Thomas Fearnley

Acquired by the grandfather of the present owner in New York circa 1890; thence by descent 

The canvas has not been lined. On the reverse a circa 9 by 4cm patch with associated adhesive is visible, corresponding to restoration in the right of the central large tree-trunk. Under ultraviolet light this restoration does not fluoresce clearly, however scattered small spots of retouching and traces of an uneven fluoresce in the varnish are visible. Apart from some thinning of the paint surface in the sky the painting presents well overall, and is ready to hang. Presented in a decorative gilt frame, with a nameplate.
"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."

Unseen by the public for over a century, this charged landscape, of a lone rider coming face to face with the elements, is very much in the spirit of the northern Romantic tradition, pioneered by Caspar David Friedrich and Fearnley's compatriot Johan Christian Dahl.

Fearnley arrived in Italy in September 1832 by way of Trieste and Venice, settling in Rome in November of that year. Travelling and painting extensively in Italy, Fearnley nevertheless continued to paint non-Italian views during these years. In 1833 he exhibited a Norwegian waterfall and summer and winter views of Elsinore (now Helsingør) at the Società degli Amatori in Rome, and in 1834 An Autumn Morning at Königssee (Hamburg, Kunsthalle). The present view, presumably of the foothills of the Alps, was likely inspired by the Bavarian lakes looking south, an area Fearnley had passed through in 1831 en route to Italy. Fearnley did not travel to the Italian lakes around Como and Lugano until 1835, on his way from Rome to Switzerland.

The present work predates by one year a smaller version in the National Gallery, Oslo. A pencil study, signed and dated München 1830, is in a private collection in Oslo (fig. 1).