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Antoon Van Dyck

Belgium (Antwer (spanish Netherlands) 1599 -  London 1641 )
van DYCK Antoon Saint Mary Magdalene

Christie's /Apr 27, 2017
139,860.14 - 233,100.23
Not Sold

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Variants on Artist's name :

Dyck Van Anthony

Dyck Van Antoine

Dyck Van Anton

 

Artworks in Arcadja
1748

Some works of Antoon Van Dyck

Extracted between 1,748 works in the catalog of Arcadja
Antoon Van Dyck -  Jodocus De Momper Pictor Montium Antverpiae

Antoon Van Dyck - Jodocus De Momper Pictor Montium Antverpiae

Original
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Starting price:

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Gross Price
Lot number: 3637
Other WORKS AT AUCTION
Description:
Description: DYCK, ANTHONIUS VAN (Antwerp 1599 - 1641 London) Jodocus de Momper Pictor montium Antverpiae. Copperplate engraving. With engraved title and inscription below:t: Ant. van Dyck fecit aqua forti. And engraved inscription: G.H. 24.5 x 15.7 cm. Framed. Mauquoy-Hendrickx 7 IV/VI. - Attractive, even and clear impression around the plate mark. Minor foxing. Overall in good condition. Provenance: - August Laube, Zurich. --------------- DYCK, ANTHONIUS VAN (Antwerpen 1599 - 1641 London) Jodocus de Momper Pictor montium Antverpiae. Kupferstich. Am unteren gestochen betitelt und bezeichnet: Ant. van Dyck fecit aqua forti. Und gestochen bezeichnet: G.H. 24,5 x 15,7 cm. Gerahmt. Mauquoy-Hendrickx 7 IV/VI. - Schöner, gleichmässiger und klarer Druck mit Rand um die Plattenkante. Minim stockfleckig. Insgesamt in guter Erhaltung. Provenienz: - August Laube, Zürich.
Antoon Van Dyck -  Christ Crowned

Antoon Van Dyck - Christ Crowned

Original
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Price:

Lot number: 47
Other WORKS AT AUCTION
Description:
Anthony van Dyck (Flemish, 1599-1641), Christ Crowned Lot 47 Description etching and engraving on thick ivory laid paper, possibly a later printing, matted, unframed. Platemark 10 3/8 x 8 1/2 in.; Sheet Size 12 1/8 x 10 in. The Estate of the late Clay A. Waggenspack, M.D., Baton Rouge, LA Additional high-resolution photos are available at Leland Little.com Condition Several foxing marks and rubbed areas to margins; tape visible in photos is affixed to matting, not print itself.
Antoon Van Dyck -  King Charles

Antoon Van Dyck - King Charles

Original
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Net Price
Lot number: 41
Other WORKS AT AUCTION
Description:
Josiah Boydell (British, 1752-1817) after Sir Anthony van Dyck (Flemish, 1599-1641) King Charles 1st Mezzotint engraving, published London, 1778 53 x 35cm. (20 3/4 x 13 3/4in.) Together with Portrait of Sir Thomas Wharton by Valentine Green (British, 1739-1813) after van Dyck, mexxotint engraving, published London, 1775, Portrait of a nobleman by William Pether (British, 1738-1821) after Giorgione (Italian, 1478-1510) engraving, published London, 1768 and a further engraving of a young boy (4)
Antoon Van Dyck - Saint Mary Magdalene

Antoon Van Dyck - Saint Mary Magdalene

Original
Estimate:

Price:

Lot number: 3
Other WORKS AT AUCTION
Description:
Sir Anthony van Dyck (Antwerp 1599-1641 London) Saint Mary Magdalene oil on canvas 21 ½ x 13 7/8 in. (54.6 x 35.3 cm.) This spirited study was painted in the early 1620s, when van Dyck was working independently in Italy. Its authorship was first recognized in 1936 by Gustav Glück, who identified the fluid, virtuoso handling of the paint and the delicate shape of the hands, particularly the fingers, as characteristic of Van Dyck’’’’’’’’s Italian oeuvre. Glück subsequently published the picture in 1939 (loc. cit.) Arriving in Genoa in 1621, Van Dyck joined the flourishing local community of Flemish painters led by Lucas and Cornelis de Wael, the nephews of Jan Breughel I. Van Dyck remained in Italy for seven years and travelled extensively throughout the peninsula, closely studying the Italian Old Masters and infusing his style with an Italianate sensibility. The present painting was likely painted during a stay at Parma, where the artist would have seen and clearly admired Correggio’’’’’’’’s celebrated Madonna of Saint Jerome (fig. 1), known as Il Giorno, commissioned in 1523 by Briseide Colla for a private chapel in the church of Sant'Antonio Abate at Parma (now housed in the Galleria Nazionale, Parma). Praised at the time of its creation by the art historian and painter Giorgio Vasari, who commended the work's ‘mirabile colorito’’’’’’’’ [admirable coloring], that picture is still considered a masterwork among Correggio’’’’’’’’s altarpieces. Here, Van Dyck reproduces with some variations the twisting figure of the Magdalene and the putto with a chrismatory in the lower right quadrant of Correggio’’’’’’’’s composition, omitting details that might detract from the harmony of his own: the foot of the Christ child present in the Parma picture is missing in Van Dyck’’’’’’’’s version, so that his graceful Magdalene inclines her head and lifts her tapering fingers into the air uninterrupted. Van Dyck also uses warmer, more saturated colors than the Italian master; compare, for instance, the orange-yellow and pink of the skirt and sleeve of Van Dyck’’’’’’’’s Magdalene with the paler peach and milky lemon used by Correggio. The sharpness of detail in the Parma altarpiece also stands in stark contrast to the vigorous, sketchy quality of the present study, which must have been swiftly painted: the colors have been brushed on with a masterly sureness, as evident in the bold application of paint swept across the Magdalene’’’’’’’’s sleeve and the white scumbles across her lower left leg that evoke a transparent, gauzy fabric. Van Dyck’’’’’’’’s strokes are broad and loose and his forms have a monumental solidity, lending the Magdalene great presence despite the softness of the modelling. Van Dyck made a number of painted sketches after the great Italian masters, who were a defining influence in his work. The majority of these studies are preserved in the artist’’’’’’’’s sketchbook formerly in the collection of the Dukes of Devonshire at Chatsworth and now at the British Museum, London. In it, Van Dyck recorded compositions by Titian, Veronese, Raphael, Annibale Carracci and others, frequently including inscriptions denoting the artist responsible for the design as well as the color scheme, material texture and where the sketch took place. Many of these studies were used by Van Dyck for his own works and, indeed, the present figure of the putto holding the jar of ointment was adapted for his Penitent Mary Magdalene in the Rijksmuseum, Amsterdam, and the motif of the crouching Magdalene swathed in gold reappears in both his Pietà in the Louvre, Paris, and his Crucifixion in the Prado, Madrid. We are grateful to Dr. Susan Barnes for confirming the attribution to Van Dyck on the basis of firsthand inspection and for suggesting a dating of c. 1623.
Antoon Van Dyck - Portrait Of King Charles I

Antoon Van Dyck - Portrait Of King Charles I

Original
Estimate:

Price: Not disclosed
Lot number: 417
Other WORKS AT AUCTION
Description:
AFTER SIR ANTHONY VAN DYCK, portrait of King Charles I (1600-1649), half length, in armour and wearing the lesser George of The Garter, holding a baton and resting his left hand on his helmet, oil on relined canvas, approximately 120cm x 91cm (Provenance: This portrait hung in The Angel Croft Hotel, Lichfield for many years)
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