Jan Josefsz. van Goyen

With Julius Böhler, Munich, by 1932;
AG, Lucerne, by 1932;
J. Rosenbaum, Amsterdam;
Dr. W. Greif, Zurich;
Mrs. G. Gresswell, Oxford, England, from 1968;
Her sale, New York, Sotheby's, January 28, 1999, lot 257.

Geneva, on loan 1953/54

H-U. Beck, Jan van Goyen 1596-1656, Amsterdam 1973, vol. II, p. 257, cat. no. 557, reproduced.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. The reverse of this panel is un-cradled, although some old tap and muslin has been glued to it. The panel is very healthy, the paint layer is stable and the wood is flat. The paint layer has been cleaned, varnished and retouched. There are some retouches, as one would expect, which have been added in the sky yet not in any concentration and there are indeed less restorations to this picture than in many pictures of this type. In the darker colors the condition is excellent. There are a few retouches which address some slight thinness in the darkest colors. In general the condition of this picture is excellent and we recommend that it be hung as is.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The subject of river landscapes was to be a constant during Jan van Goyen's life, and while his handling of paint was to develop, the basic composition was to remain consistent throughout his oeuvre.  By the late 1620s, van Goyen began to utilize diagonally receding riverbanks as a compositional device that lowered the horizon-line and allowed him to fill the foreground with broad stretches of water.  The present picture is a charming example of this structure, and is also suffused with a brown monochromatic tone, heightened by oranges, yellows, and muted greens.  Along the river, one also sees the many people of Dutch life, fishermen and peasants, amidst a thatched cottage and numerous fishing boats.  This painting could very well have been based on a drawing as the vigorous dabs of paint, present throughout the foliage, and linearity of the brushwork, especially along the cottage, draw upon van Goyen's sensibilities as a draftsman and his insistence on filling his sketchbook landscapes with a harmonious blend of animals, human figures and boats wherever he traveled.