The catalogue illlustrations are representatives. Both supports are single, flat, copper plates.The paint surfaces appear secure and in fair condition. There are very minor scattered paint losses and small discoloured retouchings as well as some more obvious old frame abrasion. The upper painting has a scratch lower right and another small loss lower centre. The varnishes have discoloured and were applied unevenly in parts. Inspection under UV reveals that under the thick varnish the paint surface is in good state with minor old strengthenings and retouchings. Offered in rippled wood frames with minor knocks but structurally sound. Overall in fair condition but new varnishes would greatly improve the tonality of the paintings.
"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 figures of the former painting derive closely from Poussin's original in the Fogg Museum of Art, Cambridge, USA, (see C. Wright, Poussin, London 2007, p. 233, cat. no. 172, reproduced) while the latter's figure derive  from Poussin's original in the Museum of Art, Cleveland (op. cit.. p. 192, cat. no. 140, reproduced).