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Two men stand at a precipice beside towering spruce trees. They look across a gorge toward a majestic waterfall, having paused together to contemplate this untamed scenery at sunset. The figure on the left, shown wearing a top hat and overcoat, is most likely a self-portrait by Dahl
B 1652; see n. 6); and a ricordo, which is signed, dated, and inscribed “1824.

This is one of the earliest known works by Berchem, and is generally consistent with Haarlem landscape painting of the 1640s. Though the painting has awkward passages, especially the female figure and the cow, the trees and sky are fluidly painted
Repertorium für Kunstwissenschaft 11 (1888), p. 76. C[ornelis].

Paris: Pavillon de Marsan, Palais du Louvre, 1904. no. 260, p. 100.

London: Burlington Fine Arts Club, p. 81 no. 40 pl. 6.

Augustin, p. 83. Hayes, William C. 1953.

In Metropolitan Museum Journal, 8, c.f. p. 40, n. 36.

Maguire, Henry P.

New York: The Metropolitan Museum of Art, p. 26, fig. 38.

Richter, Gisela M. A. and Lindsley F. Hall. 1936. Red-Figured Athenian Vases in the Metropolitan Museum of Art. no. 81, pp. 111–12, pls. 83, 84, 173, New Haven: Yale University Press.Richter, Gisela M
Attic Red-Figured Vases: A Survey. p. 92, fig. 32d, New Haven: Yale University Press

The low relief carving on this ivory panel represents the progress of the hunt in three scenes. On the left, the chase begins as a hunter on a galloping horse blows his horn while his dog runs beside him and　court ladies watch from the parapets of the castle
Techener, 1840. p. 30, pl. XXIII. Hagen, Frederik.