Czernin collection, Vienna;
With﷽ Gallery Sanct Lucas, Vienna, from whom purchased by the present collector.

J.Nieuwstraten, "De Ontwikkeling van Herman Saftlevens kunst tot 1650," in Nederlands Kunshistorisch Jaarbook, vol. 16, 1965, cat. no. p. 105, reproduced plate 30;  
W. Schulz, Herman Saftleven, Berlin, New York 1982, p.138, cat. no. 51.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. The condition of this panel is splendid. The single piece of wood is unreinforced on the reverse and unbroken. The panel is flat, the paint layer is clean and appears to be almost completely unretouched. The varnish is slightly soft however yet if the varnish were to be freshened, the picture could be hung as is.
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.

This characteristic early landscape by Herman Saftleven is reminiscent of the style of Jan Both who had come back to his hometown🌳 from Italy in 1642. By this point in his career Saftleven had𓄧 moved away from the style of Van Goyen and his brother, Cornelis, which had characterized his earlier pictures.

Saftleven introduced&🌄nbsp;a lovely, subtle golden light in his landscapes which he populated with several figures and animals depicted&nbs🍸p;with miniature precision. Knowing that he never made a trip to Italy, it is all the more impressive how capable he was in depicting its landscapes. In the early 1650s he moved away from these Italianate pictures and concentrated in depicting panoramic Rhenish valley landscapes which quickly became the compositions for which he is best remembered.