Probably copy in reverse after engraving by Jan Witdoeck that was made under supervision of Rubens. This print is also present in the Fondo Antico, in the same volume: Stampe.V.111(21); There was a lawsuit between Rubens and Honervogt, probably between 1633-1636: Honervogt published in Paris copies of the engravings produced in the workshop of Rubens, for a lower price and of lower quality, despite the threefold privilege that Rubens had obtained since 1619 for the regions of Holland, France and Belgium. Rubens won the trial. Apparently, prints by Honervogt after Rubens are very rare nowadays: Alexis Merle du Bourg mentions not to know any, and suggests that after the trial the plates and prints by Honervogt were systematically destroyed (See Alexis Merle du Bourg, “Peter Paul Rubens et la France: 1600-1640”, 2004, p. 87, 114-115). It is likely however that this print is an imprecise copy in reverse after the engraving by Jan Witdoeck, first published only in 1638: the figures have for instance the same size. Rubens is not mentioned as the inventor on the print by Honervogt, but this could be trimmed. The original painting by Rubens (c.1616-1617) is now located in the King's College in Cambridge, but was formerly in the Convent Church of the White Sisters of Louvain (Hollstein, Vol. 53, 1999, p. 97). Many small paper losses; Fold trace in centre, from left to right; Possible that more inscriptions are trimmed.