17th Century follower of Hugo van der Goes

The actual painting is a bit darker in tone than the catalogue illustration suggests. The canvas is relined, one patch for reinforcement can be seen on the reverse. Considering the large size of the canvas, the paint surface appears to be in very good condition. A few small damages can be detected, e.g. near the head of the knealing figure left and two along the upper edge. On the left side of the canvas a larger area can be seen (water damage?) resulting in thinness and white spots, as can be seen in the catalogue illustration. Overall the figures, although a bit thin, seem to be well preserved. A few small discoloured retouchings can be seen in a few of the figures. The painting is under an extremely dirty and dull varnish layer and has a dense craquelure pattern. Inspection under UV light is almost completely impeded by the varnish layer, but does reveal a few small retouchings, also along the right edge. Offered in plain wooden frame, a few chips. (ML)
"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."

After a lost original by Hugo van der Goes (circa 1435-1482), described by Carel van Mander as 'een besonder goedt stuck', originally painted over a mantelpiece in the Ghent home of a certain Jacob Weytens.¹ Friedländer mentions a number of copies dating back to around 1600, one of which is in the Musées Royaux des Beaux-Arts, Brussels (inv. no. P04).²
The narrative relates two encounters that followed each other in time from the Story of David and Abigail. Van Mander praises the painting for the modest and dignified women's figures, for which the present copy also accounts, and reports that it was the master's love for the daughter of the house that guided the painter's brush.³

1. A.F. Mirande and G.S. Overdiep (trans.), Het Schilder-Boek van Carel van Mander: het leven der doorluchtige Nederlandsche en Hoogduitsche schilders in hedendaagsch Nederlandsch, Amsterdam 1946, p. 37, nt. 1.
2. See M.J. Friedländer, Early Netherlandish Painting, vol. IV, Leiden/Brussels 1967,pp. 71-2, cat. no. 19a, reproduced plate 33.
3. Carel van Mander, op. cit., p. 38.