Bartholomeus van Bassen and Esaias van de Velde

Sale of Charles Butler of London and Warren Wood (Hatfield), London Christie's, May 25, 1911, lot 180 where bought by Gordon & Fox Gallery, London;
Anonymous sale, London, Christie's, March 4, 1937, lot 142, bought by 'Engel;'
Professor Mayhofer, Vienna, by 1968.

G. S. Keyes, Esaias van de Velde, Doornspijk 1984, no. XVI, p. 175, reproduced plate 372.

Panel is cradled and stable. Overall the painting is in very condition. The composition presents a strong image. At left side along upper panel join some tiny minor retouches are barely visible to the naked eye, but are not at all disturbing. U.V. reveals retouching along panel joins, as well as some additional small retouches throughout . An area of larger retouching is visible on the large column at left as well as a larger area of retouching in the chapel at the far left side of the composition. However, all of these retouches have been applied well and no further restoration is recommended. Painting may be hung as is. In a carved wood and black-painted frame.
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.

The present lot will be included in the forthcoming monograph with catalogue raisonné of Van Bassen's work currently in preparation by Axel Rüger, London.  The picture is a collaboration between van Bassen and Esaias van de Velde, who provided the staffage.

This beautiful composition represents a compositional type which combines fantastical, imaginary church interiors with an architectural reality and perspective that has been described by Walter Liedtke as "the realistic imaginary church".¹

Until about 1626, Van Bassen focussed primarily on monumental Renaissance–type church interiors, with, centrally aligned compositions, depicting the center of the nave, although the inclusion of a pronounced transept or side chapel distinguished his work from the traditional tunnel perspective of the Antwerp painters, such as Jan van Vucht. Here, his natural play of light and strict adherence to accurate linear perspective shows his influence from the Dutch, particularly Delft painting tradition.

The grandson of Bartolt Ernst van Bassen from Arnhem, who was the clerk of the Court of Holland in The Hague, Bartholomeus van Bassen was admitted to the Guild of St. Luke in Delft in 1613. In 1622 he became a member of the Guild in The Hague where he also served as municipal architect from 1638 until his death in 1652.

 

1. W.A. Liedtke, Architectural Painting in Delft, Doorspijk 1982, pp.22-33.