GYSBRECHT LEYTENS | A winter landscape with figures gathering faggots

P.F.J.J. Reelick, Blaricum and The Hague;
Anonymous sale, Amsterdam, Christie's, 7 May 1997, lot 52, where acquired.

P.F.J.J. Reelick, 'Bijdrage tot Identificatie van de Meester der Winterlandschappen (G. Leytens?)', Oud Holland, vol. LIX, 1942, pp. 75 and 78, reproduced p. 77, figs 5 and 6;
E. Greindl, 'Contribution à la connaissance du style de Gysbrecht Leytens', Pantheon, July–September 1973, vol. 31, no. 3, p. 262, cat. no. 3.

The single oak panel is uncradled, flat and stable. The paint surface is slightly dirty and the varnish is slightly discoloured. The paint surface is very well-preserved and much of the impasto paintwork remains intact. Inspection under ultraviolet light reveals minimal intervention, save for a small retouching in the foreground lower centre, a couple of small retouchings in the foreground lower right, and retouching to an L-shaped scratch and two other small patches of damage centre right. The entirety of this area measuring no more than 1 x 2 cm. There may also be some small strengthenings in the trunk and branches of the tree upper left, but the painting is in overall very good condition.
"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."

Gysbrecht Leytens was first mooted as the possible name for the artist until then known as the Master of the Winter Landscapes, by P.F.J.J. Reelick, who once owned this very painting.¹ Leytens' identity was confirmed by a fully signed work that was published by Ursula Härting in 1988,² and the artist was thus proved to have executed a considerable number of winter landscapes, distinguished by trees with knotty trunks and masses of vein-like branches, misty atmospheres, and a partiality for the subject of figures chopping wood, as here. 1 In his 1942 article (see Literature), Reelick mistakenly took the branded, intertwined initials of the panelmaker Lambrecht Steens on the back of this work to read 'GL.'
2 U. Härting, 'Der Meister der Winterlandschaften, der Maler Gysbrecht Leytens', Die Kunst, 1988, I, p. 27.