Anthonie van Borssum

Window mounted. Repaired tear c 5 cm long in top left corner. Some surface dirt and light spotting, but ink good and fresh.
"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."

Borssom is thought to have been a pupil of Rembrandt during the second half of the 1640s, but the majority of his works show relatively little stylistic debt to the master.  Here, the subject and atmosphere are certainly reminiscent of some of the drawings that Rembrandt made during his famous walks around the outskirts of Amsterdam during the 1640s and '50s, but the actual handling is not so close to that of Rembrandt.  As in the case of the other Borssom drawing in the present sale (lot 103), which is very comparable to this in terms of technique, good comparisons can be made with drawings by the artist in the Lugt Collection and elsewhere.¹

1. P. Schatborn, Rembrandt and his Circle, Drawings in the Frits Lugt Collection, 2 vols., Paris 2010, nos. 36 and 39