Isaak van Nickelen

M. C. van der Feer Ladèr, Baarn;
By whose Heirs sold, Amsterdam, Frederik Muller, 14 October 1952, lot 576.

The actual painting is softer and less blue in tone than the catalogue illustration suggests. The canvas has an old relining. The paint surface is secure and under a dirty layer of varnish. Retouched paint losses are visible along the left and right edges. A few tiny scattered retouchings can be observed in the lower foreground and centre background. Inspection under UV light is largely impeded by the dirty varnish layer, but there are likely some further old scattered retouchings, e.g. in the figures in the left foreground. Offered in an ebonised wood frame with gilt fillets, in good condition. (MW)
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Like all of Van Nickelen's reliably dated works, this work is painted in the 1690s¹, and shows the single vanishing point, with an exaggerated perspective, characteristic of Van Nickelen. Through this perspective, he was able to intensify the recession of space from very near to far. Being a true native of Haarlem, most of his church interiors represent either the St. Bavo, or the Nieuwe Kerk, of his hometown.

1. See W. Liedtke, Architectural Painting in Delft, Doornspijk 1982, pp. 74-5.