Willem van de Velde the Younger

Mrs. Barnard, Care Castle, Yorkshire;
With H.M. Clark, London;
Acquired from the above circa 1920-25 by Wilhelm Caspar Escher, Zürich;
Thence by descent

R.E.O. Ekkart, in the exhibition catalogue, Verborgen. Nederlandse en Vlamse schilderijn uit de 16de en 17de eeuw uit de collective W.C. Escher, Utrecht, Centraal Museum, 2002, pp. 17, 20, reproduced fig. 6.

The canvas has been cut and stuck to an old and effective relining that has not overly flattened the paint surface. There are no major damages visible and the varnish appears clear and even. There is a very minor degree of wear in some of the lighter tones in the sky but the painting appears to be in good overall condition. Inspection under ultra violet light reveals a campaign of sensitively executed minor scattered strengthenings and retouchings, mainly in the darker clouds, and only very few minor strengthenings in the boat, the beautifully painted water seems to have had very little intervention. In good overall condition. Offered in a gesso and gilt wood frame with some losses.
"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."

This painting was apparently unknown to Michael Robinson when compiling his catalogue of the works of the Van de Veldes. We are grateful to Dr. Jan Kelch for endorsing the attribution on the basis of a photograph. He compares this painting to a number of other works dating from the late 1650s and early 1660s.