Jakob Philipp Hackert

In the possession of the present owner for at least the last 60 years.

The following condition report is provided by Rebecca Gregg, who is an independent expert and not an employee of Sotheby's. The most significantly damaged of the landscapes is in a very poor condition. The canvas is stable and appears adequate, despite the large 'L' shaped tear in the upper left quadrant. However, the adhesion between the paint and ground layers and the support has comprehensively failed. There has been extensive delamination these layers. This has resulted in approximately 20% of the paint layers being lost. Some of the sections of missing paint are still present lying on the surface of the painting, stuck between the frame and the canvas and in the packing crate. These flakes are very brittle and vulnerable to breaking up or shattering if touched. The remaining paint layers are raised and vulnerable to further loss. Technically it could be possible to piece the most obvious of these paint flakes back into position and consolidate the surface, line the painting and fill and retouch the losses. In fact with the extent of losses in the left half, even accounting for the tear, this would not be an unfeasible task. However, the really problematic area would be the upper right quadrant where almost the entire tree is missing. The second of the pair is in significantly better condition. While it could still be described as unstable, the original canvas appears in relatively good condition, the tension appears adequate and there are no obvious planar deformations. The paint layers in the centre of the painting are stable, at present. There are no significant damages or loss and while the paint is raised in a network of fine craqulure it is currently stable. These raised areas of paint could be vulnerable in the medium term and an overall consolidation and lining would be strongly recommended. The areas of paint around in the edges above the stretcher bars are in unstable and poor condition. The paint layers are significantly raised and the adhesion between the paint and ground layers and the support appears to have failed. The lower edge and lower left are particularly badly affected and the paint in these areas has become embrittled and is extremely vulnerable to further loss. These raised flakes could be consolidated locally, an application of adhesive through tissue could locally and temporarily allow these areas to be stabilised. The losses that have already occurred are not significant and once lined the painting could be easily and quickly restored.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

These hitherto unpublished works by Hackert are a testament to his skills as a precise and sensitive painter of landscapes. The latter bears resemblance to the View of Licenza in the Goethe-Museum, Düsseldorf, especially in the rendering of the bull in the foreground (see C. Nordhoff and H. Reimer, Jakob Philipp Hackert, Verzeichnis seiner Werke, Berlin, 1994, vol. II p. 64, reproduced vol. I, p. 141, plate 71). Unlike the Düsseldorf work, the present works do not appear to be topographical studies and are more likely capriccio views drawn together from Hackert's growing repertoire of work.
The latter will be on view in the Sotheby's warehouse.