Panel is comprised of two boards with a single vertical join that runs through the lady a little left of center. It is uncradled with a vertical bow, but has a single batten on the reserve for support. Overall a lovely image presents well with some of the impasto on the white hues preserved, though there is some thinness to the brown in the background. Tiny pin dots, possibly from wood grain, are on the lady's forehead and child's chin, cheek, and eyes, though these are not too distracting. Possible old frame abrasions are along edges, with three small tiny dots of losses on the lower right edge. Under UV light the aforementioned join fluoresces, with some retouching that extends at the top. What could possibly be a very thin line of retouching fluoresces on the child's chin. There is some minor retouching to the Virgin's left eye, beneath her nose, and possibly around the child's hand. Painting is offered unframed, but can otherwise hang in its current state.
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.

This work relates to a painting by Sir Peter Paul Rubens circa 1612-1613 of two sleeping children in the National Museum of Western Art, Philadelphia (inv. no. P.1972-0001). The similarities between Rubens's painting and the present composition are observed in the representation of the child, who also tilts his head backwards, calling attention to his playful blonde curls and beaded necklace. Though it is unknown who painted this work, the Antwerp Brand inscribed separately on the reverse (fig. 1) dates the panel before circa 1615, placing the painter of this panel in Antwerp during the time Rubens painted Two Sleeping Children.¹ 1. J. Wadum, "The Antwerp Brand on Paintings on Panel", in E. Hermens (ed.), Looking Through Paintings on Panel: The Study of Painting Techniques and Materials in Support of Art Historical Research, London 1998, pp. 179-183.