Jan Josefsz. van Goyen

The following condition report is provided by Hamish Dewar who is an external specialist and not an employee of Sotheby's: Structural Condition The canvas has an old lining which is still ensuring a reasonably secure structural support. Paint Surface The paint surface has a very discoloured varnish layer and should respond well to cleaning. Inspection under ultra-violet light shows a number of retouchings, the most significant of which are; 1) a thin line covering a tear which runs horizontally across the sky and is approximately 13 cm in length. The retouching that covers this fracture line is just above the buildings in the centre of the composition. 2) A thin horizontal line near to the upper right corner which is approximately 3 cm in length, and a further retouching approximately 1 cm in length in the upper right corner itself. 3) Two retouchings in the upper right of the sky, each approximately 0.5 cm in diameter and an area in the lower right of the sky which appears to cover a smaller tear which measures approximately 0.5 x 2 cm. There are a number of other small scattered retouchings. Some of these retouchings are also just visible in strong natural light. There may be other retouchings beneath the old varnish layers which are not identifiable under ultra-violet light. Summary The painting would therefore appear to be in stable condition and should respond well to cleaning if required.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Jan van Goyen made a number of paintings in brown monochrome on paper in the years 1650 and 1651. They are remarkably consistent in style and format: many of them are of the same size as the present work, although some are on slightly smaller sheets. Most have subsequently been attached to panel or canvas supports. A group numbering just over thirty have hitherto been recorded, to which this previously unknown work may be added.

Although all of them are painted en brunaille, some have an intense brownish tone, while others are more greyish. A similar variation occurs with his more intensely monochromatic works on panel of the same date.  Although Van Goyen always painted with a rapid vivacious brush, these works are especially spontaneous and fluid, perhaps due to the nature of the paper support. 

It is unknown why Van Goyen painted so many works in oils on paper in this short period of time. Possibly he was having trouble procuring panels. It is worth noting however that during this period, and in the late 1640s and early 1650s his output of drawings, all in black chalk and some, especially the sketchbook leaves, very rapidly drawn, sharply increased.