Hendrick Avercamp

Patchily discoloured, probably because drawing was formerly laid down (there are signs of adhesive, verso). Currently fixed down left edge to backing sheet (probably a 19th-century album sheet). Some thin spots down left edge. Condition otherwise reasonably good, and colours still bright.
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.

The same two figures reappear, more sketchily drawn and accompanied by a woman, in a fragmentary study sheet that is one of the 50 or so drawings by Avercamp in the Royal Collection, Windsor Castle.¹  Neither drawing seems, however, to relate to a figure group in any of the artist's known paintings.

Only relatively few drawings by Avercamp survive -- the Windsor group comprises nearly one third of the known sheets -- and many of those that do are simple figure studies, often apparently cut from larger sheets, and without any indication of a setting.  There are also a certain number of landscapes, some of them more precisely drawn, elaborate works that were made either as finished watercolours or as preparatory studies for prints, and others rather less formal.  The sketchily drawn background seen here, with the fine line work in chalk and pen, emphasised with touches of watercolour and bodycolour, is typical of Avercamp's approach in this second, less formal type of landscape drawing, and in the occasional drawings where he places figures or groups of figures in a loosely indicated setting. The drawings at Windsor include several works where the handling in the landscape is extremely comparable.²

The inscription on the mount, 'Stomme van Kampen,' records Avercamp's nickname, which refers to the fact that he seems to have been a deaf mute.

1. Inv. RL 6496; C. White & C. Crawley, The Dutch and Flemish Drawings....at Windsor Castle, Cambridge 1994, cat. no. 270, reproduced

2. e.g. White & Crawley, op. cit., cat. nos. 240, 244, 248, 250