Aert van der Neer

With Charles Sedelmeyer, Paris, by 1905;
His sale, Paris, Galerie Sedelmeyer, 25 May 1907, lot 142, for 10,000 francs;
Henri Heugel (1844–1916), Paris;
Thence by descent until purchased by the present owner.

Paris, Musee Carnavalet, Chefs-d'œuvre des collections Parisiennes, November – December 1950, no. 44.

Galerie Sedelmeyer, Illustrated Catalogue of the Ninth Series of 100 Paintings by Old Masters..., Paris 1905, cat. no. 24;
C. Hofstede de Groot, A catalogue raisonné..., vol. VII, p. 388, cat. no. 255;
W. Schulz, Aert van der Neer. Catalogue Raisonné, Doornspijk 2002, p. 339, cat. no. 769.

The support is constructed of a single thin, flat, uncradled, stable, bevelled oak panel. There are no major damages visible to the naked eye. Inspection under UV light reveals a slightly patchy varnish and a campaign of meticulously executed minor retouchings and strengthenings scattered throughout - mainly in the sky - in particular at the right margin just above the tree tops. In good overall condition.
"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."

Aert Van der Neer painted his first moonlit landscape in 1643 and his mastery of this genre established him as one of the most innovative Dutch landscape painters of the 17^th century. His mature style of depicting the light of the moon diffused and reflected across a monochrome landscape allowed for a continuation of elements from his tonal period of the previous decades. Here Van der Neer’s limited palette perfectly renders the nuances of nocturnal lighting. The landscape is depicted with the subtle use of an earthy palette of browns, warm greys and steely blues, whilst the rising moon is indicated with a daub of bright white pigment, its light reflected sharply on the glassy water of the canal. The shadows are enlivened with tints of blue and pale peach, maintaining both the transparency and the colour harmony in the general darkness. Van der Neer creates the perfect illusion of a moonlit scene and has infused it with an air of mystery that we as viewers are conditioned to perceive in the night-time landscape.