- avant 1984, inconnu
- 1984, Bruxelles, vente inconnue, vendu à une collection privée anglaise
- au plus tard en 1984, collection privée anglaise
- au plus tard en 1984, vendu à Wojtek Sobczynski
- au plus tard en 1984-1985, Wojtek Sobczynski
- 1985, vendu au J. Paul Getty Museum
- Museum's website, August 7, 2018
- 1986 [Getty Journal]
"Acquisitions/1985." The J. Paul Getty Museum Journal 14 (1986), p. 256, no. 226, fig. 1
- 1992 Brejon de Lavergnée, Bresc-Bautier and La Moureyre
Barbara Brejon de Lavergnée, Geneviève Bresc-Bautier, and Françoise de La Moureyre, eds. Jacques Sarazin, sculpteur du roi, 1592-1660, exh. cat. (Noyon: Musée du Noyonnais, 1992), p. 141
- 1997 Fusco
Peter Fusco, Summary Catalogue of European Sculpture in The J. Paul Getty Museum, Los Angeles, The J. Paul Getty Museum, 1997, p. 37, repr.
- 1998 Fusco
Peter Fusco, Peggy Anne Fogelman, and Marietta Cambareri. Masterpieces of the J. Paul Getty Museum: European Sculpture (Los Angeles: J. Paul Getty Museum, 1998), pp. 62-63, no. 19, ill., entry by Peter Fusco
- 2005 Boudon-Machuel
Marion Boudon-Machuel, François du Quesnoy 1597-1643 (Paris: Arthena, 2005), p. 195 n. 844
Museum's website, August 7, 2018:
In a tumultuous, windblown scene, five bearded fishermen and six winged putti haul a bursting net of fish aboard their boat. One in a series of five relief panels portraying marine scenes, this panel was probably created as part of an ensemble for a state or municipal building with a maritime function.
The men's strenuous exertions and the representation of the wind's effects imbue the piece with vitality. Although the stomachs of the putti protrude in the voluptuous curves of high relief, the fishermen's larger muscular figures form a lively series of curves in low relief. The viewer's eye traces over their curved backs and follows their billowing clothing, experiencing the movement of these struggling figures. Reinforcing the action, the Flemish artist Gerard van Opstal carved the alabaster into small planes that constantly shift directions. These planes break up the surface's solidity and give the work a flickering, watery quality akin to Peter Paul Rubens's effects in paint. This technique is similar to that used for carving smaller-scale works in ivory and boxwood, materials with which van Opstal was trained.