Slatkes (Pelletier a.o., op.cit., p. 167) notes that both Trautscholdt (Notes on Adriaen van Ostade, Burlington Magazine, LIV, no. CCCXI, London, 1929, p. 79) and Godefroy (op.cit., no. 31) mention a watercolour of the same composition in the Desperet sale in Paris in 1865. It was described as a preliminary work, which could have been concluded from the fact that it was incised for transfer like the watercolour related to B.20 (see lot 18 in this sale). The Desperet watercolour now seems to be lost. A further comparable drawing, in the same sense, once in the Weigel and Habich Collections, seems to be known only from a photograph in the Documentation Service of the Louvre, Paris. As Pelletier (loc.cit.) notes, in this image 'there is no hard brilliance, no superfluous shadows, no cleverness - only a quiet mastery of means which provides a plate of great rustic charm and poetry. This is the most atmospheric of Ostade's plates ...'.