Jan Josefsz. van Goyen

John McArthur Moir, Hillfoot, Glasgow (perhaps acquired by him in Holland in the earlier part of the 19th century);
Thence by descent to Edward McArthur Moir (1948–1938);
Thence by descent to his daughter Mrs E. S. Browne;
By whose Executors sold, London, Sotheby's, 12 December 1979, lot 39, for £63,000, to Koetser;
With David Koetser, Zurich;
Acquired from the above by the late owners in 1981, for 300,000 Swiss francs.

H.-U. Beck, Jan Van Goyen 1596-1656, vol. III, Doornspijk 1987, p. 196, cat. no. 449B, reproduced.

In good overall condition. The panel is uncradled and stable. There are no major damages visible to the naked eye. The varnish appears clear and even. Inspection under ultra-violet light reveals scattered retouchings in the sky, most of which are intended to reduce the visibility of the grain.
"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 painting, executed in 1633 early in Van Goyen’s career, perfectly illustrates a transitional moment in the career of an artist who is accredited with being a key player in the inception of a new approach in Dutch landscape painting. Van Goyen’s strong colours and detailed designs of the 1620s were executed under the influence of his teacher Esaias van de Velde (circa 1587–1630). They are winter scenes with busy skaters, or crowds of colourful travellers in detailed landscapes. But later, during the final years of that decade, Van Goyen’s painting begins to move away from the artistic style of his youth. By the early 1630s, and the execution date of this painting, his work embodied the tonal simplicity that later gave way to the monochrome style for which Van Goyen is best reputed. In this painting there is still the cornflower blue of a clear sky, and the golden sand of the path, the far edge of which is bathed in the light of the setting sun, soon to be thrown into that same shadow in the foreground. Van Goyen was a prolific painter in his own life time; he gave humble structures, people and places a monumentality that pleased his patrons and ensured commercial success.