Attributed to The Brunswick Monogrammist

Anonymous sale, Amsterdam, Christie's, 9 May 2007, lot 28.

The panel is cradled, flat and stable. A horizontal split is visible running halfway across the panel from the upper left corner; another runs horizontally just less than halfway across the panel from the left, a third from the lower margin; and another runs horizontally from the right margin, through the shins of the figure on the far right, also just less than halfway across. Inspection under ultraviolet light also reveals retouching to two repaired splits, which run the full width of the panel, at intervals of around a third. And there is a band of retouching, measuring approx. 3 cm. high, running the width of the panel, just below the upper margin. There is retouching (some of which is discoloured) in the two lower corners and along the lower margin; in the group of figures facing away from the viewer, and in the face of the man with the pipe at the table; in the group of figures on the right and in the leg of the man in the doorway; throughout the background, centre and right; and spot retouching in the kitchen, left. In overall fair 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."

Other versions with similar compositions are recorded in the Gemäldegalerie, Berlin; the Städel Museum, Frankfurt; the Hermitage, St. Petersburg; and in the Museo Correr, Venice. Such bordeeljen are notable for their early date, and in their details of contemporary life may be said to anticipate the work of Pieter Bruegel the Elder.  

The artist is named after a painting at the Herzog Anton Ulrich Museum in Braunschweig of The Parable of the Great Supper (Luke 14). The identity of the artist remains a subject of debate; he has in the past been suggested by such scholars as Max Friedländer to be the youthful Jan van Hemessen. The majority of recent scholars, however, consider the most likely candidate to be Jan van Amstel (Amsterdam circa 1500–1542 Antwerp), thought to have been the brother of Pieter Aertsen and the brother-in-law of Pieter Coecke van Aelst.