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Anthonius Van Dyck

Belgium (Antwerp 1599 -  London 1641 )
VAN DYCK Anthonius Portrait Of A Man

Auctionata /May 4, 2016
50.00 - 350.00
175.00

Find artworks, auction results, sale prices and pictures of Anthonius Van Dyck at auctions worldwide.
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Variants on Artist's name :

Dyck Van Anthony

Dyck Van Antoine

Dyck, Van Anton

 

Artworks in Arcadja
1585

Some works of Anthonius Van Dyck

Extracted between 1,585 works in the catalog of Arcadja
Anthonius Van Dyck - Portrait D'anne Sophie, Comtesse De Carnarvon

Anthonius Van Dyck - Portrait D'anne Sophie, Comtesse De Carnarvon

Original -
Estimate:

Price:

Lot number: 40
Other WORKS AT AUCTION
Description:
Clocks and Barometers +44 20 7293 5538 jonathan.hills@sothebys.com Sir Anthony van Dyck ANVERS 1599 - 1641 LONDRES PORTRAIT D’’’’’’’’ANNE SOPHIE, COMTESSE DE CARNARVON SIR ANTHONY VAN DYCK ; PORTRAIT OF ANNE SOPHIA, COUNTESS OF CARNARVON ; OIL ON CANVAS ; BEARS A LABEL WITH INSCRIPTIONS ON THE STRETCHER Huile sur toileInscriptions sur une étiquette au revers du châssis [...] 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. 198 x 129,5 cm ; 78 by 51 in
Anthonius Van Dyck - Portrait Of A Lady

Anthonius Van Dyck - Portrait Of A Lady

Original 1620
Estimate:

Price:

Gross Price
Lot number: 10
Other WORKS AT AUCTION
Description:
Lot Description Sir Anthony van Dyck (Antwerp 1599-1641 London) Portrait of a lady, believed to be Penelope, Lady Bayning (1620-1647), later Lady Herbert, half-length, in a blue satin gown oil on canvas 30 ¼ x 25 3/8 in. (77 x 64.5 cm.) Special Notice These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance George Spencer-Churchill, 5th Duke of Marlborough (1766-1840), Blenheim Palace, by 1831, and by descent to, George Charles Spencer-Churchill, 8th Duke of Marlborough (1844-1892), Blenheim Palace; his sale, Christie’’’’’’’’s, London, 31 July 1886 [=3rd day], lot 237 (51 gns. to Waters). (Probably) with Charles Henry Waters (d. 1886). Anonymous sale [Colonel E.A. Bulwer]; Christie’’’’’’’’s, London, 1 July 1921, lot 20 (173 gns. to Graves). The Hon. David Herbert (1908-1995). Pre-Lot Text Property from the Collection of Claudio Bravo Literature J. Smith, A Catalogue Raisonné of the Works of the most eminent Dutch, Flemish and French painters, London, 1831, p. 77, no. 254, as ‘the Duchess of Richmond’’’’’’’’. G. Scharf, A List of the Pictures in Blenheim Palace, London, 1862, I, p. 137, as ‘Van Dyck, Penelope Naunton, Countess of Pembroke’’’’’’’’. Exhibition of the works of Sir Anthony van Dyke, The Grosvenor Gallery, London, 1887, under no. 16, as ‘Countess Pembroke’’’’’’’’. View Lot Notes >
Anthonius Van Dyck - Portrait Of Jean Charles De Cordes Portrait Of Jacqueline

Anthonius Van Dyck - Portrait Of Jean Charles De Cordes Portrait Of Jacqueline

Original
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Starting price:

Price:

Lot number: 1253
Other WORKS AT AUCTION
Description:
Description: These two portraits are copies of paintings now kept in the Musées royaux des Beaux-Arts in Brussels, which have formerly been ascribed to Peter Paul Rubens and Antonis van Dyck, whereby modern research tends towards the attribution to van Dyck (cf. exhib. cat. Brussels 2007: Rubens, l´atelier du génie. Tielt 2007, p. 140). Jean Charles (Jan Karel) de Cordes was a member of a wealthy aristocratic family who originated from the County of Hennegau but later settled in Antwerp. He married Jacqueline van Caestre, daughter of Jan van Caestres, member of the grand council of Mechelen, in Antwerp in 1617. However, she died just half a year after the marriage and Jan Karel outlived her by almost a quarter of a century. Notes: VAT: Margin scheme Dimensions: Each 74 x 60 cm Artist or Maker: Anthony Van Dyck, copy after Medium: Oil on canvas (relined)
Anthonius Van Dyck - Portrait Of A Man

Anthonius Van Dyck - Portrait Of A Man

Original
Estimate:
Starting price:

Price:

Net Price
Lot number: 1
Other WORKS AT AUCTION
Description:
Lot 1: Anthonis van Dyck, Copper Engraving, Portrait of a Man, 17th C. Description: Copper engraving on paper, laid down on cardboard Belgium, 1st half of the 17th century Anthonis van Dyck (1599-1641) – Flemish painter and graphic artist of Flemish Baroque and free assistant to Peter Paul Rubens Inscribed at the upper margin in the plate ‘Bart Weyfs fici ingi / Hans Sielbings Pictor / Ant. van Dyck del:’’’’’’’’ Portrait of an honorable man In a florally carved, partly green painted wooden frame Dimensions: 18.8 x 15.2 cm This is a copper engraving by the Flemish painter Anthonis van Dyck. Depicted is a detailed and charismatic portrait of an honorable man. The work demonstrates the technical skills of van Dyck as well as his ability to create realistic and accurate portraits. This man appears in confident and proud attitude. One hand is placed to his chest and his look is gazing into the far. Van Dyck makes use of strong contrasts between black, white and grey. The portrait was engraved by Bart Weyfs, painted by Hans Sielbings and drawn by Anthonis van Dyck.
Anthonius Van Dyck - Saint Paul

Anthonius Van Dyck - Saint Paul

Original
Estimate:

Price:

Lot number: 48
Other WORKS AT AUCTION
Description:
Anthony van Dyck (Antwerp 1599–1640 London)Saint Paul,oil on panel, 64.5 x 49.5 cm, framed On the reverse the coat-of-arms of the City ofAntwerp and the panelmakers mark of Guilliam Aertssen (active 1612–1626).Provenance:Private European collection;sale, Christie’’’’s, London, 3 December 2014, lot 119 (as Studio ofAnthony van Dyck)At least three series of Apostles by the hand of Anthony van Dyckare known, all of which were, however, dispersed a long time ago.The last complete series was purchased by the Munich art dealerJulius Böhler in 1914 from the collection of the Principessa diCellamare in Naples and is still generally regarded as the firstseries. Our painting of Paul the Apostle is almost identical tothat formerly with Böhler and now preserved in theNiedersächsisches Landesmuseum in Hanover, although it is by nomeans an exact copy. All of the other pictures of Saint Paulattributed to Van Dyck are distinctly inferior in quality whencompared to the Böhler picture and the present lot. A seriesconsisting of five apostles (three of which bear the mark of thepanel maker Guilliam Aertsens, as does the present painting) isowned by the Dresden Gemäldegalerie. Until 1984, a third series,which likewise comprised five paintings, figured in the collectionof Earl Spencer in Althorp House (for the current state of researchof these three series, see A. Vergara and F. Lammertse in: TheYoung Van Dyck, exh. cat., Madrid, 2013, pp. 200–211). The picturesof Paul from the Dresden and Spencer series are considered lost. Ithas repeatedly been pointed out that the three series stronglydeviate from one another in terms of style and that distinctstylistic differences can also be observed within the individualseries. The dates assigned to the three series vary; today it isgenerally assumed that they were executed between 1618 and1620.The panel maker Guilliam Aertsen, whose mark appears on the presentpainting, was active between 1612 and 1626. A dendrochronologicalexamination of the panel carried out by Prof. Peter Klein inHamburg established 1609 as the earliest possible date at which thetree from which the panel derives might have been cut. Given thatthe timber had to dry for at least two years, the panel cannot havebeen used before 1611. The painting of Paul the Apostle stands outfor the spontaneity of its brushwork. There is no evidence thatmore than one hand was involved in its execution. The age of thepanel suggests that the painting was executed in Van Dyck’’’’s earlyperiod, when the artist would not have allowed a workshopcollaborator to produce copies of his works without hisparticipation.Susan J. Barnes, co-author of the catalogue raisonné of Van Dyck’’’’spaintings published in 2004, has examined the present painting inthe original. She has arrived at the conclusion that suchindicators as the painting’’’’s unmistakable quality, thedendrochronological findings, and the mark of the panel maker pointto that the painting dates from Van Dyck’’’’s early years, i.e., hisfirst Antwerp period.
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