Frankfurt 1588 - 1642 Vienna
A RUGGED MOUNTAIN LANDSCAPE WITH FIGURES BY A WATERFALL
Point of the brush and blue wash, within partial black chalk framing lines;
bears numbering upper right in pen and brown ink: 75
235 by 361 mm; 9¼ by 14¼ in
Laid down. Light scattered foxing throughout, quite faint. A small tear lower right corner of sheet. Another small repaired tear upper right corner. A faint vertical crease running down the centre of the sheet. Overall in fairly good condition with blue wash remaining strong and vibrant. Sold framed.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Henry and June Weldon, New York
This drawing is by the same hand as a coherent group of landscapes drawn with the brush in blue ink and wash, examples of which are at Yale, The Metropolitan Museum, New York, Paris, Berlin and Copenhagen. These drawings were historically attributed to a number of artists, most frequently Jacob Savery, but Joaneath Spicer convincingly attributed the group to Isaac Major, comparing them with Major's graphic work and noting their reliance on Roelandt Savery. In publishing the Yale drawings, Thomas DaCosta Kaufmann summarised Spicer's arguments, and endorsed her attribution to Major.1
1. T. DaCosta Kaufmann, Drawings from the Holy Roman Empire 1540-1680, A selection from North American Collections, exhib. cat., Princeton/Washington/Pittsburgh 1982-3, pp. 178-179