ANTHONIE VERSTRAELEN | Ice scene

Window mounted in japan paper. Somewhat stained in the sky. Otherwise good condition. Sold in a modern 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."

Along with Arent Arentsz. van der Cabel (circa 1585-1631), Anthonie Verstraelen was one of the closest followers of the greatest Dutch master of the ice scene, Hendrick Avercamp (1585-1634).  After his apprenticeship in Amsterdam, Avercamp seems to have lived exclusively in Kampen, and it is not clear where and when the Amsterdam based artists Verstraelen and Van der Cabel were exposed to his later works.  Yet they both became the chief Amsterdam-based exponents of Avercamp's distinctive approach to this quintessentially Dutch subject matter.  Avercamp's relatively rare drawings often, like here, depict relatively large scale, elegant figures, enjoying in various ways the pleasures afforded by frozen waterways.  Avercamp also frequently added rather decorative colouring like this to make his pen and ink drawings more pictorial.  Verstraelen is, though, more or less unknown as a draughtsman: the only other drawing that has been reasonably plausibly attributed to him is a town view, bearing a later 17th-century attribution to the artist, recently sold in New York.¹  The present drawing is, however, signed with initials in the lower left corner, in a form familiar from the artist's paintings, and the similarities of composition and style both with Verstraelen's paintings, and with the drawings of Avercamp, strongly suggest that this is the only substantial drawing that we have from the hand of this significant master of the Dutch ice scene.  Furthermore, it seems very possible that the sketchy view in the background can be identified as Verstraelen's native Gorinchem.

^1.  Sale, New York, Christie's, 25 January 2007, lot 61 (as Anthonie van Stralen)