Hendrick van Cleve III

To the naked eye: The painting appears in moderately satisfactory condition. It is painted on a panel made of two non-cradled planks. The panel is flat and the paint is stable. The panel has been enlarged later with a 4 cm. large wood band on the upper part. We notice two cracks from the right and left edges (visible on the catalogue's picture). We also notice a light material on the background and some light wears on the background of the sky. Under U.V. light: The paintings appears under a green uniform varnish. We notice some light dots of restoration in the sky and the large wood band already mentioned on the upper part.  
"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."

Artiste anversois, Hendrick van Cleve se forma dans l’atelier de son père Willem van Cleve, puis dans celui du peintre Frans Floris. Il parcourut très jeune l’Italie, où il dessina d’après nature des paysages, des vues de villes, ainsi que de nombreuses ruines. À son retour d’Italie en 1551, il devint membre de la guilde de Saint Luc, corporation des peintres d’Anvers. Beaucoup de ses dessins furent gravés et publiés par Philippe Galle, qui édita notamment, à Anvers en 1587, une suite de trente-huit vues, intitulée Henrici a Cleve ruinarum varii prospectus ruriumque aliquot delineationes. L’artiste collabora notamment avec son frère Marten (1527-1581), avec Ambrosius Francken (1544-1618) ou encore avec son maître Frans Floris (1516-1570).
Cette Tour de Babel est une œuvre très caractéristique de la production d’Hendrick van Cleve, qui montra un intérêt prononcé pour le sujet, déclinant les formats, les angles, les paysages. Ce sujet, tiré de l’Ancien Testament, rencontra un certain succès auprès des artistes flamands du XVIe siècle comme Pieter Brueghel l’Ancien, Lucas van Valckenborch ou Graf Hans.