Circle of Gillis van Coninxloo

The 'Llanover Album', assembled in the 18th Century, probably by Sir Anthony Westcombe, Bart. (d. 1752),
by inheritance to Ivon John Caradoc Herbert, 1st Baron Treowen (1851-1933),
his estate sale, Llanover House, Bruton & Knowles, 26 June 1934, lot 997,
the album acquired by Alfred Jowett, Killinghall, Yorkshire, who split it;
Purchased from Hans Calmann, London, 7 February 1946

Hinge mounted to the upper edge. The sheet has discolored somewhat and there are two brown stains to the upper left and upper right corners, as well as evidence of surface dirt throughout. There are three old vertical creases to the sheet and one horizontal crease running through the centre. The upper left corner has been made up. The medium itself remains reasonably strong throughout this highly atmospheric sheet.
"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."

The so-called Llanover album contained a fine group of 16th and 17th-century Dutch and Flemish drawings, and was particularly rich in landscapes like this from the period around 1600.  Though the individual drawings do not bear his mark, the album is believed to have been assembled by Sir Anthony Westcombe, Bart., after whose death in 1752 it passed first to his cousin Bernard Granville, then to his sister Mary Delany, and finally descended to Lord Treowen. 

Despite the high quality and distinctive handling of this engaging landscape, it has, like so many Flemish landscape drawings of this period, defied attribution.  It seems earlier in spirit than the work of Jacques Fouquier, to whom the old attribution at the top of the sheet must refer, but which artist in the orbit of Coninxloo could have made it remains at least for now unresolved.