Anthonius Van Dyck

Belgium (Antwerp 1599London 1641 ) - Artworks
VAN DYCK Anthonius Portrait Of Frances Devereux, Countess Of Hertford, And Later Duchess Of Somerset (1599–1674)

Sotheby's /Jul 9, 2014
499,064.18 - 748,596.27
832,762.50

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Variants on Artist's name :

Dyck Van Anthony

Dyck Van Antoine

Dyck, Van Anton

 

Artworks in Arcadja
1377

Some works of Anthonius Van Dyck

Extracted between 1,377 works in the catalog of Arcadja
Anthonius Van Dyck - Portrait Study Of A Bearded Man

Anthonius Van Dyck - Portrait Study Of A Bearded Man

Original
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Gross Price
Lot number: 59
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Description:
Sir Anthony van Dyck ANTWERP 1599 - 1641 LONDON PORTRAIT STUDY OF A BEARDED MAN oil on canvas 14 7/8 by 12 1/2 in.; 37.8 by 31.8 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Probably acquired by Andrew Fountaine (1808 -1874), Narford Hall, Norfolk; By descent to his nephew Algernon Charles Fountaine (1851-1909), Narford Hall, Norfolk; By whom sold (‘Pictures from the celebrated Fountaine Collection, removed from Narford Hall, Norfolk’’), London, Christie’’ s, 7 July 1894, lot 9 (‘W. Dobson –Head of a Gentleman), for 48 guineas to Butler: Charles Butler, Warren Wood, Hatfield, Hertfordshire; His sale, London, Christie’’s, 7 July 1911, lot 42 (‘W.Dobson – Head of Inigo Jones’’), for £110. 5s. to Balley; Mrs. Elizabeth Holbrooke, Bladon Castle, Burton-on-Trent; Her sale et. al., London, Christie’’s, 6 May 1938, lot 13, £33 12s. to Read; Sir Bruce Ingram (1877-1963), O.B.E., M.C., London, and Great Pednor Manor, Chesham, Bucks, by 1941; By whose Executors sold, London, Sotheby’’s, 11 March 1964, lot 11 (as Van Dyck) for £4,200 to Singer; Possibly Mrs. Burchard, London, by 1965 (according to a label on the reverse of the frame); With Matthias Komor, New York; From whom purchased by the present collector. Exhibited London, Royal Academy, 1895, no. 36 (as Inigo Jones by Dobson); London, Royal Academy of Arts, Flemish Art, 1300–1700, 1953–54, no. 439 (as by Van Dyck); New York, The Metropolitan Museum of Art, on loan, c. 1969– 1983 and again 1998 - 2000 (as Dobson). Literature A. Graves, A Century of Loan Exhibitions 1813-1912, vol. I, London 1913, p. 288; T. Borenius, ‘Addenda to the work of Van Dyck’’, The Burlington Magazine, LXXIX, 1941, p. 203, pl. II A; Catalogue of the exhibition, Flemish Art, 1300–1700, London, Royal Academy of Arts 1953–54, p. 119, no. 439; E. Larsen, L’’Opera completa di Van Dyck,2 vols, Milan 1980, vol. I, p. 94, no. 131 (as whereabouts unknown, datable to 1617–18); E. Larsen, The Paintings of Anthony Van Dyck, 1988, vol. II, p. 54, no. 103 (incorrectly as oil on panel and in Munich, Alte Pinakothek). Only very recently re-assessed and restored to its rightful place in Van Dyck’’s oeuvre, this sketch has had a colorful and distinguished English provenance. When it was sold at auction in 1894 it came from the distinguished collections formed by the Fountaine family at Narford Hall in Norfolk. It was not marked in the auction catalogue, however, as one of the many paintings that had originally formed part of the remarkable collection at Narford begun by Sir Andrew Fountaine (1676-1753) in the 18 th century. It is more likely therefore that it was an acquisition by his grandson Andrew Fountaine IV (1808-1874) the most significant collector in the family since that date. It is particularly interesting to note that even by then the sketch bore a traditional(?) attribution to William Dobson (1611-1646), Van Dyck’’ s most important follower in England in the mid -17 th century. By the time its next owner, Charles Butler, had lent it to the Royal Academy exhibition the following year, the sitter had been identified as Inigo Jones (1573-1652), the pre-eminent architect, designer, connoisseur and arbiter artium of the court of King Charles I. Comparison with Van Dyck’’s portrait of Jones, painted around 1633 and today in the Hermitage in Saint Petersburg, 1 or indeed with William Dobson’’s own portrait of him, probably painted the following decade and today at Chiswick House in London, 2 render this identification unconvincing. Dobson’’s own ad vivum sketch for this portrait also survives in the National Maritime Museum in Greenwich. 3 Dobson’’s broader and drier handling of paint in the latter does not suggest his authorship for the present canvas, and indeed by the time this sketch was shown in the great Flemish exhibition at London’’s Royal Academy in 1953-54, at which time it belonged to the notable English collector Sir Bruce Ingram, Van Dyck’’s authorship had been restored. The identification of the sitter as Inigo Jones was discounted. It is not easy, however, to assign this work a specific date. It does not appear to be a preliminary study for any extant work by Van Dyck, whether a portrait of more extended piece. The features and hair of the sitter do seem to suggest that he was English, and therefore the work may date from early in his English period, from the spring of 1632 onwards. 1. S.Barnes, N. de Poorter, O. Millar and H. Vey, Van Dyck. A Complete Catalogue of the Paintings, New Haven and London, 2004, p. 539, cat no. IV.142. reproduced. 2. Exhibited, London, National Portrait Gallery, William Dobson 1611-1646, 21 October 1983 – 8 January 1984, no. 27. 3. Ibid, p. 63, under no. 27, reproduced fig. 19.
Anthonius Van Dyck - Pieter Bruegel The Younger

Anthonius Van Dyck - Pieter Bruegel The Younger

Original 1630
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Gross Price
Lot number: 86
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Description:
ANTHONY VAN DYCK Pieter Bruegel the Younger. Etching, circa 1630. 245x154 mm; 9 5/8x6 1/8 inches, thread margins on 3 sides, trimmed just inside the blank lower margin. First state (of 5), with the entire etched image by Van Dyck's hand and before the additional work and all letters. Laurel wreath with an eagle watermark (Maquoy/Hendrickx 252). A superb, early impression of this extremely scarce etching. Hollstein 2; Maquoy/Hendrickx 2.
Anthonius Van Dyck - Portrait Of Erasmus Of Rotterdam

Anthonius Van Dyck - Portrait Of Erasmus Of Rotterdam

Original
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Lot number: 55
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Description:
Anthonis van Dyck (Antwerp 1599-1641 London) Portrait of Erasmus of Rotterdam, etching, on fine laid paper, watermark "seven-etched foolscap with three balls“ and letter"P", titled "Erasmus Rotterdamus" and inscribed "Ant. van Dyck fecit aqua forti" in the plate, 24,3 x 15,6 cm, with tiny margins along platemarks, Hollstein 5 II (of IV), mounted, framed, (Sch) Provenance: Collector’’’’s mark W. Koller (Lugt 2632) on the verso anonymous collector’’’’s mark Adler (Lugt 2808), handwritten numbering No. 676; anonymous collector’’’’s mark: escutcheon with double figure with crown and laurel wreath (not with Lugt). From the series "Icones Principum Virorum", after a portrait in Parma formerly ascribed to Hans Holbein. Very excellent print of the IInd state with numerous traces of wiping, before the monogram G. H. and the erased etching defects. The lower left corner completed, otherwise in excellent condition. Specialist: Mag. Astrid-Christina Schierz
Anthonius Van Dyck - Portrait Of Frances Devereux, Countess Of Hertford, And Later Duchess Of Somerset (1599–1674)

Anthonius Van Dyck - Portrait Of Frances Devereux, Countess Of Hertford, And Later Duchess Of Somerset (1599–1674)

Original
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Gross Price
Lot number: 18
Other WORKS AT AUCTION
Description:
By descent from the sitter to her grandson-in-law, Thomas Thynne (1640–1714), later 1st Viscount Weymouth; Possibly acquired by Lady Elizabeth Percy (1667–1722), widow of Thomas Thynne, cousin of Viscount Weymouth, who married the 6th Duke of Somerset in 1687; By descent to her grand daughter who married Sir Hugh Smithson, later 1st Duke of Northumberland (1714–1786); Thence by descent. London, Royal Academy, 1906, no. 101; London, Royal Academy, Exhibition of 17th Century Art in Europe, 1938, no. 90; London, Royal Academy, Flemish Art 1300–1700, 1953–54, no. 222. Earls and Dukes of Northumberland, The House of Percy SOLD BY ORDER OF THE 12TH DUKE OF NORTHUMBERLAND AND THE TRUSTEES OF THE NORTHUMBERLAND ESTATES Sir Anthony van Dyck ANTWERP 1599 - 1641 LONDON PORTRAIT OF FRANCES DEVEREUX, COUNTESS OF HERTFORD, AND LATER DUCHESS OF SOMERSET (1599–1674) oil on canvas 120.5 by 96.5 cm.; 47 ½ by 38 in. The following condition report is provided by Sarah Walden who is an external specialist and not an employee of Sotheby's: Sir Anthony Van Dyck. Portrait of Frances Devereux. This painting has a recent lining and stretcher, and recent restoration. There is a very fine craquelure. The modelling of the distinctive features is beautifully intact, with some thinness only in the upper forehead on each side of the central curl. A few minute retouchings are visible there under ultra violet light. The hair drawn back above the forehead is finely preserved however. The wider curls seem to have been sketched in at early sittings over scarcely toned canvas, and reworked later. The chest is finely preserved as is much of the dark drapery and the jewellery, with a few rather thinner places in the hands and arm, where there is a single minor damage, a small knock on the wrist, since carefully retouched. Some of the deeper greys in the silk folds of the dress have small strengthening touches, with reinforcements in the outline of the arm for instance and by the hand on the ledge. Reinforcement of the upper outline of the head can also be seen under ultra violet light with many small strengthening touches in the outer background on the left and particularly on both sides of the upper background which are thinner than elsewhere, while the background to the right has remained rather well preserved, and older varnish has been left perhaps wisely in places along the base. Essentially however the figure itself in this impressive portrait has largely remained in beautiful condition. This report was not done under laboratory conditions. "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
Anthonius Van Dyck - Head Study Of A Man In A Ruff

Anthonius Van Dyck - Head Study Of A Man In A Ruff

Original
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Lot number: 18
Other WORKS AT AUCTION
Description:
Sir Anthony van Dyck (Antwerp 1599-1641 London) Head study of a man in a ruff oil on canvas 21¾ x 17¾ in. (55.3 x 45.1 cm.) Jeremiah Harman (c. 1764-1844), Higham House; (+) Christie's, London, 17-18 May 1844, lot 26, as 'van Dyck' (63 gns. to Gates). Charles Yorke, 5th Earl of Hardwicke (1836-1897), at Wimpole Hall, Cambridgeshire, and by descent. Thomas Agar-Robartes, 6th Viscount Clifden (1880-1915), at Wimpole Hall, Cambridgeshire, from 1894, and by descent. Private collection, Maidenhead, by 1941. with Martin B. Asscher, London, by 1951. Sir Charles Clore (according to a label on the reverse of the frame). Anonymous sale; Christie's, London, 18 December 1987, lot 111, as 'Follower of Sir Anthony van Dyck' (unsold); Christie's, London, 21 April 1988, lot 20, as 'Follower of Sir Anthony van Dyck' (£1,000). Acquired by the present owner in Cheshire, in 2002. The Property of Father Jamie MacLeod J. Smith, A Catalogue Raisonné, etc., London, 1831, pp. 195-96, no. 677. T. Borenius, 'Addenda to the work of van Dyck', The Burlington Magazine, LXXIX, December 1941, p. 200, pl. 1D.
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