The canvas has a very old relining and remains upon its original stretcher. There are a series of old repaired tears in the upper part of the picture, of 10 cm., 8 cm. and an L-shaped 5 by 7 cm. above the sitter's head, and two more of 5 cm. to the left of her head and through her nose and lips. There is an additional 9 cm. line of damage running across her forehead and additional repaired areas of damage, possibly old holes, to both of her hands, the dog's eye and to a series of scattered losses or damages in her dress. There has been old and somewhat crude restoration to all of these which has visibly discoloured. The overall condition of the paint surface however is otherwise excellent with virtually all of the original brushwork very well preserved and any further old repairs are of purely local or incidental nature. Offered with a modern gilt wood frame with oak leaf mouldings 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."

This composition exists in at least three published autograph versions. The prototype is of larger dimensions, in the Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg,¹ while another, of almost identical size to the present work, is in the Mauritshuis, The Hague, datable to circa 1768.² The third painting was formerly also in Berlin, but is thought to have been destroyed in the war. All three versions, and quite possibly this painting also, were conceived as pendants with portraits of William V, Prince of Orange (1748–1806). The couple married in 1767, around which time the portraits are thought to date.

1. 165 x 120 cm.; inv. no. GK I 3119.
2. Inv. no. 463; see K. Schrader, Der Bildnismaler Johann Georg Ziesenis (1716–1776). Leben und Werk mit kritischem Oeuvrekatalog, Münster 1995, pp💯. 244–45, cat. no. 207a, reproduced fig. 177.