Abraham Storck

With Leger & Sons, London, 1955;
Anonymous sale ("The Property of a Gentleman of Title"), London, Sotheby's, 7 December 1994, lot 4;
There purchased by Dimitri Mavrommatis, London;
By whom sold, London, Sotheby's, 5 December 2007, lot 45;
Anonymous Sale ("Property of a Private Collector"), New York, Sotheby's, 28 January 2010, lot 265;
There acquired by the present owner.

The painting overall is in good condition and presents a lovely image. The panel is flat and stable, made up of two horizontal boards and beveled on all four edges. The panel join is visible on the reverse but not on the face. Inspection under UV reveals minor retouched losses scattered through the sky and water. The painting requires no further work and can be hung in its present state. Offered in a simple black carved wood frame.
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.

Abraham Storck may have never visited Italy, yet compositions such as the present work unmistakably evoke the atmosphere of a bustling Mediterranean port.  The Dutch artist’s knowledge of Italian architecture and landmarks likely arose from the travels of his artistic contemporaries, including Jan Asselijn and Jan Weenix, who brought their experiences back to Amsterdam by way of their paintings.  This depiction, for example, includes an obelisk and the circular edifice of the Castel Sant’Angelo, both of which can be found in Rome.  Although Storck’s topographical harbor scenes are imagined representations, they can be considered important precursors of the celebrated Italian capricci —or architectural fantasies—of the 18^th century.