安東尼·韋斯特拉倫

Probably acquired by William Kerr, 3rd Earl of Lothian (1605-75);

William Kerr, 3rd Marquess of Lothian (1690–1767);

Thence by descent.

Newbattle Abbey inventory, c. 1726/27 ('A picture of a winter piece with men & boys diverting themselves on the ice by Ostade');

Newbattle Abbey inventory, 1752 ('A Dutch piece of a frost... [£]2-2-0');

Newbattle Abbey inventory, c. 1788 ('Skating (on wood)');

Newbattle Abbey inventory, March 1833, no. 431;

Newbattle Abbey inventory, May 1878, no. 431 (Stairs);

C. Hofstede de Groote, 'Hollandsche Kunst in Schotland', in Oud Holland, 11, 1893, p. 217;

Monteviot House inventory, 14 July 1989, no. 431 (Study).

The condition of this panel is exceptional. The support consists of a single plank oak, bevelled along all four edges and uncradled. The panel is flat and the paint surface is near to its original state as one could possibly hope for. It is dirty and should respond extremely well to a light clean. Other than to a horizontal area in the centre of the sky there appear to be almost no restorations and the very fine detail of the distant landscape is wonderfully intact. Sold in a nineteenth century gilt 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. 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."

Verstraelen was perhaps the keenest follower of the father of Dutch winter landscape painting, Hendrick Avercamp. Just nine years Avercamp's younger, Verstraelen's better work has often been mistaken for that of the elder painter over the centuries. This example, which has been in the same private collection at least since the early 19th century is exceptionally well-preserved and likely dates to the end of the artist's life circa 1640.

A native of Gorkum, Verstraelen's indebtedness to the work of Hendrick and Barend Avercamp lasted for his entire career. He settled in Amsterdam where in November 1628, at the age of thirty four, he married Magdalena Bosijn.¹ Along with that of his contemporary, Arent Arentsz., called Cabel (c. 1585–1658), his work is taken as evidence that Hendrick Avercamp must have returned to Amsterdam for at least a short period after 1613. Verstraelen's winter landscapes were typically composed like this, with figures of skaters and everyday folk arranged across the foreground plane, while behind them a frozen river or canal stretches through a village into the distance. A similar example, dated 1641 and on the same scale was sold London, Christie's, 3 December 1997, lot 122. The banks of the river are, as here, typically occupied by humble country dwellings and the artist has used the same compositional device of a large figure on the left foreground bank with the frozen river snaking back towards a distant church.

 

1. A.D. de Vries, 'Biografische aanteekeningen betreffende voornamelijk Amsterdamsche schilders, plaatsnijders, enz. en hunne verwanten' (VII), in Oud-Holland, 4, 1886, pp. 215–24.