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Antoon Van Dyck

Belgium (Antwer (spanish Netherlands) 1599 -  London 1641 )
van DYCK Antoon Portrait Of The Engraver Jean-baptiste Barbé

Sotheby's /Jul 5, 2017
228,037.12 - 342,055.68
1,856,449.25

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Variants on Artist's name :

Dyck Van Anthony

Dyck Van Antoine

Dyck Van Anton

 

Artworks in Arcadja
1771

Some works of Antoon Van Dyck

Extracted between 1,771 works in the catalog of Arcadja
Antoon Van Dyck - Portrait Of Anne Sophia, Countess Of Carnarvon

Antoon Van Dyck - Portrait Of Anne Sophia, Countess Of Carnarvon

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Lot number: 8
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Description:
PORTRAIT OF ANNE SOPHIA, COUNTESS OF CARNARVON (D. 1695) Sir Anthony van Dyck ANTWERP 1599 - 1641 LONDON inscribed on a label, verso:...Anne Sophia, daughter of Philip: Earl of Pem- broke and Montgomery and wife of Robert Dormer, first Earl of Carnarvon, killed at the battle of Newbury 20 Sept. 1643. By Vandyke. oil on canvas
Antoon Van Dyck -  Jodocus De Momper Pictor Montium Antverpiae

Antoon Van Dyck - Jodocus De Momper Pictor Montium Antverpiae

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Lot number: 3637
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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

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Lot number: 47
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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 - Portrait Of The Engraver Jean-baptiste Barbé

Antoon Van Dyck - Portrait Of The Engraver Jean-baptiste Barbé

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Lot number: 53
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THE PROPERTY OF A NOBLEMAN Sir Anthony van Dyck PORTRAIT OF THE ENGRAVER JEAN-BAPTISTE BARBÉ ANTWERP 1599 - 1641 LONDON oil on panel, en grisaille 23.6 x 16.5 cm.; 9 1/4 x 6 1/2 in. Lord Clifton; With Edouard Warneck, Paris; His sale, Paris, Petit, 27–28 May 1926, lot 34; With Preyer, Vienna; E.W. Edwards, Cincinnati, Ohio; Eleonore Z. Edwards, Cincinnati, Ohio; By whom sold, London, Christie's, 9 July 1976, lot 20; With Thos. Agnew and Sons, Ltd., London; Acquired from the above by the present owner in 1998. E. Larsen, The Paintings of Anthony Van Dyck, Freren 1988, vol. 2, p. 192, cat. no. 481, reproduced; H. Vey, 'Van Dyck in Antwerp and Burssels', in Van Dyck, A complete catalogue of the paintings, S.J. Barnes, N. de Poorter, O. Millar, H. Vey (eds), New Haven and London 2004, p. 373, cat. no. III.168, reproduced.
Antoon Van Dyck -  The Holy Family

Antoon Van Dyck - The Holy Family

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Lot number: 56
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Sir Anthony van Dyck (Antwerp 1599-1641 London) The Holy Family pen and brown ink, brown wash, on (formerly) blue paper, the upper left made up 4½ x 5 3/8 in. (11.4 x 13.7 cm.) The rediscovery of this drawing, first published in Jules Guiffrey\\\’s 1882 monograph on Anthony van Dyck, allows us to reconsider its attribution to the artist, rejected in 1962 by Horst Vey on the basis of the reproduction in Guiffrey\\\’s book, and to add a characteristic example of a crabbelingh by Van Dyck to the corpus of his drawings, of which only a dwindling number remain in private hands. In its thin penwork, sharp profiles and generous use of dark wash for the shadow, it can be compared (minus the use of white bodycolour) to a study for a Crucifixion in the British Museum, London, datable to the late 1620s (inv. 1910,0212.207; see Ch. Brown, The Drawings of Anthony van Dyck, exhib. cat. New York, The Pierpont Morgan Library and Fort Worth, The Kimbell Art Museum, 1991, no. 49, ill.). The use of blue paper also points to a date no earlier than Van Dyck\\\’s years in Italy (1621-1627), from where he returned to Antwerp in 1627. The drawing can be related to a canvas from these years in the Kunsthistorisches Museum, Vienna (inv. GG 513; see Vey in Van Dyck. A complete catalogue of the paintings, New Haven and London, 2004, no. III.9). In particular, the order in which the three figures are placed, the tender gesture of the Christ Child reaching out to Joseph, the clouds in the background and the drapery at right all suggest the drawing was made as a study for the painting. A drawing in the Statens Museum for Kunst, Copenhagen (inv. kks6578, measuring 153 x 170 cm; fig. 2; see Vey, op. cit., 1962, I, no. 112, II, fig. 155), could well be another sketch for the same composition. The two drawings may even have belonged to the same sheet: the cut lower right corner of the Copenhagen drawing follows the form of the cut upper left corner of the present sheet. A third drawing, little more than a fragment, depicting the Virgin\\\’s head and also reproduced in Guiffrey\\\’s book (p. 81 of the 1896 English edition) and probably also wrongly considered a copy by Vey (op. cit., 1962, p. 182, under no. 112), may be another study related to the same composition. As recorded by Guiffrey, both this small sketch and the one under discussion were once part of the famous collection of the marquis de Chennevières, who also owned a sketch by Van Dyckof the Brazen Serpent, now in the Musée Bonnat, Bayonne (inv. 1431; Vey, op. cit., 1962, I, no. 46, II, fig. 62). We are grateful to Hanne Kolind Poulsen for her assistance in cataloguing this drawing, and to Christopher Brown for confirming the attribution to the artist and the approximate dating of the sheet.
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