The support consists of three vertical panels which are flat and stable, and secured by battens to the reverse. The signed and dated paint surface appears secure with the panel joins visible. Under the thick yellowed varnish the painting appears to the naked eye to be in good condition. The paint appears a little sunken in the brwon collar. Inspection under UV light reveals some minor retouchings.The painting would benefit from a surface clean and is offered in a carved wooden green frame 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."

We are grateful to Dr. Peter van den Brink for confirming the attribution to Pieter Pietersz.. The present painting, and a second dated work, a Gortenteller also of 1567, are the earliest known works by Pietersz and are executed very much in the style of his father, Pieter Aertsen.  Dr. Van den Brink believes the Gortenteller in the town hall of St. Gillis in Brussels is a possible pendant to the present lot (see P. van den Brink, 'De "Gortenteller" van Pieter Pietersz. Een teruggevonden schilderij' in J.L. de Jong en E.A. Koster, in Onverwacht bijeengebracht. Opstellen voor Ed Taverne en Lyckle de Vries ter gelegenheid van hun 25-jarig jubileum in dienst van de Rijksuniversiteit, Groningen 1996, pp. 13-23).