The following condition report is provided by Sarah Walden, who is an external specialist and not an employee of Sotheby's. This painting is on a perfectly flat oak panel with a single joint, which has never moved. The sky might have had light smalt blue glazing, but this turns grey over time. The fine preservation of all the minute details is exceptional. Under ultra violet light a few retouchings can be seen in the sky and along the base edge. A thin slanting surface scratch in the lower centre of the sky, some small retouchings nearer the upper centre of the sky and one slanting above the roofs at centre right. But these are superficial. The painting has clearly been kept in stable surroundings over many years, and is in a beautifully intact unworn condition.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

A native of Gorkum, Verstraelen's work was much indebted to that of Hendrick and Barend Avercamp, to whom his better work has often been ascribed. He settled in Amsterdam where in November 1628, at the age of thirty four, he married Magdalena Bosijn.¹ Along with that of his contemporary, Arent Arentsz., called Cabel (c.1585-1658), his work is taken as evidence that Hendrick Avercamp must have returned to Amsterdam for at least a short period after 1613. Verstraelen's winter landscapes were typically composed like this, with figures of skaters and everyday folk arranged across the foreground plane, while behind them a frozen river or canal stretches through a village into the distance. A good example was sold Amsterdam, Sotheby's, 9 May 2006, lot 39. The banks of the river are, as here, typically occupied by humble country dwellings and Verstraelen's distinctive gnarled trees.

Although the date seems to read 1603, which would clearly be impossible, the correct reading must be 1633. This dating is supported by dendrochronological analysis of the oak panel, which gives a likely felling date after 1627, and thereby a probable date of use from the very late 1620s or early 1630s. A similar problem with the reading of the date recurs with the Winter landscape in the Mauritshuis in The Hague, but this more probably dates from 1623.²

 

 

1. A.D. de Vries, 'Biografische aanteekeningen betreffende voornamelijk Amsterdamsche schilders, plaatsnijders, enz. en hunne verwanten' (VII), in Oud-Holland 4 (1886), p. 215-224.
2. See H. Hoetink (ed.), The Royal Picture Gallery Mauritshuis, The Hague 1985, p. 459, cat. no. 659.