Willem van der Hagen

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in good condition, with no apparent serious damage or loss of paint. There is one very minor scratch in the upper left, and two extremely minor chips to the paint on the left hand edge. There is a discoloured and dirty varnish overall, however the picture appears to be in good, stable condition. ULTRAVIOLET Examination under ultraviolet light confirms the opacity of the discoloured varnish and reveals some minor old retouching to the sky in the centre, and upper right of the canvas. There are no apparent tears or areas of major damage or retouching. FRAME Held in a gilded wooden frame. To speak to a specialist about this lot please contact Julian Gascoigne on +44 (0)207 293 5482, or at julian.gascoigne@sothebys.com, or Ludo Shaw Stewart on +44 (0)207 293 5816, or at ludovic.shawstewart@sothebys.com.
"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."

A Dutch émigré who moved to Ireland, William van der Hagen's style became synonymous with the sophistication of early Georgian Irish taste. Initially famed for his topographical views and decorative schemes, Van der Hagen turned his hand to capriccio landscapes in the early 1730's, of which this painting is a rare example.

Painted in the same year that Van der Hagen was working in Smock Alley (working on the critically acclaimed scenery for Cephalus and Procris), this work shows an artist utilising his experience of theatrical set design. Constructing a framework of architectural and vegetative coulisses, the artist skilfully creates a compositional window through which the sky and distance emerge to take centre stage. Assorted props, such as the classical ruins, mountainous scenery and vista replete with distant townscape recall the seventeenth century Dutch-Italian tradition as exemplified in works by Nicholas Berchem, Jan Both and Jan Weenix.

Van der Hagen's set piece - a decaying classical temple façade of magnificent proportions, is drawn into sharp relief by the humble activities of the assembled cast. The variety of stock characters such as a reclining shepherd with attendant dog and flock beyond, likewise serve to lend anecdotal charm to the whole. Fresh vivid colours predominate, applied in thin feathery brushstrokes to evoke the effect of dappled evening sunlight. Although meditative in mood, this painting shows a rococo virtuosity hitherto unseen in Irish painting and proves that Van der Hagen was equal, if not superior to his continental counterparts. The marriage of native tradition to Italianate form that Van Der Hagen convincingly conjures up in this poetic evocation of a 'golden age', creates a pastoral arcadia designed to appeal to Anglo-Irish Grand Tour taste.