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Lot Essay
In the early 1640s Aelbert Cuyp probably came into direct contact with Jan van Goyen, who appears to have visited Cuyp’s native Dordrecht on numerous occasions in the period. Van Goyen’s works were to have an immediate, if temporary, impact on the young Cuyp, whose artistic production in the first half of the 1640s is indebted to the tonal landscapes then being produced by van Goyen, Salomon van Ruysdael, and Herman Saftleven. Dated by Reiss to circa 1642 (loc. cit.), two related drawings for the composition are known: a sketch in the D.G. van Beuningen Collection, Vierhouten (illustrated in S. Reiss, loc. cit.) with the windmill and the edge of the pier in the immediate foreground and another in the Rijksprentenkabinet, Amsterdam with the pier but with a group of trees in lieu of the windmill.
A photograph of the painting taken before 1955 (Reiss, loc. cit.) depicts a ferryman standing in the stern of the boat. He has since been removed by cleaning.
Dr. Alan Chong endorsed the attribution to Cuyp at the time of the 1996 sale.
A photograph of the painting taken before 1955 (Reiss, loc. cit.) depicts a ferryman standing in the stern of the boat. He has since been removed by cleaning.
Dr. Alan Chong endorsed the attribution to Cuyp at the time of the 1996 sale.