Abraham van Duijnen

Possibly collection J.B.V.M.J. van der Mortel, Noordwijk.

E. Buijsen (ed.), Haagse Schilders in de Gouden Eeuw. Het Hoogsteder Lexicon van alle schilders werkzaam in Den Haag 1600-1700, Den Haag/Zwolle 1999, p. 302, reproduced.

The catalogue illustration is representative for the actual painting. The canvas has been relined (wax). The paint surface seems to be in good condition. Two minor vertical creases are running from the upper edge down to the centre. Minor paint losses can be seen along the right edge and in the upper right corner, and in the centre lower left, which have been retouched. One repaired damage can be observed in the tree along the right edge. The paint surface is under a slightly dirty varnish layer and has a fine craquelure pattern. Inspection under ultra violet light is partly impeded by the varnish layer, but does reveal the retouchings as mentioned above, as well as tiny scattered retouchings throughout. Offered in a plain wood frame, resized, in good condition. (ML/SB)
"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.
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The Dordrecht painter Abraham van Duijnen, son of a fish merchant and (probably elder) brother of the known genre and still life painter Isaac van Duynen, mostly painted Italianate landscapes. Inventories and sales catalogues from the 17th and 18th Centuries, mention several Italianate landscapes by him dating from 1647 to 1655.¹ This painting was traditionally, but wrongly attributed to portraitist and history painter Arnoldus Verbuys, and as such recorded at the R.K.D., The Hague. This confusion could have arisen, because the indistinctive signature could have easily been misread as Verbuys.

1. See under Literature, p. 302.