Lot Essay
Dr. Härting loc. cit. included the present painting in her catalogue raisonné having only known it from a photograph. For this reason she then expressed some reservation as to the attribution on stylistic grounds and because of the uniqueness of the subject matter to Francken and his atelier.
Having now seen a transparency of the painting she fully endorses the attribution to Francken in a letter dated November 13, 1991. She will furthur publish the work in her forthcoming article for the Revue du Louvre,Daniel, Bel et le dragon de Babylon - Un cabinet à peintures par Frans Francken II. (1581-1642) au musée Calvet d'Avignon. In this article Dr. Härting discusses The Musée Calvet, Avignon, where the story of Daniel decorates the drawers and doors. The subject of 'Daniel feeding the Babylonian dragon' appears on the right wing of the cabinet.
In the present painting Francken repeated and developed the composition of the Avignon painting, although in reverse. He also extended the composition in order to enlarge the door of the palace seen beyond. Dr. Härting believes that the present painting was executed somewhat later than the Avignon version. The subject, which was rarely represented by artists in Flanders in the 17th century, is taken from the Apocryphal Book of Daniel.
The architecture is by another hand reminiscent of Bartholomeus van Bassen (1590-1652)
Having now seen a transparency of the painting she fully endorses the attribution to Francken in a letter dated November 13, 1991. She will furthur publish the work in her forthcoming article for the Revue du Louvre,Daniel, Bel et le dragon de Babylon - Un cabinet à peintures par Frans Francken II. (1581-1642) au musée Calvet d'Avignon. In this article Dr. Härting discusses The Musée Calvet, Avignon, where the story of Daniel decorates the drawers and doors. The subject of 'Daniel feeding the Babylonian dragon' appears on the right wing of the cabinet.
In the present painting Francken repeated and developed the composition of the Avignon painting, although in reverse. He also extended the composition in order to enlarge the door of the palace seen beyond. Dr. Härting believes that the present painting was executed somewhat later than the Avignon version. The subject, which was rarely represented by artists in Flanders in the 17th century, is taken from the Apocryphal Book of Daniel.
The architecture is by another hand reminiscent of Bartholomeus van Bassen (1590-1652)