Hendrik van Minderhout Rotterdam 1632 - 1696 Antwerp

Anonymous sale, London, Sotheby's, 12 May 1976, lot 22.

The painting has a little less contrast in the colours than the catalogue illustration suggests. The canvas has a relining. The original canvas consists of two pieces, joined vertically, and the seam is slightly visible to the front along with the stretcher marks. The paint surface has flattened somewhat due to the relining and abrasion is visible in the rocky coast and architecture to the background. The paint surface is stable and no damages are visible to the naked eye. Retouchings are visible throughout the sky and foreground area. The paint surface is under a thick and glossy varnish layer which seems to have been unevenly cleaned in the past. Inspection under UV-light confirms abovementioned retouchings and reveals extensive retouchings throughout the painting, some larger filled and retouched paint losses or damages in the lower foreground area, but the main figures remained relatively intact. Offered in a decorative gilt frame, with a few damages and chips. (JD)
"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."

Hendrik van Minderhout painted a number of monumental exotic harbour scenes on large canvases such as this one.  In these compositions he followed the tradition of Jan Baptist Weenix and Johannes Lingelbach, especially in their imaginary views of Mediterranean and Levantine seaports. For his capricci  Minderhout often chose a low viewpoint and his compositions are dominated by exotic and lavishly dressed figures on a quay in the foreground with large Dutch vessels on open water set against a gold coloured sky.  His paintings often feature the same mixture of staffage consisting of workmen loading goods from small ships, oriental tradesmen and elegantly clad ladies on the quayside.

Originally a native of Rotterdam, Minderhout spent almost his entire active career in Flanders. In 1652 he settled in Bruges where he became a member of the guild in 1663. Upon entering the guild he submitted a marine painting that was displayed as companion piece to Rubens' work that hung in the Salle d'Académie. In 1672 he moved to Antwerp, probably to find a better marketplace for his monumental paintings.  His oriental seaports must have appealed to patrons who made their fortune in the overseas trade, whether they had actual experience with those exotic places or not. There is no record that Van Minderhout ever spent time at the Mediterranean or Levantine coast. He therefore must have taken his subjects from prints and from the work of artists such as Nicolaes Berchem and Jan Both. 

A very similarly composed harbour scene was sold, London, Sotheby's, 19 April 1989, lot 47, for £350.000.