A.E. Pérez Sánchez, D. Antonio de Pereda (1611–1678) y la pintura madrileña de su tiempo, exhibition catalogue, Madrid 1978 (probably the copy 'del lienzo, sin el ángel' listed under cat. no. 39).

The following condition report is provided by Hamish Dewar who is an external specialist and not an employee of Sotheby's: The canvas is lined. The paint surface has a glossy, uneven and discoloured varnish layer. Inspection under ultra-violet light shows a heavily discoloured and opaque varnish and scattered retouchings including a vertical line below the sitter's left elbow and other scattered spots and lines of retouching. including within the sitter's face. There may be other retouchings beneath the varnish layers but due to the discoloured and opaque nature of the varnish layers it is difficult to ascertain the extent of any previous restoration. Overall the painting is in good condition. The work is framed.
"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."

A simplified period copy after the original, traditionally given to Antonio de Pereda (Valladolid 1611–1678 Madrid) but now generally accepted as a work by Francisco de Palacios (Madrid 1640–1676) in the Real Academia de Bellas Artes de San Fernando, Madrid.¹ The original, executed in 1650, includes a second figure of an angel to the right of the dreaming knight.

It seems likely the present work is the c🧸opy Pérez Sánchez lists as having been recorded in a collection in Munich in 1916 by August Liebmann Mayer.

1. Pérez Sánchez in Madrid 1978, cat. no. 39, reproduced. For a discussion of the re-attribution to Palacios, see W.B. Jordan and P. Cherry, Spanish Still Life from Velázquez to Goya, London 1995, pp. 78–84.