Circle of Sir Peter Paul Rubens

Stanley Collection, Taunton;
Aug. Janssens, Antwerp;
Mrs Nagy-Janssens, Budapest.

A. Balis, Rubens: Hunting Scenes, vol. II, Corpus Rubenianum Ludwig Burchard, part XVIII, Antwerp 1986, p. 119, cat. no. 5 copy (9) (as a copy after the Soutman engraving, present whereabouts unknown).

The support appears to be made up of a single panel. The reverse bears signs of it having been cradled in the past. This cradle has now gone - and there are around a dozen supporting wooden blocks on the reverse instead, effectively supporting some old horizontal cracks and movements, none of which are visible from the front of the picture (bar in strong raking light). The whole panel is flat and stable. There are no major visible damages or restorations and the varnish is clear and even. Inspection under ultraviolet light reveals only scattered minor and well executed retouchings, and some meticulous retouchings along the horizontal lines of the aforementioned old cracks. In good overall condition. Offered in a black Dutch style black bevelled frame with a gilt sight edge 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."

The composition follows that of Rubens' celebrated canvas acquired by Duke (later Elector) Maximilian I of Bavaria (1573–1651) and today in the Alte Pinakothek in Munich. No oil sketch for the final canvas survives. The present panel is in reverse of the original, and is perhaps related to an early engraving by P. Soutman.¹ Recent examination under infra-red reflectography has however revealed very free under-drawing and various pentimenti as well as differences between the two, notably in the inclusion of two, as opposed to three, dogs in the print.

1. Balis 1986, reproduced figs. 46 and 49.