With Leonard Koetser, London, by 1963;
From whom bought by the late owner.

London, Leonard Koetser, Spring Exhibition, 25 April-31 May 1963, and Autumn Exhibition, 1964, as Jan Brueghel the Younger.

K. Ertz, Pieter Brueghel der Jüngere (1564-1637/38).  Die Gemälde mit Kritischem Oeuvrekatalog, vol II, Lingen 2000, p. 627, no. A 790, reproduced (A = Abgeschrieben, or `de-attributed').

The flat, stable support consists of a single sheet of copper which has been laid on board. The paint surface is in good condition, secure and retains much of its original detail. No major damages are apparent. Inspection under UV light is greatly impeded by the reflective varnish that covers the work, but does reveal a few scattered spot retouchings to the trees and foreground bushes right, and very small spots of retouching at points along the margins of the painting. Otherwise the painting appears to be largely untouched. Offered in a wood and parcel gilt frame in good condition, if a little knocked.
"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."

This composition was one of the Brueghel family's most popular inventions and was much imitated.  There are at least 127 known versions of this design, 45 of which Klaus Ertz accepts as by Pieter Brueghel the Younger, 51 of which he believes are doubtful and 31, including the present work that he considers not autograph.¹  The composition, which originate𝓰s with Pieter Brueghel the Elder's signed and dated work of 1565 in the Musées Royaux des Beaux-Arts, Brussels, was much repeated in the Younger's studio and by his followers.  Several versions on copper are known, of which none are﷽ thought to be autograph.

1. See under Literature, pp. 605-630