Thomas Wijck Beverwijk circa 1616 - 1677 Haarlem

Sale, London, Sotheby's, 22 June 1982, lot 118;
with Thomas Le Claire, Hamburg (Handzeichnungen und Aquarelle, II, 1984, no. 12);
George and Maida Abrams, Boston

A C. Steland-Stief, 'Thomas Wijck als italienisierender Zeichner - Beobachtungen zu Herkunft, Stil und Arbeitsweise', in Wallraf-Richartz-Jahrbuch, XLVIII/XLIX, 1987-88, p. 218;
idem, 'Zu Graphik und Zeichnungen der 'Bamboccianti'', in I Bamboccianti, exh. cat., Cologne, Wallraf-Richartz-Museum, and Utrecht, Centraal Museum, 1991-2, p. 107, reproduced fig. 19, p. 112, n.54;
B. Schnackenburg, 'Die Anfänge von Thomas Adriaensz. Wyck (um 1620-1677) als Zeichner und Maler', in Oud Holland, 106, no. 3, 1992, pp. 151-2, reproduced fig. 15

Lightly foxed throughout. One or two very small repaired holes, and small thin spot upper centre, but paper otherwise in good condition. Sold in a modern wooden frame.
"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 important document of the early career of Thomas Wijck is his compositional study for a signed, but not dated, painting in Dresden.¹  As Schnackenburg and Steland-Stief have described, Wijck's early style relates to the work of pre-Rembrandtists such as Moeyaert, Haarlem genre painters such as Ostade and Molenaar, and above all to the paintings of the Bamboccianti.

1. Reproduced Schnackenburg, op. cit., p. 151, fig. 16