The canvas is relined. Overall this very large painting is in quite favorable condition, especially considering its size. There are no major losses but there is a repaired tear lower center. There is some thinness in the browns, discernible with the naked eye. The picture has probably not been cleaned in a number of years, and the varnish is somewhat discolored and could be freshened. Retouches are visible under UV. These appear to the naked eye as thin dark lines around figures and objects undoubtedly applied to make the painting read more robustly. They are not overly disturbing and are few other reinforcement retouches throughout. In a carved and painted gilt wood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The technique and monochromatic palette employed in the execution of this canvas recall the painted pageantry shields used for triumphal ceremonies and parades.  An Italian shield, dated to circa 1535 and decorated with the Storming of New Carthage, now in the Philadelphia Museum of Art (inv. no. 1977-167-751), has an equally complex design of tangled figures in battle, expressed in a similarly flattened manner and painted en grisaille.  The large scale composition of the present painting may perhaps suggest it was conceived as part of a decorative scheme for an armory.