PIETER DE NEYN | LANDSCAPE WITH FISH VENDORS ON THE BEACH

Anonymous sale, Amsterdam, Christie's, 20 June 1989, lot 131;

Anonymous sale, London, Christie's, 13 December 1991, lot 191, when acquired.

Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 36;

Baden-Baden, Staatliche Kunsthalle Baden-Baden, Gutes böses Geld. Eine Bildgeschichte der Ökonomie, 5 March – 19 June 2016, unnumbered.

The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.

H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 2, Genre, Münster/Hamburg/London 1996, pp. 180–83, cat. no. 43, reproduced in colour;

W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 55, cat. no. 36, reproduced in colour;

H. Bündge and L. Heese (eds), Gutes böses Geld. Eine Bildgeschichte der Ökonomie, exh. cat., Bielefeld and New York 2016, reproduced in colour p. 118.

Before becoming interested in painting through his friendship with landscapist Esaias Van de Velde, Pieter de Neyn worked as a mason and sculptor in Leiden. He then trained with Esaias Van de Velde in Haarlem between 1611 and 1617, at which time he also absorbed the influence of the tonal palette and quotidian subject matter of the prolific Jan van Goyen who was also a pupil in Esaisas' studio from 1617–18.

The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.