Sold at Christie's before 1906 and again at Christie's at some point before June 19, 1987.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This panel has been quite recently restored and could be hung as is. The panel is cradled, flat and stable. The paint layer has been cleaned. The few retouches that have been added are almost entirely confined to the background where the graininess of the wood has become more evident over time; these retouches have been nicely applied. There are a couple of old retouches in the tiled area around the feet of the figures. Overall the condition is very good.
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.

In the present work the artist uses unusual iconography to depict the struggle between sacred and profane love.  St. Francis of Assisi, who was revered for his chastity, is at left.  With his foot steadied on a globe, he has shackled a young gentleman with an iron chain and pulls at him.  The gentleman in turn uses his left hand to tip his hat to St. Francis, while from his right side he is connected to a young woman by a string tied to the hilt of his sword. In her left hand the woman holds the string and in her right hand holds two little flowers, which have traditionally symbolized the transience of human life.  Through the use of this iconography, the artist seems to suggest that the bonds of sacred love and faith, as represented by the sturdy chain and globe, are stronger than profane love represented by the flimsy string and lovely, but short-lived, flowers.    

We are grateful to Jan de Maere, who, based upon a color transparency, suggested an attribution to François Bunel the Younger.  One of Bunel's most important contributions to the history of art is a drawing he made of Henri de Navarre, the future Henri IV.  That drawing, conserved in the Cabinet des Dessins du Louvre, is considered by scholars to be one of the most accurate renditions of the French king.