Anonymous sale, New York, Sotheby's, January 11, 1996, lot 96, where acquired by the present owner.

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 painting on copper is in lovely condition. The panel has been cleaned and varnished fairly recently. Hardly any restorations are visible under ultraviolet light or in all likelihood have been applied at all. The copper has been a very appropriate support for this paint layer. There are two or three dots of retouch in the sky but there appear to be no others.
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.

Accomplished as both a landscape and figural painter, Poelenburgh depicted mythological, historical and religious subjects in a distinctively delicate and luminous style. He was born in Utrecht circa 1595 and studied with Abraham Bloemaert. By 1617 he was in Rome where he resided for several years, and where he worked closely with the Flemish artist Paul Bril. During his years in Italy, Poelenburgh also worked for the Medici court in Florence. He returned to Utrecht around 1625, already an established and successful artist. A notable commission was the decoration of the royal palace at Honselaarsdijk where he worked with Abraham Bloemaert, Herman Saftleven and Dirck van der Lisse (his pupil) on a cycle based on Giovanni Battista Guarini's Il Pastor Fido. He also worked for Charles I in London from 1637-1641.