Attributed to Jacob de Backer

Anonymous Sale, Christie's New York, 5 October 1995;
With Jack Kilgore, New York, by 1997;
From whom purchased by the present owner.

The canvas is relined and appears in good condition. The paint surface is stable with some repaired damages very faintly visible to the naked eye, notably in the male figure to the left, two repaired tears of approximately 3 - 4 inches in the shoulder and a small hole of approximately 1 inch in the forearm. Inspection under UV reveals scattered retouching throughout, particularly to the aforementioned older damages, and further older retouching the left hand male figure's forehead, the left hand on the mirror, a small repaired damage in the face and neck of the female, three in her arm and another three in her leg. There is a 2 inch repaired puncture in the upper arm of the right hand male figure and retouching to an old horizontal damage below the upper edge, possibly from a fold or stretcher mark. The painting can be hung as is and is offered in a carved gilt wood frame.
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 scene of narcissism and desire is overlooked by a deathly figure, while Cupid holds aloft a tablet, inscribed with a warning from Claudian's De Consulatu Stilichonis, "Luxury, that sweet curse to which time and error hasten.  An ill fate that has entrapped many in its snares, weakening the limbs with bane more deadly than that of Circe."¹  Considering the brevity of his life, de Backer's oeuvre is remarkably large.  He is known to have painted numerous such allegorical scenes, often with a strong moral message suggesting the artist painted primarily for Antwerp's intelletual circle and indeed may himself have had a humanist education.

1.  Claudian, De Consulatu Stilichonis, book II, lines 132 - 138.