Leonard Koetser, London;
From whom bought by the late owner.

London, Leonard Koetser, Autumn Exhibition 1964, as Jan Brueghel the Younger (both the above according to a label on the reverse).

The copper plate has a board backing that could not be removed under the the conditions, so no comments can be made as to the state of the back of the plate. From the front, the copper is flat and stable and there is excellent retention of the paint surface, with no evidence of lifting or flaking in the past. There are two old losses to the paint surface along the right framing edge: one in the upper right corner and the other along the lower side. Both are small and neither are distracting. Under raking light, there is very little evidence of old chips and losses and only slight yellowing discoloration in the lighter areas of the sky. Under UV, the painting is covered by a milky, opaque varnish that makes it difficult to determine with certainty what is going on. Touches can be seen, however, in the upper portion of the trunk of the tree to the right and in the foliage of the tree and in the facade of the house to the left. These appear to have been made to help strengthen some of the darker pigments and striated lines making up the shadowed area. The masts and hulls of the some of the boats in the foreground also read a bit strangey under UV; however, given the thick varnish it is very difficult to say if these are additional strengthening marks or simply the result of the original pigments used. This work presents very well and is quite decorative in its present state. It could be hung as is, although a careful cleaning and removal of the thick varnish may help to present an even fresher appearance. In a simple wood frame with inlay and thin gilt inner and outer rims.
"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."

The composition is known in a number of versions, two of which Klaus Ertz publishes as by Jan Brueghel the Elder, one with Galerie d'Art St. Honoré, Paris (see K. Ertz, Jan Brueghel der Ältere, vol. I, Lingen 2008, pp. 290-293, no. 134) and the other sold in these Rooms, 9 July 2009, lot 111 as Studio of Jan Brueghel the Elder (see Ertz, Jan Brueghel der Ältere, p. 293, no. 135). Ertz dates both works to the second half of the 1590s after Brueghel's return from Italy.  A third version is in the National Gallery in Prague considered by Ertz and others to be by a follower o𒐪f Brueghel, perhaps Pieter Gysels (1621-1691).