Ink sketches depict a large female profile in the upper left corner facing right, a female head in the lower center, a smaller female head in the right center facing upwards, and a smaller female profile in the left center facing downwards. There is empty space in upper right quadrant.
This sheet, cut from a larger sheet, features a study of a woman’s face in profile in the upper left. Her hair is bound. A nearly frontal view of another woman’s face is at the center bottom of the sheet. She looks down to her left and wears a jeweled headpiece or crown. Three other smaller and more lightly sketched heads also appear on the sheet, two along the left edge and one on the right.
The heads are all lightly drawn with a finesse characteristic of della Bella, one of the most talented and prolific draftsmen and printmakers of the seventeenth century.
This ink sketch on paper contains a woman in the upper center hunched over with a bundle on her back. The lower half contains two rough sketches of female figures with a sketch of an obscured female profile in between.
This sheet has drawings of four female figures. The upper half of the sheet shows a woman standing full-length in profile, facing right. She leans forward and carries a large bundle on her back. Three other women are sketched in the bottom half of the sheet. On the left is a half-length figure of a woman seen from the back wearing a dress. To the right is the head of a woman in profile wearing a headscarf. On the right is a woman, drawn to her hemline, standing in three-quarters profile facing right, wearing a heavy robe. The reverse has sketch of a young male turning to face slightly backward with left arm upraised.
Stefano della Bella was one of the most talented and prolific draftsmen and printmakers of the seventeenth century. This sheet with several small, rapidly executed sketches testifies to his practice of working directly from observation.
Brightly colored painting with three primary registers. The uppermost and smallest register contains a poem. The lower two are larger and similar in size. The bottommost depicts stairs, architectural structures, snakes, and flowering plants. Above, the middle register frames a seated man under a canopy-like architectural form, who reaches out to grasp the wrist of a woman. Behind her is a flowering tree, and and the far right, and open door.
According to the poem in the top register, this is a scene of two potential lovers meeting. The pair do not clasp hands or embrace, but the male appears to be forcibly grabbing the wrist of the woman. They are separated by an architectural structure: He remains in his room, seated on his bed, while she holds her hand up to her mouth, unsure and hesitant.
The fertile flowering bush behind the woman may suggest his romantic overtures will be successful.
The lower register shows a pair of snakes, one emerging for an analogous architectural canopy-like structure. Another snake, on the stairs above. is separated from the one below by what may be a palm tree, and two flowers on either side leaning slightly in opposite directions. It has been suggested that these snakes, in contrast to the man and woman above, will meet an obstacle in their pairing.
This oil painting is horizontally oriented with gray markings. It is surrounded with rose, gold, and mint matting, with a scroll that reads “H. Saftleven”. The actual work depicts a river scene, with a cliff on the shore of a river to the right. On the cliff are buildings, including what looks like the ruins of a castle tower. A tree leans to the right over the edge of the cliff. Ships populate the river, including one at the shoreline.
Herman Saftleven II was born into a family of artists in Rotterdam though he settled in Utrecht in the 1620s where he recorded views of the city. Following a destructive hurricane in 1674, he sold the city a series of drawings of Utrecht churches that he had done before the buildings were destroyed. He was also known for his botanical drawings of the country estate, Vijverhof, near Utrecht.