Jacobus Ferdinandus Saey

Sr. Exz. des Grafen G. Pöttickh v. Pettenegg (according to a label on the reverse).

The actual painting is greener and less brown in tone than the catalogue illustration suggests. The canvas has a stable relining. A few tiny paint losses can be observed along the outer edges. A small restored vertical tear of approx. 1.5 cm is visible to the lower right. A few tiny paint losses have been somewhat crudely retouched, e.g. just above the lower edge, lower centre, next to the woman on the left, and in the upper right corner. The paint surface has somewhat flattened, but, otherwise, seems to be in good condition. The paint surface is under a discoloured layer of varnish, as well as under a fine layer of dirt. Inspection under ultra violet light confirms the retouchings as mentioned above and reveals some minor strengthening in the building to the upper left. Offered unframed. (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.
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Antwerp painter Jacobus Ferdinandus Saey primarily painted architectural fantasies, which can be characterised by the skillful employment of perspective and the exquisite rendering of different materials, in particular the marble columns. Other hallmarks of the artist are the checkered floors and the dramatic lighting. The building in this painting recurs, although within a different composition, in a painting sold New York, Sotheby's, 14 October 1999, lot 80.

Oddly enough, this painting bears a signature of Gerard Hoet (Zaltbommel 1648-1733 The Hague). Although Saey did collaborate with other artists for the staffage figures in his architectural views, it is highly unlikely that Hoet painted the figures in this work. The figures show hardly any stylistic similarities with Hoet's figures. Moreover, it is unlikely that their paths ever crossed, for already in 1649 did Saey arrive in Vienna, where he remained for the rest of his life.

We are grateful to Marijke de Kinkelder of the R.K.D., The Hague, for suggesting the attribution to Jacobus Ferdinandus Saey on the basis of photographs.