The canvas has been relined, but this has not overly flattened the paint surface, which is in largely good condition. An old restored vertical tear is apparent centre left due to the slight discolouration of its retouching work; it runs from the back hooves of the brown bull to the ears of the grey horse lower left. Another old restored tear runs horizontally upper right from the head of the rearing spotted horse to the hind quarters of the chestnut horse in the upper right hand quarter and a third old restored tear runs horizontally lower right for approximately 10cm. A handful of drops of a liquid, possibly paint, are scattered across the painting. Some retouchings to the brown and darker tones of the painting are visible to the naked eye, as in the shadows of the sitting horse upper left. Inspection under UV light confirms these retouchings and indicates that the retouchings are concentrated to the sitting horse upper left, the rearing grey horse centre right, the black horse centre, and the ground shadows of the horses on the lower level of the painting. Otherwise the retouching work to the painting is minor and scattered. Offered in an ornate gilt wood and plaster 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."

Adam van der Meulen arrived in France from Flanders in around 1662, having learned his trade in the studio of Pieter Snayers. Partly due to his studies under Snayers he entered the service of Louis XIV, accompanying the King on his many conquests. He made topographical studies on the spot, on the battlefield, before returning to his studio and transferring his sketches to 🐻larger canvases, finally adding the staffage in a somewhat arbitrary manner from the countless studies he had previously made of figures, horses and other livestock. This painting is probably one such example that the artist would have kept in his studio for precisely this purpose.