Nicolaas Verkolje

Single panel is flat and stable. Under a dirty and dull varnish varnish. Painting could benefit from a light clean and new varnish. In some areas there is a prominent craquelure pattern. Small split in panel at right side. Ultraviolet light reveals tiny pinprick retouches scattered on surface. In a carved and giltwood frame with some minor abrasion.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Dido and Aeneas appears to be a smaller variant in reverse of Nicolaas Verkolje's painting of the same subject in The J. Paul Getty Museum, Malibu, California (inv. no. 71.PA.66).  Both the present picture and the Getty version reveal the strong influence that Gérard de Lairesse and Adriaen van der Werff had on Verkolje's style.  In fact, the Getty painting was, until the museum purchased the picture in 1971(London, Sotheby's, December 8, 1971, lot 93) considered to be by de Lairesse.¹ 

 

1.  See, A. Roy, Gérard de Lairesse (1640-1711), Paris 1992, pp. 501-502, cat. no. P.R. 30, p. 502, reproduced.  Roy, however, mistakenly writes that the Getty has attributed Dido and Aeneas to Jan Verkolje; the picture has actually been given to Nicolaas, Jan's son.