Flora in Aedibus Farnesianis

Etching, 1650/55 circa, after Francois Perrier.

Lettered along bottom with title, and signed with 'C.V.Dalen Junior sculp.'.

From the set of EIGENTLYKE AFBEELDINGE van Hondert der Aldervermaerdfte STATUEN of ANTIQUE-BEELDEN Staande binnen ROMEN Afgetekent door feer wÿtvermaerdeen constrinken Francisco Perrier Burgund, Nu in Cooper gesneden door Cornelis van Dalen de Oude, ende de Ionge. Dienstigh en vermakelÿk, voor alle Edelluÿ en Studenten die tot Romen geweest süyn. Ook voor alle oeffenaers en Liefhebbers der Teicken-Const. hier is mede bÿ gevoecht onder elck Beeld fyn naam, en waerzeftaen binnen Romen. The plates are drawn by F. Perrier (1590-1650), engraved by Cornelis van Dalen (1602-1665) and printed by Nicolaes Visscher (1618-1679) in Amsterdam, circa 1650.

Cornelis van Dalen II (Amsterdam, December 28, 1638 (baptized) - October 9, 1664) was a Dutch engraver, painter, draftsman and publisher.

The son of Cornelis van Dalen I, he learned the rudiments of the art from his father. Later, he studied under Abraham Bloteling and Cornelis de Visscher II. He was active in the city of Amsterdam from 1655 to 1659.

He devoted himself mainly to the execution of portraits, using oil paints. He made engravings from works by Pieter Paul Rubens, Govert Flinck and Pieter Nason. He also collaborated with Cornelis de Visscher II, Abraham Bloemaert and his father in the execution of some portrait series. His works also include engravings of paintings by Venetian authors (so-called portraits by Giorgione, Sebastiano del Piombo, Pietro Aretino, and Giovanni Boccaccio). Some of his portraits of English royals, such as Henry, Duke of Gloucester and James, Duke of York, suggest that the artist worked in England after the Restoration, but there is no evidence for this. The largest panel he painted is the portrait of John Maurice of Nassau, known as The American. Among the female portraits he executed is that of Anna Maria van Schurman, an engraving from a monochrome painting by Cornelis Janssens van Ceulen. His style is so similar to that of his father that it is difficult to attribute the works to either artist. He used to sign his works with the monogram C.v.D.

A fine impression on contemporary laid paper, with margins, good condition.

Bibliografia

Hollstein, Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (nn. 37-106).