Abraham Willaerts

Sale, Amsterdam, Sotheby's, 6 May 1997, lot 47;
Anonymous sale, Paris, Tajan, 18 December 2002, lot 20 (both the above as by Adam Willaerts).

The actual painting is a lot less red and more green and colourful in tone than the catalogue illustration suggests. The canvas has a recent relining (glue), which has slightly flattened the paint surface. The paint surface has grown a bit thin in the foreground, but otherwise, seems to be in very good condition. A few small retouchings can be observed in the upper left corner, as well as some minor strengthening in the figures in the foreground. The paint surface is covered with a clear layer of varnish. Inspection under ultra violet light, furthermore, reveals a few repaired and retouched small tears in the upper centre, along the left and right edges, and very tiny extensive scattered retouchings throughout. Offered in a plain black painted wood frame with gilt fillets, a few small damages. (ML/MW)
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Abraham was the eldest son of Adam Willaerts (1577-1664), the leading Dutch marine painter in Utrecht. For a short period of time, Abraham studied with Simon Vouet in Paris and Jan van Bijlert in his native city Utrecht. However, he was most profoundly influenced by his father, to the extent that it is very difficult to distinguish between their paintings. Both Adam and Abraham specialised in marines and shore scenes with imaginary rocks, staffage and stylized waves. This painting is more likely to have been painted by Abraham because his refined colouring tends to be warmer and more layered than his father's. This creates an almost theatrical effect with the highlighted waves breaking on the rocks, and the clouds breaking open, and increases the dramatic tone of the picture.

1. See for a stylistic comparison between the work of Adam and Abraham Willaerts L.J. Bol, Die Holländische Marinemalerei des 17. Jahrhunderts, Braunschweig 1973, pp. 63-70.