Anton Mirou

In the possession of a German noble family by 1785–86, when listed in their inventory as no. 264;
In their 1988 inventory as no. 400;
Anonymous sale ('The Property of a Nobleman'), London, Sotheby's, 7 December 2006, lot 101 (as Denijs van Alsloot);
Where acquired by the present owner.

The copper is slightly bowed in the centre of the plate but is stable. There is a 3 cm diagonal scratch in the centre of the painting between the trees on the left. Ultra violet inspection reveals a very uneven varnish. There is some strengthening in the dog next to Cephalus. Overall the work is in very good condition. Offered in a carved and gilt wood frame.
"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."

Mirou was a leading member of the group of artists known as the Frankenthal school. He and his family, like many other protestants from Flanders and Brabant, took refuge from religious persecution in Frankenthal under the protection of Elector Palatine and staunch Calvinist, Frederick III. Mirou is thought to have stayed there until about 1620 (he is mentioned in archives up to that date) at which point he most likely returned to Antwerp. His Frankenthal-period landscapes, of which this is undoubtedly one, have their own distinct character and are influenced to a great degree by his fellow Frankenthal painter Gillis van Coninxloo; bosky landscapes with a deep interest in craggy mountains, waterfalls, rock fortresses, and the idiosyncracies of the knotty paths that tunnel beneath the thick canopy. After about 1614 however Mirou’s output began to reflect the work of another Frankenthaler, Pieter Schoubroeck, and from this point on his œuvre mainly consists of highly populated village landscapes. Mirou’s profound interest in topography remained however, and a series of drawn views of Schwalbach were disseminated widely through the Low Countries via Matthias Merian’s prints after twenty-six of them in an album entitled Novæ quædam ac paganæ regiunculæ circa acidulas Swalbacenses delineatæ per Antonium Mirulem in aes vero incisæ per Mathæ Merianem (Hollstein, xiv, nos 1–26).