Circle of Sir Peter Paul Rubens

The 5th Earl Howe, where it hung in the Battle room, No. 3 North (according to a label on the reverse);
His sale, London, Christie's, 7 December 1933, lot 62 as Rubens for 50 Guineas to Stenman;
With Gösta Stenman, Stockholm.

Stockholm, Gallery Stenman, Kring Rembrandt och Tintoretto, 1935, no. 35;
Stockholm, Gallery Stenman, Stenmans 1913-1938, 1938, no. 65;
Helsinki, 1967, no. 15.

L. Burchard and R.A. d'Hulst, Rubens Drawings, Brussels, 1963, I, p. 297 (as 'Rubens');
J.S. Held, The Oil sketches of Peter Paul Rubens, Princeton 1980, I, p. 625, no. A3 (under questionable and rejected attributions).

The support consists of a single wooden panel with a slight concave bow. The paint surface is secure and in good condition, if a little dirty. There is an old damage of approximately 1cm2 in the lower right hand corner, to the right of Hercules' ankle. Inspection under UV light reveals a handful of very minor old retouchings. Offered in a later black, painted, Northern-style wood frame in good condition.
"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."

This is one of three closely related sketches of this subject all which probably derive from a Rubens design.  The first version, of lesser quality, is in the Musée Granet, Aix-en-Provence and Held firmly rejects an attribution to Rubens.¹  The second, more finished, version in the National Gallery of Victoria, Melbourne was thought by Michael Jaffé to be autograph and although Held rejects it he does believe it is the only one which can be considered an actual copy after the lost bozzetto.²  The third version and present lot is the only one of the three sketches which Held believes an attribution to Rubens can be reasonably considered but although believed to be autograph by D'Hulst, Held ultimately did not accept it. 

1. See Held, Literature, cat. A4 plate 483.
2. M. Jaffé, Rubens, Milan 1989, cat. 1375, Held, Literature, cat. 241A plate 450.