Jan Wijnants Johannes Lingelbach Haarlem 1632 - 1684 Amsterdam Frankfurt-am-Main 1622 - 1674 Amsterdam

Johan van der Marck Aegidiusz. (1707-1772), burgomaster of Leiden;
His deceased sale, Amsterdam, H. de Winter and J. Yver, 25 August 1773, lot 381, for 180 florins to Yver;
Renaud-César-Louis de Choiseul, 2nd Duc de Praslin (1735-1791), Paris;
His deceased sale, Paris, Paillet, 18 February 1793, lot 117, for 1060 livres, unsold;
Jurriaans;
By whom (anonymously) sold, Amsterdam, P. van der Schley, 28 August 1817, lot 79, for 530 florins to De Vries;
With W.E. Duits, London, 1948;
With Thos. Agnew and Sons, London;
Anonymous sale ("The Property of a Private Collector"), New York, Christie's, 15 May 1999, lot 104, to Richard Green;
With Richard Green, London;
Anonymous sale ("Property of a Corporation"), New York, Sotheby's, 22 May 2001, lot 12.

J. Smith, A Catalogue raisonné ..., vol. IV, London 1829, p. 242, cat. no. 48;
C. Hofstede de Groot, A Catalogue raisonné..., vol. VIII, London 1927, p. 469, cat. no. 169, and p. 495, cat. no. 278;
K. Eisele, Jan Wijnants, Ein Niederländischer Maler der Ideallandschaft im Goldenen Jahrhundert, Stuttgart 2000, p. 146, cat. no. 129, reproduced.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work is in beautiful condition. The panel is flat and unreinforced on the reverse. The paint layer is stable. There is no abrasion. There do not appear to be any retouches. The work may be slightly dirty, but it can be hung in its current state.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Throughout his career, Wijnants drew inspiration for his landscapes from the dunes near his native Haarlem.  His early development there seems to have been greatly influenced by the works of Jacob van Ruisdael and Philips Wouwerman.  The Weldon example most likely dates from Wijnant’s middle period, circa 1660-1675.  The artist often employed a similar compositional structure in his landscapes, with a path winding through the undulating dunes and receding into the distance.  Here, as in many of his paintings, the left side of the picture is built up with dunes and trees while the right side opens up to a panoramic view, creating a sense of space.  The staffage in Wijnants' paintings was often added by other artists such as Adriaen van de Velde and, as is the case with the Weldon painting, by Johannes Lingelbach (1622-1674) who was a frequent collaborator.