly the catalogue gives no measurements, but given the rather singular subject, it is certainly possible that it could be identifiable with the present painting.