Literature: E. Greindl, Contribution à la connaissance du style de Gysbrecht Leytens, in Panthéon 31, 1973, pp. 254-263, cat. no. 16, reproduced plate 2.
Exhibition : Brussels, Musée Royaux des Beaux Arts de Belgique, Le siècle de Rubens, 15 October - 12 December 1965, cat. no. 142.
The estimate for this lot is £10,000 - 15,000 and not as stated in the catalogue.
Please note the following additional cataloguing for this lot:
LITERATURE Possibly H. Jantzen, Das Niederlänische Architecturbild, Leipzig 1910, no. 683; Possibly I. Manke, Emmanuel de Witte, Amsterdam 1963, p. 118, no. 175.
PROVENANCE Possibly Charles Sedelmeyer, Paris; His sale, Paris, 25 May 1907, lot 208; Anonymous sale, London, Christie's, 3 May 1974, lot 136, to Kleinbird.
The cataloguing for this lot should read: bears signature lower right: k. Molenaer
This lot should have a Sotheby's Ownership Interest symbol in the catalogue.
The estimate for this lot is £15,000 - 20,000 and not as stated in the catalogue.
Please note the following Provenance for this lot: With J. and S. Goldschmidt, Frankfurt; Dr. Kelle, Frankfurt, by whom acquired from the above on 30th January 1925 (as by Willem van de Velde); Thence by descent until recently.
The original certificate of Cornelis Hofstede de Groot, dated March 1924, stating this to be an authentic and characteristic work by Willem van de Velde the Younger, will be available to the purchaser of this lot upon request.
The cataloguing for this lot should read: bears signature lower right: M.SCHOEVARDTS.F.
The attribution to Couwenbergh has been confirmed by Dr. Albert Blankert.
We are grateful to Professor Lino Moretti for tentatively proposing an alternative attribution to Francesco Rosa (Genoa ? - Rome 1687)
Please note that François Macé de Lépinay does not support the attribution to Sassoferrato on the basis of photographs.
We are grateful to Dr. Erich Schleier for pointing out that the figures are by Ludovico Gimigniani.
Please note that this is on canvas, not panel.
The illustration for this lot is incorrectly labelled in the sale catalogue. The illustration is in fact the portrait of Sir John Vaughan, details of whom are set out in the catalogue entry for lot 250. Details of the two portraits were confused in Robin Gibson's catalogue.
The illustration for this lot is incorrectly labelled in the sale catalogue, and in fact shows the Portrait of a Gentleman, lot 245. Details of the two portraits were confused in Robin Gibson's catalogue.