Koninck's panoramic pictures represent the culmination of an approach to landscape that is found in Dutch drawings as early as about 1600, and in the imaginary panoramic landscapes of Rembrandt and Hercules Seghers. Rembrandt's influence is especially evident in this early work of about 1648, although the topography recalls Koninck's native Gelderland in the eastern part of the Netherlands.
?sale, London, early 1930s, to Galerie Sanct Lucas; [Galerie Sanct Lucas, Vienna, until 1934/38; sold to Neuman]; Baron Karl Neuman (Charles Neuman de Végvár), Vienna, later Greenwich, Conn. (1934/38–d. 1959; seized in Paris by the Nazis, held at Alt Aussee  and at Munich collecting point , returned to France October 30, 1946; restituted); his widow, Mrs. Charles (Edith) Neuman de Végvár, Greenwich (1959–63)
New York. The Metropolitan Museum of Art. "The Painter's Light," October 5–November 10, 1971, no. 21.
New York. The Metropolitan Museum of Art. "Patterns of Collecting: Selected Acquisitions, 1965–1975," December 6, 1975–March 23, 1976, unnumbered cat.
New York. Wildenstein. "Romance and Reality: Aspects of Landscape Painting," October 18–November 22, 1978, no. 40.
New York. The Metropolitan Museum of Art. "Rembrandt/Not Rembrandt in The Metropolitan Museum of Art," October 10, 1995–January 7, 1996, no. 51.
New York. The Metropolitan Museum of Art. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art," September 18, 2007–January 6, 2008, no catalogue.
[Claus Virch]. Paintings in the Collection of Charles and Edith Neuman de Végvár. [New York], , p. 13.
John Walsh Jr. "New Dutch Paintings at The Metropolitan Museum." Apollo 99 (May 1974), pp. 344, 348–49 n. 18, colorpl. V, calls it the original after which the five other known versions were copied [see Notes].
Anthony M. Clark inThe Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 79, ill.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 330, 336, fig. 595 (color), dates it about 1650.
Walter A. Liedtke inThe Metropolitan Museum of Art: Notable Acquisitions, 1979–1980. New York, 1980, p. 41.
John Walsh Jr. and Cynthia P. Schneider. A Mirror of Nature: Dutch Paintings from the Collection of Mr. and Mrs. Edward William Carter. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 1981, pp. 68–69 n. 5, fig. 2, under no. 16, date it about 1648–50.
Werner Sumowski. Gemälde der Rembrandt-Schüler. Vol. 3, B. Keil–J. Ovens. Landau/Pfalz, 1983–[94?], pp. 1533, 1546, no. 1050, ill. p. 1600, dates it about 1651.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, pp. 191.
Alan Chong inMasters of 17th-Century Dutch Landscape Painting. Exh. cat., Rijksmuseum, Amsterdam. Boston, 1987, p. 487, fig. 2, under no. 100.
Walter Liedtke inRembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. Vol. 2, "Paintings, Drawings, and Prints: Art-Historical Perspectives."New York, , p. 149, no. 51, ill., dates it about 1648–49.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 404, 406–8, 410, no. 101, colorpl. 101.
This picture is not included in Horst Gerson's catalogue raisonné of the artist of 1936. Gerson does however catalogue four additional versions of the composition, none of which he accepts as being painted by Koninck himself. Gerson no. XII was formerly in the Crews collection, London, the S. Büchenau collection, Lübeck-Niendorf, and in 1967 was in the collection of Büchenau's daughter, Mrs. Margarete Zantop, Barcelona. No. XIIa was formerly in the collection of A. Charles Kiefer, Schloss Dreilinden, Lucerne. No. XIIb was formerly in the MMA (acc. no. 30.95.295), but was deaccessioned in 1943 and given to the Halloran Hospital, Staten Island, New York. Gerson lists no. XIIc as in the J. Perman collection, Stockholm, but a note in the Rijksbureau voor Kunsthistorische Documentatie, The Hague, states that Perman denied ever owning such a picture.
Claus Virch (1970) lists a fifth version as probably a nineteenth-century copy, in the collection of F. B. Anthon, Beverly Hills, California, in 1967.
One of these versions, then in the collection of Peter Delme, was engraved in 1744 by J. B. C. Chatelaine, as by Rembrandt.
The present picture is the only one of the versions that does not include two small figures of fishermen on the bank just in front of the sailboat.
Artist: Philips Koninck (Dutch, Amsterdam 1619–1688 Amsterdam)Date: late 1650sMedium: Pen and brown ink, brush and brown wash, over traces of red chalk, heightened with white gouache, with framing line in pen and brown ink. Laid down.Accession: 2001.500On view in:Not on view