Gerrit Adriaensz. Berckheyde

The actual painting is a bit more yellow than the catalogue illustration suggests. The panel consists of one plank and is bevelled along all edges. The paint surface is in good condition. Some retouchings are visible to the naked eye, especially in the centre sky. Some pinpoint spots of paint loss are visible in the hills in the background and in the foliage of the tree.The paint surface is covered with a yellowed varnish layer. Inspection under UV-light confirms abovementioned retouchings and reveals additional ones, mainly throughout the sky and hills in the background and some minor retouchings along the left edge. Offered in a gilt wood frame, in good condition. (JD)
"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."

Although best known for his cityscapes (see lot 66) this picture is a fine example of Berckheyde's achievements in the genre of landscape painting. As articulated by Lawrence, most of his landscapes show the clear influence of Dutch Italianates such as Nicolaes Berchem (1621/22-1683) and Jan Both (c. 1618-1652).¹ However, this southern landscape is in a somewhat different vein, and relates closer to Berckheyde's later output in which a classical approach to his subjects becomes visible. From the 1680s, Berckheyde's work gives more emphasis to structure and balance and to clear, unifying light effects. His handling becomes significantly smoother, almost denying any texture of paint.  
This painting, with its absence of any substantial architectural motifs and eerie bareness of the scenery, is a rare depiction of a rustic subject within Berckheyde's oeuvre. Furthermore, Berckheyde does not seem to follow the second generation of Haarlem Italianate landscapists here, but seems to apply a similar conception as in his late, highly refined and mannered cityscapes of Haarlem and The Hague. Those views are characterised by pale tonalities and a certain artificiality in the rendition of space. A striking feature of this landscape is the pair of tall, illuminated poplars that frame the composition. This is also the case in a landscape of similar size, signed, representing a Rural Scene with Cattle.² Compositional similarities are found in the undulated landscape in the background combined with the indentations in the shaded foreground. However, the present work stands out from other landscapes in its refined elegance and restrained image.

1. C. Lawrence, Gerrit Adriaensz. Berckheyde (1638-1698), Doornspijk, 1991, p. 86.
2. op. cit., reproduced fig. 99.