Hendrick van Somer

Firrao, prinicipi di Sant’Agata dei Goti;
Art market, Naples, 1995;
Castello dei Landriani, Vidigulfo, Pavia;
From where acquired by the family of the present owner.

N. Spinosa, ‘Aggiunte a Hendrick van Somer: alias Enrico Fiammingo’, in Napoli, l’Europa: ricerche di storia dell’arte in onore di Ferdinando Bologna, ed. F. Abbate and F. Sricchia Santoro, Catanzaro 1995, p. 228, reproduced fig. 179 (as van Somer);
N. Spinosa, Pittura del Seicento a Napoli da Caravaggio a Massimo Stanzione, Naples 2010, p. 395, no. 412, reproduced;
V. Farina, Intorno a Ribera. Nuove riflessioni su Giovanni Ricca e Hendrick van Somer e alcune aggiunte ai giovani Ribera e Luca Giordano, in www.ilseicentodivivianafarina.it, 2012, pp. 48–49, reproduced fig. 53;
N. Spinosa, Grazia e tenerezza 'in posa'. Bernardo Cavallino e il suo tempo 1616–1656, Rome 2013, p. 246, reproduced p. 244, fig. 206, p. 485, no. D52, reproduced again (listed under Contemporaries of Bernardo Cavallino). 

The canvas has a recent and firm relining. This has resulted in a flattened surface. The paint surface is clean and the colours remain strong. There is a very small area where the paint is starting to flake, measuring approximately 2 by 1 cm, at the bottom left. A retouching, approximately 4 by 4 cm, is visible to the left of Delilah's left shoulder. Repairs to tears are as follows: an L- shaped, 9 by 4 cm, in the face of the old woman; a horizontal tear, 46 cm, running from the right edge through the top of the old woman's head; a 17 cm tear to the right of the old woman's neck; a 22 cm tear to the left of Delilah's head. Inspection under ultraviolet light reveals a cloudy varnish and delicate retouching throughout the flesh tones and drapery of Samson, Delilah and the old woman. The work is offered in a gilt molded frame with a few knocks.
"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."

When Prof. Nicola Spinosa first published this painting as a work by Somer, he pointed out stylistic affinities with Tobias healing his father, formerly in the collection of the Carafa d’Andria family in Naples and latterly in a private collection.¹ Prof. Spinosa's dating of Samson and Delilah to the early 1640s reflects not only van Somer's awareness of Simon Vouet, whose pictures were sent to Naples from Rome, but also the painting's proximity to the work of Bernardo Cavallino and Antonio De Bellis.


1. See Spinosa 1995, p. 228 and Spinosa 2010, pp. 394–95, reproduced p. 395.