With J. Leger & Son, London, 1955;
Anonymous sale ("The Property of a Gentleman of Title"), London, Sotheby's, December 7, 1994, lot 4, to Marommatis;
Dimitri Mavrommatis, London;
By whom sold ("Property from the London Residence of Dimitri Mavrommatis"), London, Sotheby's, December 5, 2007, lot 45, there purchased by the present collector.

London, J. Leger & Son, 1955, no. 9.

Panel is flat, beveled on all four sides, and composed of two pieces of wood with a horizontal join running across the middle of the panel. This join is original to the painting, and was masterfully completed before the original layer of gesso was applied. This excellent condition of the original join, and overall panel is why there is no indication of a join on the front . This painting is in very good condition. There are a few small scattered retouches in the sky, but the boats, architecture, and figures appear to have remained in good state with good paint retention. May be hung as is. In a carved and giltwood 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.
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.

Although Storck is not thought to have actually visited Italy, scenes such as this evoke the atmosphere of the Mediterranean port, with bustling merchants bathed in warm afternoon light. A steady trade had emerged between the northern countries and Italy during the 17^th century an🃏d indeed many of Storck's peers, such as Jan Asselijn and Jan Weenix, visited Italy and brought their experiences back to The Netherlands in the form of their paintings.

Storck's harbor scenes are never topographical representations of a particular place, but rather theatrical stage sets, with imaginary buildings forming the backdrop to a hive of activity, and those in this painting are no exception. While he is perhaps best known for his depictions of yachts and naval vessels fighting against a stiff breeze on the Amstel River, Storck's imagined harbor scenes can be considered precursors of the great Italian capricci of the 18^th century.