Dirck van der Lisse

Relined and surface has been pressed. scattered thinness throughout, most noticeable in the foliage and tree branches, rocks at far right, areas of background landscape and in background figures and animals. there appears to be a vertical canvas seam, which is slightly visible to naked eye, running from top to bottom in foliage down through sky and dog to left of boy at center. ultraviolet light shows retouches to the sky and clouds; an old repaired vertical tear in sky and foliage at far right center edge; there are retouches to some of the faces of the figures at left and other scattered retouches here and there in landscape. In a carved and gilt wood frame with a stylized foliate pattern around outer edge; some nicks.
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.

Dirck van der Lisse began his career as an apprentice to Cornelis van Poelenburgh who had returned to Utrecht in 1627, after nearly a decade in Italy. Poelenburgh was the first Dutch painter whose training and development took place in Italy where, as Luigi Salerno observed, "he succeeded in reconciling the realistic tradition with the classical ideal, thus becoming the initiator of a highly individual style and the founder of a school (see Pittori di paesaggio del Seicento a Roma, 1977/8, vol. I, p. 224)". Poelenburgh's gracefully posed nymphs and satyrs among ruins, all set in Italianate landscapes, quickly caught in the imagination of van der Lisse. While the present landscape exemplifies this tradition, here, van der Lisse has replaced Poelenburgh's imaginary nymphs with a real family portrait, nestled into the left hand side of the canvas. Van der Lisse has here executed the family group with the same degree of sophistication and polish so prevalent throughout his oeuvre. The overall composition is unified by a golden, hazy light reminiscent of Jan Both who had returned to Holland from Italy by 1646 and whose work may also have been an influence on van der Lisse.