In the collection of the family of the present owner for at least 90 years.

The catalogue illustration is representative. The support consists of three horizontal panels which are flat and secured by two vertical battens. The work is offered unframed. A small section has broken off the upper left hand corner, and there is a split in the panel has been restored just above the central joins, as well as two further splits just below the central panel. Discoloured retouchings have been applied along all of the panel joins and splits. The dirty paint surface is secured by a discoloured varnish. Areas of abrasion can be made out in the seated black cow at centre, as well as some retouchings along the top of the three horses centre left. Inspection under UV light confirms the aforementioned retouchings and also points to some further scattered retouchings to some old scratches centre left, and in the sky upper centre. The varnish does not allow satisfactory inspection of the work underneath it. The painting would benefit from a clean. Offered in a black and gilt wood frame in fair 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."

Other versions of this composition, both with slight differences in the composition of the animals, are in Schloss Mosigkau, Dessau (signed and dated 1618) and the Rijksmuseum, Amsterdam.¹ The former is smaller than the present example (being 33.5 by 53 cm) while that in the Rijksmuseum is a little larger (46.5 by 69.5 cm) though likewise undated. Müllenmeister however dates the Rijksmuseum version circa 1621 and indeed it is that picture which bears the closest resemblance, in the placement of the animals, to the present example. The setting, though with different staffage, is used again in another panel in a German private collection.²

1.  K.J. Müllenmeister, Roelant Savery, Die Gemälde mit Kritischem Oeuvrekatalog, Freren 1988, pp. 280-282, cat. nos. 177 & 179, both reproduced.
2. Ibid., pp. 280-81, cat. no. 177, reproduced.