Some underdrawing is evident in the foreground scene, and there is a pentimento in the outline of the hat worn by the servant in the centre in the brown doublet.
Perhaps listed by Marlier as in an exhibition at Aix-la-Chapelle, 1929, no. 5; that picture measured 54 x 74 cm., but the signature is recorded as including an 'h'. Marlier stated that it differed from the other versions by showing a wider foreground and more sky. He listed four other signed versions and two unsigned.
The composition is Pieter Brueghel II's own invention, and probably dates from after 1616; it shows him, according to Klaus Ertz, at the peak of his ability ('die ihn auf dem Hhepunkt seines Knnens zeigt', see K. Ertz and C. Nitze-Ertz, catalogue of the exhibition, Breughel-Brueghel, etc., Kulturstiftung Ruhr, Villa Hgel Essen, Kunsthistorisches Museum, Vienna and Koninklijk Museum for Schone
Kunsten, Antwerp, 1997-1998, Lingen, 1997, under no. 136).
Apart from this one, he developed two other depictions of a wedding feast, indebted to Pieter Brueghel I and Marten van Cleve (ibid., no. 136, figs. 1 and 2). He also, of course, copied his father's famous painting in the Kunsthistorisches Museum, Vienna (ibid., no. 135). In the present composition, the bride's parents give bread to the poor, as was then the custom (ibid., p. 402).