Gysbrecht Leytens

Anonymous sale, London, Sotheby's, 5 July 1989, lot 16, where acquired by the present collector.

The canvas has an old relining which is still sound. The paint surface is now dirty and the varnish layer discoloured. There has been very little if any abrasion to the paint layer. All of the details throughout are well preserved and although there may have been some slight discoloration to the shadowed areas, the condition is extremely good. At present there do not appear to be retouches of any note. If the picture were to be cleaned the palette would brighten and some of the small dark specks trapped in the paint layer were to be carefully removed, a good deal of clarity would be acquired by the surface.
"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."

This is a typical landscape by Gysbrecht Leytens, previously known as the Master of the Winter Landscapes. It is the artist's depiction of trees - his painterly brushstrokes for each bare branch and twig - that sets Leytens apart from other artists of winter scenes.  Prior to scholars' identification of the master as Gysbrecht Leytens, his works had often been misattributed to Joos de Momper, Alexander Keirincx, and Denis van Asloot. While the composition and subject matter is characteristic of Leytens' work, it is the grand size of the present picture that makes it unusual since it is his largest known work.

The composition is very similar to three works on panel by the artist in French museums: a small panel (32 by 44 cm.) in the Musée de l'Hôtel Sandelin, Saint-Omer; another panel (50 by 45.5 cm.) in the Musée des Beaux-Arts, Valenciennes; a large  work (80 by 123 cm.) in the Musée des Beaux- Arts, Nantes.¹

1. See Trésors des musées du Nord de la France, La Peinture flamande au temps de Rubens, III, exhibition catalogue, Lille, Calais, Arras, 1977, no. 36.