Dirck van Delen (Heusden 1605-Middelburg 1671) Concert in a villa garden Oil on copper cm. 23x35,5. Framed The present work is accompanied by an expertise of Prof. Francesca Cappelletti available as a PDF file. Private collection, Rome.
Portrait einer Dame in Palastarchitektur Öl auf Holz. Parkettiert. 83 x 62 cm. In ebonisiertem Profilrahmen. Eine in Zentralperspektive angelegte Loggienarchitektur mit in ihren Schattierungen großartig aufgefassten Bögen und Lisenen umfasst einen kontrastierenden Fußboden, auf dem eine junge Frau in zeitgenössischer Kleidung mit Spitzenkragen steht. Verso mit weiteren architektonischen Besonderheiten, einem Pfau und weiteren Vögeln abschließend. Van Delen war auf Gemälde mit architektonischem Inhalt spezialisiert, die er mit Staffagefiguren oder Portraits belebte, in denen die Figuren jedoch stets dem architektonischen Gefüge untergeordnet sind. Rest. Minimal besch. (1330272) (13)
Dirck van Delen (Dutch, 1605-1671) 'The Card Party' Oil on Cradled Panel 1629, signed and dated to threshold area, having a wax seal en verso and restoration notes 'Mastic Oct 1965, Nycrilic 1971' Property from: a Wilmette, Illinois estate Category: Fine Art > European Paintings Estimated Sale Time: 11:43 am CST Shipping Status: Leonard Auction, Inc. will provide direct shipping for this lot. Please visit our website for a shipping estimate. Sales Tax: California (7.25%), Florida (6%), Georgia (8.5%), Kansas (6.5%), New Jersey (6.625%), New Mexico (5.125%), New York (8.875%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs: Photograph #1 Photograph #2 Photograph #3 Photograph #4 Photograph #5 Photograph #6 Photograph #7 Last modified: June 9, 2022, 11:29 am
Unten links Reste eines Monogramms. Undeutlich datiert 1653 (oder 1658). Rückseitig mit alter Zuschreibung an Esaias van de Velde (1587 Amsterdam - 1630 Den Haag) und Provenienzangabe: "Vermutlich aus der Sammlung Caspar Lavater & Familie v. Prof. Dr. Gerold Meyer von Knonau in Zürich. Schenkung von Frau Prof. Bertha Meyer-von Knonau (1940) an Dr. Hans Meyer-Rahn in Luzern". Farbabplatzer und alte Retuschen
VAN DELEN DIRCK (1605 - 1671) olieverfschilderij op paneel : "Paar op een bordes" - 14 x 21 toegeschreven aan / omgeving van met op verso een fragment van een oud schrijven ivm de eigenares 17th Cent. oil on panel - attributed to / cercle of Dirck van Delen - with on the reverse an old label
Signed in the lower right corner. On the back sealing wax seal dated 1879. With certificate of William Fraser Lowe (Fine Art Investments) Painter of religious compositions and especially church interiors and architecture. Probably a pupil of Frans Hals. It is believed that he visited Rome in 1623. Dean at Arnemuyden in 1663. He was part of the Gilda of Middelbourg. He painted architecture in the paintings of Boeyermans, D. Hals, Van Herp, Wouwerman, Palamedes and Van Thulden among others. In this print he shows his special skill in the interpretation of architectural perspectives, with adequate study of lights, attention to the ornamental elements and wise disposition of the characters. Provenance: -Christie's. Old Master Pictures, London. May 13, 1988, lot 161 -Galería Caledonia de Madrid -Private collection, Madrid . Oil on board
INNENANSICHT EINER KIRCHE MIT BEWAFFNETEN MÄNNERN UND EINEM BOGENSCHÜTZEN Öl auf Holz. Parkettiert. 74 x 103,5 cm. In profiliertem Nussholzrahmen. Perspektivisch korrekter Einblick in eine, von den Seitenfenstern beleuchtete Kirche, der ein antikisierender Vorbau vorgeschaltet ist, der rechts ins Freie blicken lässt, auf antikisierende Gebäude. Vergleichbar ist etwa der große Gartenpalast, datiert und signiert von 1640 im Kunsthistorischen Museum in Wien, Inventarnummer 1307, oder „Salome mit der Königin von Saba“, Christie‘s London, 29.11.1963, Lot 40, ebenfalls signiert und datiert 1633. Die Darstellung mag ein Hinweis sein auf die Verbindungen des Alten mit dem Neuen Bundes oder bezieht sich auf eine Geschichte des Alten Testaments, welche es noch zu identifizieren gilt. Dirk van Delen war spezialisiert auf Innenansichten und auf Architekturcapriccios, wie auch Hans Vredeman de Vries (1527-1604/23) oder Hendrick van Steenwyck d. Ä. (um 1550-1603) und Hendrick van Steenwyck d. J. (1580-1649). Bezüglich der Figuren arbeitete er gerne mit Anthonie Palamedesz (1601-1673), Dirck Hals (1591-1656), Pieter Jacobsz. Codde (1599-1678) und Jan Olis (um 1610-1676) zusammen. (1250145) (13) Dirck van Delen, 1605 Heusden - 1671 Arnemuiden, attributed CHURCH INTERIOR WITH ARMED MEN AND ARCHER Oil on panel. Parquetted. 74 x 103.5 cm. In profiled walnut frame.
"Meeting at the Golden Door" Signed in the lower right-hand corner. The back has a wax seal dated 1879. With certificate by William Fraser Lowe (Fine Art Investments) Painter of religious compositions and especially church and architectural interiors. Probably a student of Frans Hals. It is believed that he visited Rome in 1623. Dean at Arnemuyden in 1663. He was part of the Gilda de Middelbourg. He painted architects in the paintings of Boeyermans, D. Hals, Van Herp, Wouwerman, Palamedes and Van Thulden among others. In this Print he shows his special skill in the interpretation of architectural perspectives, with adequate study of lights, attention to ornamental elements and wise disposition of the characters. Origin: -Christie's. Old Master Pictures, London. 13 May 1988, lot 161 - Caledonia Gallery, Madrid - Private collection, Madrid Oil on board ANTIQUE AND STYLE PAINTING
INNENANSICHT EINER KIRCHE MIT BEWAFFNETEN MÄNNERN UND einem BOGENSCHÜTZEn Öl auf Holz. Parkettiert. 74 x 103,5 cm. In profiliertem Nussholzrahmen. Perspektivisch korrekter Einblick in eine, von den Seitenfenstern beleuchtete Kirche, der ein antikisierender Vorbau vorgeschaltet ist, der rechts ins Freie blicken lässt, auf antikisierende Gebäude. Vergleichbar ist etwa der große Gartenpalast, datiert und signiert von 1640 im Kunsthistorischen Museum in Wien, Inventarnummer 1307, oder „Salome mit der Königin von Saba“, Christie's London, 29.11.1963, Lot 40, ebenfalls signiert und datiert 1633. Die Darstellung mag ein Hinweis sein auf die Verbindungen des Alten mit dem Neuen Bundes oder bezieht sich auf eine Geschichte des Alten Testaments, welche es noch zu identifizieren gilt. Dirk van Delen war spezialisiert auf Innenansichten und auf Architekturcapriccios, wie auch Hans Vredeman de Vries (1527-1604/23) oder Hendrick van Steenwyck d. Ä. (um 1550-1603) und Hendrick van Steenwyck d. J. (1580-1649). Bezüglich der Figuren arbeitete er gerne mit Anthonie Palamedesz (1601-1673), Dirck Hals (1591-1656), Pieter Jacobsz. Codde (1599-1678) und Jan Olis (um 1610-1676) zusammen. (1250145) (13) Dirck van Delen, 1605 Heusden – 1671 Arnemuiden, attributed CHURCH INTERIOR WITH ARMED MEN AND ARCHER Oil on panel. Parquetted. 74 x 103.5 cm. In profiled walnut frame.
ATTRIBUTED TO DIRCK VAN DELEN (HEUSDEN 1604/1605-1671 ARNEMUIDEN) The interior of a church oil on canvas 491⁄4 x 655⁄8 in. (125.1 x 166.7 cm.) Please note this lot is the property of a private individual.
Dirck van Delen (Heusden 1604/05-1671 Arnemuiden) An architectural capriccio with an elegant couple strolling before a... oil on panel 23 ½ x 28 1/8 in. (59.7 x 71.4 cm.)
Dirck van Delen Heudsen, vers 1604-1605 - Middelbourg, 1671 Intérieur d'église avec l'obole de la veuve Huile sur panneau de chêne, quatre planches, arrondi dans les angles Signé et daté 'D.V. DELEN 1631' en bas au centre, monogrammé 'DVD' au verso A church interior with the Widow's offering, oil on panel, signed and dated, by D. van Delen h: 93,50 w: 130 cm Provenance : Collection particulière, Belgique Commentaire : L'artiste a réalisé une savante composition architecturale au sein de laquelle naviguent avec délice lumière et personnages. Artiste fixé à Middelburg, Dirck van Delen s'était fait une spécialité des vues d'intérieurs de palais ou d'églises. Son travail et la préparation de ses cuivres ou panneaux sont irréprochables et permettent - comme l'atteste notre grand panneau - de profiter aujourd'hui d'œuvres dans de splendides états de conservations. Van Delen est considéré comme l'un des plus grand maître dans son genre avec Bartholomeus van Bassen (v.1590-1652) et Hendrick van Steenwyck II (v. 1580-1649). Le travail " scénique " de l'artiste se situe dans la lignée d'un célèbre recueil d'architecture paru en 16061. Gravées par Hendrick Hondius sur les dessins de Paul et Hans Vredeman de Vries, ces vues architecturées ont inspiré de nombreux artistes au XVIIe siècle. Dans notre tableau les subtiles variations de gris et de brun dans les éléments sculptés sont particulièrement étonnants ainsi que l'alliance d'éléments à la fois gothiques et baroques. Si le sujet représenté passe artistiquement au second plan après l'architecture, il n'en est pas moins empreint d'une grande saveur religieuse. Le récit de l'obole de la veuve est tiré de l'Evangile selon Saint Marc : " Jésus s'était assis dans le Temple en face de la salle du trésor, et regardait la foule déposer de l'argent dans le tronc. Beaucoup de gens riches y mettaient de grosses sommes. Une pauvre veuve s'avança et déposa deux piécettes. Jésus s'adressa à ses disciples : " Amen, je vous le dis : cette pauvre veuve a mis dans le tronc plus que tout le monde. Car tous, ils ont pris sur leur superflu, mais elle, elle a pris sur son indigence : elle a tout donné, tout ce qu'elle avait pour vivre. " " (Mc 12, 38 - 44) 1. 'Architectura', Anvers, 1606 par Hans et Paul Vredeman de Vries Estimation 100 000 - 150 000 €
Dirck van Delen (Heusden 1604/05-1671 An architectural capriccio with figures promenading and boys arguing... oil on panel 23 7/8 x 39 in. (60.6 x 99.1 cm.)
DIRCK VAN DELEN (HEUSDEN 1604/5-1671 ARNEMUIDEN) An architectural capriccio with Jephthah and his daughter signed and dated ‘D.van Delen.f.1633’ (lower right) and dated ‘Anno. 1633.’ (above the central arch) oil on panel 50 3/8 x 77 3/8 in. (127.9 x 196.6 cm.)
Een elegant gezelschap bij een fontein voor een classicistisch buitenhuis olieverf op doek, 67x55 cm Dit werk is voorheen toegeschreven aan Jan van Huchtenburgh.
Een elegant gezelschap bij een fontein voor een classicistisch buitenhuis olieverf op doek, 67x55 cm Dit werk is voorheen toegeschreven aan Jan van Huchtenburgh.
Dirck van Delen (Heusden 1604/5-1671 Arnemuiden) A church interior with elegant company attending a christening signed and dated 'dirck van delen. fecit. 1629' (lower right) oil on copper 9 5/8 x 13 ¾ in. (24.4 x 34.9 cm.)
Please note this lot will not available for online bidding. For further information and to bid on this lot please contact Halls Fine Art 01743 450 700 Dirck Van Delen or Dirck Christiaensz Van Delen (Heusen 1605-1671 Arnemuiden) 'Dives and Lazarus', Figures Banqueting at a Dining Table in an Architectural Capriccio, other Figures and Servants nearby with Musicians in a Gallery above, signed with the artists initials and indistinctly dated, possibly 1626, oil on panel, 61.5cm x 73cm We gratefully acknowledge Mr Bernard Vermet's assistance in cataloguing this lot. Mr Vermet is currently writing the catalogue raisonne on the artist. Dirck van Delen was born in 1604 or 1605 in Heusden, Holland. His father was Corstiaen Dircksse from The Hague, who married a local girl, Cornelia Jansdochter. Van Delen's first tutor was thought to be the little known Hendrick Aerts, although another candidate is Jan Steenwijk the younger (c.1580-before 1649), whose influence and that of many of the architectural painters in Antwerp at the time, is very clear on Van Delen's first period The artist seemed to have been largely self-taught, using prints and books as inspiration. He may have been a pupil of Jacob Wijnants (c.1600-1637). Wijnants was a witness at his marriage to Maria van der Gracht, who was the daughter of the burgomaster of Anemuiden. Van Delen succeeded his father-in-law as burgomaster and also served as Consul of Zeeland. From 1718 he became a pupil of Frans Hals (1583-1666) and there are stories of how the painters, Adriaen Brouwer and Dirck van Delen, played practical jokes on their master. Most of the artists pictures from the 1620's feature dark angular Renaissance-style architecture and usually includes a vanishing point exactly in the middle of the work. Rarely would van Delen attempt asymmetrical views in early examples. Views of palaces and church interiors were some of van Delen's favourite subjects. The present work depicts the parable of the rich man and Lazarus, also known as ''Dives and Lazarus''. It is taken from the Gospel of Luke XVI: 19-31. It is most likely identical to the one sold for 19 guilders to Jonkers at the auction of the collection of the late Mr.D.G.Van der Burge van Kronenburg on 6th September 1824. The entry number 110 reads as follows: ''In a beautiful room with a gallery, on which Lazarus seems to be sitting, one sees a distinguished company dining.'' Bernard Vermet tells us that the painting is one of the earliest known by the artist so far. There are at least three other pictures from later in 1626, A church interior and two Palace exteriors, showing that Van Delen used all three types of common architectural scenes from the very beginning of his career. Vermet goes on to tell us that all four paintings are already highly characteristic of the artist's personal style, with only small deviations, such as, in our case, a colonnade with pillars instead of columns, and a console above the middle of the windows. The Renaissance architecture, with it's dominance of black,red/brown and yellowish marble is imaginary and far too rich and heavy for a realistic interior. The silver glass ball that is hanging from the ceiling-as in Vermeer's ''Allegory of Faith'' should theoretically show us the distorted image of the painter at work, but this is not as such recognisable. The present work is of great value in that it sheds more light on Van Delen's development as an artist and shows that he made extensive use of sources in a very personal way and never to the extent of mere copying. The first and most important source for the artist was a work of the same subject by Bartholomeus van Bassen (1590-1652) that was auctioned in 1926 in Amsterdam. This is extremely interesting in that our vendor can remember his father purchasing the present work from ''Gooden and Fox'' of Bury Street, St. James's, London during the 1930's, when it was attributed to Bartholomeus van Bassen. John Quilter of that firm was a cousin of the family, and our vendor has a very clear recollection of the work hanging in his parents home ''Bagpath Court'' in Gloucestershire, as well as in several other earlier residences. The entire foreground, of our picture, including the dog between the vase and the wine cooler, as well as the table with all it's figures are directly copied from Van Bassen's picture (see accompanying documentation) however the staffage in his work was painted by Esaias van de Velde (1587-1630), who himself based his rich man behind the table on the work of Frans Francken II (1581-1642). This work is not dated, but from around the same time as a painting of the same subject by Van Bassen and Van de Velde that is signed and dated 1624. Both artists occasionally worked together on other versions, one of which can be seen in the Alte Pinakothek in Munich. In our painting the staffage and the figures are entirely painted by Van Delen, hence they are not transparent, do not show architecture underneath, and details like the shining light on the balustrade, were added after the staffage was finished. The couple entering the hall through the doorway on the right, though not too far in style from Van de Velde, is clearly based on a prototype by Dirck Hals and used by Van Delen on a number of occasions. This fact alone - that there are figures based on two different artists in a single painting - proves that neither of these two were involved personally here. Over the years however Van Delen's skills grew to such a level that there is a persistent misunderstanding that Dirck Hals, in the 1620's, and Anthony Palamedesz, in the 1630's, added the staffage to many of Van Delen's pictures.. **For further extensive documentation relating to the artist and his work, please refer to the printed material by Bernard Vermet, displayed in the Saleroom.
Dirck van Delen (Heusden, near 's Hertogenbosch, 1604/5-1671 Arnemuiden) A palatial interior with figures dining and carnival revellers in the foreground signed and dated 'D.v.Delen / 1632' (centre left) oil on panel 14¼ x 19 7/8 in. (36.2 x 50.5 cm.)
A noble family and its entourage in a palace courtyard, a group of men playing a ball game beyond dated '1631' (on plinth, lower left) with coat-of-arms oil on panel 48.9 x 66.2cm (19 1/4 x 26 1/16in).
Original architectural portico oil on oak panel depicting a gathering cast of interesting characters converging upon a clerk. For more details & bidding, click on www.proxibid.com/midnightSun or contact auction house.
Attributed to Dirck Christiaensz. van Delen (Heusden 1604/5-1671 Arnemuiden) An architectural capriccio with an elegant couple before a courtyard signed (strengthened?) 'D.V. DELEN' (lower left) oil on panel 11 7/8 x 17½ in. (29.8 x 44.3 cm.)
Dirck van Delen (Heusden, near s'Hertogenbosch 1604/5-1671 Arnemuiden) The interior of a Gothic church with elegant figures, a hound in the foreground oil on panel 27¼ x 45 in. (69.2 x 114.3 cm.) painted with the Dessau collection initials of 'VD' (on the panel reverse)
Dirck van Delen (Heusden 1604/5-1671 Arnemuiden) A palace arcade with numerous elegant figures conversing and playing games signed and dated 'D van Delen 1634' (lower right on the base of the obelisk) oil on panel 46.5 x 89.8 in. (118 x 228 cm.)
Dirck van Delen (Heusden 1604/5-1671 Arnemuiden) Elegant figures in a courtyard signed and dated 'D van Delen 1628' (lower center, on the column's base) oil on panel 36 3/8 x 61¾ in. (92.3 x 156.8 cm.)
DIRCK VAN DELEN HEUSDEN CIRCA 1605 - 1671 ARNEMUIDEN A CHURCH INTERIOR WITH A ROYAL TOMB, PROBABLY THAT OF THE GERMAN EMPEROR RUDOLF II signed and dated lower left: dirck VAN/deleN/1629 inscribed with old inventory number lower right: 74 oil on panel 9 3/4 by 11 1/2 in.; 24.5 by 29 cm.
DIRCK VAN DELEN HEUSDEN CIRCA 1605 - 1671 ARNEMUIDEN SOLOMON RECEIVING THE QUEEN OF SHEBA signed and dated lower center: D.van.delen f. 1642 oil on panel 46 by 67 in.; 116.8 by 170.2 cm.
Dirck van Delen (Heusden 1604/5-1671 Arnemuiden) Elegant figures in a courtyard signed and dated 'D van Delen 1628' (lower center, on the column's base) oil on panel 36 3/8 x 61¾ in. (92.3 x 156.8 cm.)
DIRCK VAN DELEN HEUSDEN CIRCA 1605 - 1671 ARNEMUIDEN AN ELABORATE PALACE COURTYARD WITH ELEGANT COMPANY PROCEEDING TOWARDS A GREAT STAIRCASE, WITH FOUR SCULPTED PHILOSOPHERS ON PEDESTALS BEHIND THEM oil on panel 116.5 by 166.7 cm.; 45 7/8 by 65 5/8 in.
DELEN, DIRCK VAN (Heusden 1605 - 1671 Arnemuiden) Architectural view with figures. 1640. Oil on canvas. Signed and dated lower left on the steps: d.v. Delen f. 1640. 77 x 136.7 cm. DELEN, DIRCK VAN (Heusden 1605 - 1671 Arnemuiden) Architekturansicht mit Figurenstaffage. 1640. Öl auf Leinwand. Unten links auf der Treppe signiert und datiert: d.v. Delen f. 1640. 77 x 136,7 cm.
Dirck van Delen (Heusden 1604/5-1671 Arnemuiden) An elegant company dining in a richly decorated palace interior signed 'D.V.DELEN' (lower right) oil on panel 23 5/8 x 35 5/8 in. (60 x 90.5 cm.)
DELEN, DIRCK VAN (Heusden 1605 - 1671 Arnemuiden) Der blinde Tobias geführt vom Erzengel Raphael. Öl auf Holz. Unten rechts monogrammiert: D V D. 39 x 28,5 cm.
DELEN, DIRCK VAN (Heusden 1605 - 1671 Arnemuiden) Architectural scene with figures. 1640. Oil on canvas. Signed and dated lower left on the steps: d.v. Delen f. 1640. 77 x 136.7 cm. DELEN, DIRCK VAN (Heusden 1605 - 1671 Arnemuiden) Architekturansicht mit Figurenstaffage. 1640. Öl auf Leinwand. Unten links auf der Treppe signiert und datiert: d.v. Delen f. 1640. 77 x 136,7 cm.
oil on panel Condition Note: The paint is cupping under the glossy varnish; a spot of paint loss at upper left. Under UV light: the varnish is very dark, thus obscuring any possible inpainting. We are pleased to provide you with a general report of the condition of the property described in our catalogue. 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 DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE.
The interior of a church with figures oil on panel 27 1/4 x 45 in. (69.2 x 114.3 cm.) painted with the Dessau collection initials of 'VD' (on the reverse)
PROPERTY FROM THE ESTATE OF PHILIP J. HAHN ELEGANT FIGURES IN A LOGGIA ELEGANT FIGURES IN A LOGGIA measurements note 20 1/2 by 23 1/2 in.; 52 by 59.6 cm. signed and dated lower right on column base D. van Delen. 1635 oil on panel PROVENANCE Possibly sold, Amsterdam, May 10, 1853, lot 20 (as "Paleis: Escorial," 52 x 58 cm., oil on canvas); Major Claude Daubuz; By whom sold, London, Christie's, February 16, 1940, lot 74; With Hoogsteder-Naumann Ltd., from whom purchased by the present collector in 1983. EXHIBITED The Hague, Mauritshuis, Terugzien in bonwondering, A Collector's Choice, February 19-March 9, 1982, no. 29, reproduced; New York, Hoogsteder-Naumann, Ltd., A Selection of Dutch and Flemish Seventeenth-Century Paintings, 1983, no. 2. LITERATURE A Selection of Dutch and Flemish Seventeenth-Century Paintings, New York 1983, no. 2, (detail reproduced on cover and reproduced p. 5) NOTE Dirck van Delen devoted his entire artistic career to architectural painting. Like many of his predecessors in the Flemish tradition, van Delen painted almost exclusively fanciful, imaginary buildings, for which the most direct sources are other fantasy views by older masters. The influence of artists such as Pieter Neefs, active a generation earlier, and Hans and Paul Vredeman de Vries, the Dutch father and son who worked at the court of Rudolf II in Prague, on van Delen's art is indubitable. Although by 1635 van Delen had developed a personal style, vestigial evidence of the impact of the de Vrieses in particular is still discernable: the present painting echoes the novel architectural style promoted by Hans and Paul Vredeman de Vries, which freely reinterprets Italianate Renaissance buildings. However, some of the picture's qualities, such as the bright palette and painted surface's glossy finish, are specific to van Delen's artistic output during this phase. It is interesting that in the course of the same year, van Delen painted a closely related picture, also entitled Palace Courtyard with Elegant Figures, now in the Herzog Anton Ulrich-Museum, Braunschweig (inv. no. 426). In spite of their common theme, each of the two pictures is highly distinctive: even in details, van Delen took great care in reinventing rather than repeating his own work. We are grateful to Bernard M. Vermet for confirming the attribution, on the basis of photographs. He also confirms all the figures to be by van Delen.
PROPERTY FROM THE COLLECTIONS OF LILY AND EDMOND J. SAFRA AN INTERIOR WITH LADIES AND GENTLEMEN DINING measurements note 48 3/4 by 74 in.; 123.8 by 188 cm. signed and dated lower right D. van Delen 1629 and also dated above the door 1629 oil on panel PROVENANCE With Didier Aaron & Cie, Paris, 1978; With Maurice Segoura, Paris, from whom purchased by the present collector in 1986. NOTE The sumptuous interior depicted in this painting is almost certainly imaginary. In creating some of his fantastical settings, van Delen drew inspiration from the architectural pattern books of Hans and Paul Vredeman de Vries. This interior is very close to a plate in Hans Vredeman de Vries's Scenographiae, sive Perspictivae of 1560 (see Fig. 1) and was used by van Delen on other occasions. Two other paintings with similar rooms are An Interior with Ladies and Cavaliers, also dated 1629, in the National Gallery of Ireland, Dublin and another interior with portraits of members of the House of Orange in the the Rijksmuseum, Amsterdam (inv. A3939). The elegant couple at far right is represented in other van Delen compositions, including the Dublin picture. We are grateful to Bernard M. Vermet for confirming the attribution, on the basis of photographs. He also confirms all the figures to be by van Delen, though based on figures by Dirck Hals with whom he studied around 1626/28.
PROPERTY FROM THE COLLECTIONS OF LILY AND EDMOND J. SAFRA AN ELABORATE ARCHITECTURAL CAPRICCIO WITH JEPHTHAH AND HIS DAUGHTER AN ELABORATE ARCHITECTURAL CAPRICCIO WITH JEPHTHAH AND HIS DAUGHTER measurements note 50 1/2 by 77 1/8 in.; 128.3 by 195.9 cm. signed and dated lower right D. van Delen. f. 1633 and dated above central arch Anno 1633 oil on panel PROVENANCE Simon Stinstra, Amsterdam; His sale, Amsterdam, March 26, 1783, lot 44; Lt.-Col. W. Forbes, Callendar House, Falkirk; By whom sold, London, Christie's, November 29, 1963, lot 40, for 1400 Guineas, to Arnold; With Didier Aaron & Cie, Paris, 1978; With Maurice Segoura, Paris, from whom purchased by the present collector in 1986. LITERATURE W. Liedtke, "From Vredeman de Vries to Dirck van Delen: Sources of Imaginary Architectural Painting," in Bulletin of Rhode Island School of Design, Museum Notes, Winter 1970, p. 24, under note 4 (as The Meeting of Solomon and the Queen of Sheba); T. T. Blade, The Paintings of Dirck van Delen, dissertation, University of Minnesota, Ann Arbor 1976, p. 227, cat. no. 45, reproduced fig. 69 (as The Meeting of Solomon and the Queen of Sheba, with figures possibly by Dirk Hals or Palamedes). NOTE Van Delen specialized in portraying imaginary architectural subjects, often borrowing motifs from the graphic work of Hans and Paul Vredeman de Vries. After 1630, his work was dominated by palace exteriors such as in the present painting. This work's subject was given as Solomon and the Queen of Sheba in the 1963 sale and Blade's dissertation (see Provenance and Literature below). However, the Stinstra collection sale of 1783 (see below) gave the subject as Jephthah and His Daughter which does, indeed, seem more fitting. The story (Judges 11:30-40) relates how the great warrior Jephthah was called upon to lead the Israelites in battle against the Ammonites. On the eve of battle, he made a pact with God that, in return for victory, he would sacrifice the first creature to come out of his house to meet him when he returned, never imagining it would be his daughter. Here Jephthah is shown recoiling as she advances towards him. We are grateful to Bernard M. Vermet for confirming the attribution, on the basis of photographs. He also confirms all the figures to be by van Delen.
A fantastical palace with an elegant couple walking in front of a portico signed 'D. van Delen f.' (lower right) oil on panel 25 x 29 3/4 in. (63.5 x 75.5 cm.)
