Thomas Wijck

Dr. W. van Dalfsen, his collector's mark, D (not in Lugt);
by whose heirs sold, Amsterdam, Sotheby Mak van Waay, 18 November 1985, lot 45;
with Adolphe Stein, Paris

Unframed. The drawing was attached to a previous mount on the right edge of the verso. There is some light scattered foxing, particularly visible in the sky at the upper right quarter. A very light brown spot stain near the lower left corner. A small nick at the left edge, at the level of the washing. Generally in good condition. The wash is stronger and blacker than in the catalogue illustration.
"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."

Wijck trained as an artist under Adriaen van Ostade, in Haarlem, but the influence of his teacher's style is only apparent in his earliest works.  From the mid-1640s, if not before, he favoured Italianate subjects, and although there is no definite documentary record that he went to Italy, it seems very likely that his typical views of Italian courtyards, such as the present work, are the product of his own first-hand observations. 

This drawing is an excellent and characteristic example of a type of composition particularly favoured by Wijck, who made numerous such picturesque views through archways and into corners of farmyards and courtyards.¹  These drawings constitute a very distinctive body of work, which demonstrate to the full the artist's considerable gift for capturing light and atmosphere.

1. See Peter Schatborn, Drawn to Warmth. 17th-century Dutch artists in Italy, exhib. cat., Amsterdam, Rijksmuseum, 2001, pp. 117-123