19th Century Oil Painting Daniel in the Lions' Den Attributed Isaac Findler
Attributed to Isaac Findler (British, 1809–1888)
Daniel in the Lions’ Den
Signed and Dated 1881
Victorian Biblical Oil Painting on Canvas
Highlights
• Atmospheric Victorian depiction of Daniel in the Lions’ Den.
• Signed “Findler” and dated 1881.
• Attributed to Staffordshire artist Isaac Findler.
• Important connection with Findler’s earlier treatment of the same biblical subject.
• Dramatic use of chiaroscuro and rich Victorian colour.
• Daniel’s crimson robe creates a commanding central focus.
• Substantial dimensions and impressive wall presence.
• Relined canvas presented in a traditional painted frame.
• Sevenoaks Art Shop label preserved on the reverse.
• Privately loaned to and exhibited with the Famous Lord Hill Museum.
• Professionally presented and ready to hang.
Introduction
An evocative Victorian religious painting portraying the celebrated Old Testament story of Daniel in the Lions’ Den, executed in oil on canvas and dated 1881.
Daniel sits calmly upon a rocky ledge within a dark wilderness, surrounded by lions but remaining unharmed through divine protection. His vivid crimson robe emerges dramatically from the shadowed landscape as he raises his gaze heavenward in prayer and contemplation.
The painting is signed “Findler” and is offered as attributed to Isaac Findler (1809–1888), an individual Staffordshire artist whose recorded work includes an earlier interpretation of Daniel surrounded by lions.
Combining spiritual symbolism, narrative drama and impressive scale, the work would make a distinguished addition to a collection of Victorian, religious or provincial British art.
Catalogue Details
Artist: Attributed to Isaac Findler
Life dates: 1809–1888
Title: Daniel in the Lions’ Den
Date: 1881
School: British School
Period: Victorian
Medium: Oil on canvas
Signed: “Findler,” lower left
Dated: 1881
Subject: Old Testament religious narrative
Framing: Traditional later painted frame
Presentation: Framed and ready for display
Catalogue Note
The composition is organised around the seated figure of Daniel, whose tranquil posture and prayerful expression provide a compelling contrast with the lions gathered around him.
Rather than portraying the biblical episode as a moment of physical struggle, the artist concentrates upon Daniel’s spiritual composure. His stillness becomes the emotional centre of the painting, transforming the scene from one of immediate danger into an image of faith and divine deliverance.
A palette of earthy browns, dense blacks and subdued natural tones establishes the sombre wilderness setting. Daniel’s crimson garment provides the principal note of colour, directing attention towards him and strengthening his symbolic importance within the narrative.
Carefully controlled passages of light and shadow give the composition its theatrical atmosphere. The illuminated figure appears suspended within the surrounding darkness, while the lions emerge gradually from the shadows.
The result is a distinctly Victorian interpretation of the subject, combining religious instruction, visual drama and emotional storytelling.
Historical Context
Daniel’s deliverance from the lions is related in the Old Testament Book of Daniel and became one of the most recognisable biblical stories in Western art.
After continuing to pray despite a royal prohibition, Daniel was cast into a den of lions. His faith remained unbroken, and God prevented the animals from harming him. When the den was opened the following morning, Daniel was found alive and unharmed.
The episode was understood as an affirmation of steadfast faith and divine justice. It also offered a powerful image of courage in the face of persecution.
Religious narrative paintings occupied an important position in Victorian visual culture. They appeared in domestic interiors as well as churches, schools and civic institutions, offering accessible illustrations of biblical history and moral virtue.
The present painting reflects this tradition through its clear narrative, emotional immediacy and emphasis upon Daniel’s calm spiritual strength.
The Artist
Isaac Findler was born in 1809 and was associated with Cheddleton, near Leek in Staffordshire.
He worked professionally as a house painter and decorator while also pursuing painting independently. His artistic output is understood to have included landscapes, religious compositions and painted signs.
After his son took greater responsibility for the family decorating business during the late 1860s, Findler is thought to have dedicated more of his time to artistic work. By the 1870s, he had acquired sufficient local recognition to hold a public exhibition in Leek in 1874.
Findler’s paintings are valued for their distinctive regional character and individual approach to subject and expression.
Especially significant to the present attribution is a painting of Daniel surrounded by six lions, dated 1846, recorded in the Staffordshire museum collection. This earlier work demonstrates that Findler had a documented and longstanding interest in the story of Daniel in the Lions’ Den.
The date of 1881 places the present composition within the final decade of the artist’s life and, if the attribution is correct, among his mature later works.
Signed & Dated
The painting bears the signature “Findler” in the lower-left corner and is dated 1881.
The inner edge of the frame partially conceals the inscription, although sufficient elements remain visible to identify the signature and date.
The attribution has been formed through consideration of the inscription, subject, date, regional context, visual character and comparison with works documented in connection with Isaac Findler.
Provenance
Private collection, United Kingdom.
Retaining a framing label from Sevenoaks Art Shop, Kent.
Subsequently sourced through Halls Fine Art Auctioneers, Shropshire.
Curated by Cheshire Antiques Consultant LTD.
Privately loaned to and exhibited with the Famous Lord Hill Museum.
The accompanying research considers Findler’s regional exhibition history and the related nineteenth-century composition of Daniel and the lions recorded in the Staffordshire museum collection.
Framing & Presentation
The oil painting is displayed in a traditional later painted frame selected to complement its subdued colouring and devotional subject.
A historic label for Sevenoaks Art Shop, Kent, remains attached to the reverse, documenting part of the painting’s later presentation history.
Hanging cord has been fitted, allowing the work to be displayed immediately upon arrival.
Dimensions
Framed dimensions:
Height: 83.3 cm / 32.8 inches
Width: 67.4 cm / 26.5 inches
Depth: 2.5 cm / 1 inch
Canvas dimensions:
Height: 76 cm / 29.9 inches
Width: 60.5 cm / 23.8 inches
All measurements are approximate.
Condition Report
Presented in good overall condition when considered in relation to its nineteenth-century age and history.
The canvas has previously been relined and remains stable and securely stretched. The painted surface displays craquelure, wear, scuffs, scratches and small irregularities associated with age and previous handling.
The later painted frame has marks, wear and minor imperfections consistent with its age and function.
These characteristics do not detract significantly from the painting’s presentation. The composition remains visually powerful, with the figure of Daniel and the surrounding lions reading clearly when displayed.
The photographs form an integral part of the condition report. As with all historic works, close inspection may reveal further evidence of age, restoration or previous conservation.
Shipping
Worldwide shipping is available.
The painting will be professionally packaged using appropriate protective materials and fully insured for secure international delivery.
International buyers are welcome. Please contact Cheshire Antiques Consultant LTD if you would like a personalised shipping quotation, further condition information or additional photographs.
Available exclusively through Cheshire Antiques Consultant LTD.
Attribution & Research Notice
This work is catalogued as attributed to Isaac Findler (British, 1809–1888).
The art-market expression “attributed to” means that, in our professional opinion, the painting is probably by the named artist, although the attribution cannot be stated with complete certainty.
Our opinion is based upon examination of the painting, its visible signature and date, its subject, period and stylistic characteristics, together with comparison against the research and reference material presently available.
References to museum collections, exhibitions, comparable paintings or historical documentation are provided for identification, context and scholarly interest. They do not constitute independent authentication or a guarantee of authorship.
Attributions are matters of professional opinion honestly and reasonably held and may be reconsidered if substantive new evidence becomes available.
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