Follower of David Vinckboons

The actual painting is a lot less red and greener in tone than the catalogue illustration suggests. The flat panel consists of two horizontal planks and has been cradled to the reverse. The paint surface is under a dirty and glossy layer of varnish. The paint surface appears in good condition. Retouchings along the join, and minor strengthening of the figures can be observed. Inspection under UV light remains inconclusive due to the dirty varnish. Overall, in good condition. Offered in a decorative carved gilt wood frame with a few losses.
"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 composition is known in a number of autograph variants by both Pieter Brueghel the Younger (1564-1638) and David Vinckboons (1576-1629).¹ Although it remains unclear who invented the original design, the present work is closer in style and execution to the different versions by Vinckboons.

1. See K. Ertz, Pieter Brueghel der Jüngere (1564-1637/8), Lingen 1998/2000, pp. 757-60, 764-5, cat. nos. 1042-53.