Anonymous sale, London, Sotheby's, 5 July 1967, lot 69, for £850 to Spiller.

The support consists of three horizontal panels which are bevelled along three edges (not the upper edge), though compositionally, the work does not appear to be cut. The upper and centre panels are joined along the reverse with small, vertical batons. Two horizontal splits lower left have been stabilised along the reverse by small batons. The painting is cooler in tone and less red in colour than the catalogue illustration suggests. The paint surface is secure, but dirty, and under a rather thick varnish. Discoloured retouchings can be made out throughout the sky, where there is quite a pronounced craquelure. Some discoloured retouchings appear to have been applied to the darker tones of the tower and in the darker tones of the foreground. The opaque varnish does not allow satisfactory inspection under UV light, although some of the retouchings in the sky do fluoresce as well as some strengthenings in the foreground. The retouchings to the darker tones of the tower are discernible but are masked. Offered in a modern wooden frame with carved shapes, which is in good condition.
"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."

Micker was one of numerous Netherlandish artists to take up the theme of the Tower of Babel, although it provided a subject for artists from as early as 3000 B.C.¹ The type we see here, however, emerged in the 16th century and can be seen in its earliest form in German woodcuts and drawings.² Micker returned to the theme on several further occasions and seems to have had a penchant for Old Testament subjects, painting, for example, the Israelites in the desert, Moses striking the rock, the Burning of the Fiery furnace as well as many others.

1.  See, for example, H. Minkowski, Verutungen über den Turm zu Babel, Freren 1991, p. 122, cat. no. 1, reproduced p. 17.
2.  Ibid., p. 159, cat. nos. 148-154.