Null Anthonius van Dyck, 1599 Antwerpen – 1641 London, zugeschrieben
SALVATOR MU…

Description

Anthonius van Dyck, 1599 Antwerpen – 1641 London, zugeschrieben SALVATOR MUNDI Oil on canvas. Doubled. 85 x 62 cm. In fluted, gilt frame. Accompanied by a copy of the following expertise: Maurizio Marini, Rome, undated; Didier Bodart, Rome, November 15, 1990. Both appraisals come to the conclusion that the work is by Anthonius van Dyck. Furthermore, a copy of a technical analysis of M.I.D.A. by Claudio Falcucci, Rome. The boy is holding up his right fingers, a red cloth is draped over the back of his head and he is stepping on the snake with his foot while leaning on a globe. The painting after a painting by Anthonius van Dyck (1599-1641), which is in the Staatliche Kunstsammlungen in Dresden (gallery no. 1025). Literature: Cf. Erik Larsen, L'opera completa del Van Dyck 1626 - 1641, vol. II, pp. 91f, no. 574. Cf. Gemäldegalerie Alte Meister, Dresden, Dresden 2007, vol. III, p. 237, no. 1025 (1400767) (13) Anthonius van Dyck, 1599 Antwerp - 1641 London, Attributed SALVATOR MUNDI Oil on canvas. Relined. 85 x 62 cm. Accompanied by an expert's report by Maurizio Marini, Rome, n.d. and by Didier Bodart, Rome, 15 November 1990, in copy. Both reports conclude that the present work is by Anthony van Dyck. Furthermore a technical analysis by M.I.D.A. by Claudio Falcucci, Rome, in copy. Literature: cf. E. Larsen, L'opera completa di Van Dyck 1626 - 1641, vol. II, pp. 91, no. 574. cf. Gemäldegalerie Alte Meister, Dresden 2007, vol. III, p. 237, no. 1025.

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Anthonius van Dyck, 1599 Antwerpen – 1641 London, zugeschrieben SALVATOR MUNDI Oil on canvas. Doubled. 85 x 62 cm. In fluted, gilt frame. Accompanied by a copy of the following expertise: Maurizio Marini, Rome, undated; Didier Bodart, Rome, November 15, 1990. Both appraisals come to the conclusion that the work is by Anthonius van Dyck. Furthermore, a copy of a technical analysis of M.I.D.A. by Claudio Falcucci, Rome. The boy is holding up his right fingers, a red cloth is draped over the back of his head and he is stepping on the snake with his foot while leaning on a globe. The painting after a painting by Anthonius van Dyck (1599-1641), which is in the Staatliche Kunstsammlungen in Dresden (gallery no. 1025). Literature: Cf. Erik Larsen, L'opera completa del Van Dyck 1626 - 1641, vol. II, pp. 91f, no. 574. Cf. Gemäldegalerie Alte Meister, Dresden, Dresden 2007, vol. III, p. 237, no. 1025 (1400767) (13) Anthonius van Dyck, 1599 Antwerp - 1641 London, Attributed SALVATOR MUNDI Oil on canvas. Relined. 85 x 62 cm. Accompanied by an expert's report by Maurizio Marini, Rome, n.d. and by Didier Bodart, Rome, 15 November 1990, in copy. Both reports conclude that the present work is by Anthony van Dyck. Furthermore a technical analysis by M.I.D.A. by Claudio Falcucci, Rome, in copy. Literature: cf. E. Larsen, L'opera completa di Van Dyck 1626 - 1641, vol. II, pp. 91, no. 574. cf. Gemäldegalerie Alte Meister, Dresden 2007, vol. III, p. 237, no. 1025.

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Estim. 1 400 - 1 800 EUR

French school; 19th century. "Rubens and Van Dyck". Oil on cardboard. They present faults in the pictorial surface. Size: 22 x 16 cm (x2); 60 x 42 cm (frames, x2). In these portraits, the author shows special skills in the characterisation of the characters, giving us clues of the temperament of each one. The depth of the expressions and the intensity of the gazes in the parchment-like faces are resolved with naturalistic language. The facial features indicate that this is a representation of Rubens and Van Dyck, both portrayed bust-face turned towards the viewer, although in Van Dyck's case the twisting is more evident. Despite their 19th-century date, the works have a Baroque aesthetic with a tenebrist lighting based on an unrealistic spotlight directed on the face, which further enhances the brightness of the flesh tones. These works were probably conceived as a tribute by the artist to these two great masters who transformed the painting of their time. Rubens was Van Dyck's teacher, but this did not prevent the young man from shining and achieving the prominence that his painting skills deserved.

Starting price 200 EUR

W. HOLLAR (1607) after DYCK (1599), Richard Weston (1577-1635), 1645, Etching Wenzel Hollar (1607 Prag - 1677 London) after Anthonis van Dyck (1599 Antwerp - 1641 London): Portrait of Richard Weston (1577-1635), the first Earl of Portland, 1645, Etching Technique: Etching on Paper Watermark: - PINAUD - Date: 17th century Inscription: At the lower part signed in the printing plate: "Antonius van Dyck pinxit / W. Hollar fecit aqua forti / Ioannes Meyssens excudit.". Lower middle inscribed in the printing plate: "Per Illustris Dominus Hieronymus Westonius Comes Portlandiae / Heylandiaeq. etc". Date: 1645 Description: Portrait of Richard Weston, first Earl of Portland. Frontal bust portrait. The portrait subject's head is tilted to the left. Weston wears a moustache and beard, a ruff, a ribbon with a medal and a cloak and cape over his right shoulder. Person: Depicted: Earl Richard Weston, Portland (1605 - 1663 ) Published by: Johannes Meyssens (1612 Brussels - 1670 Antwerp) Source: Anthonis van Dyck (1599 Antwerp-1641 London) Icones principum virorum doctorum pictorum chalcographorum statuariorum nec non amatorum pictoriae artis numero centum, 1680 | print suite, Mythology Keywords: Earl, portrait, ruff, collar, medal, 17th century, Baroque, Portraits, Netherlands, Size: Paper: 24,3 cm x 19,3 cm (9,6 x 7,6 in)

Starting price 450 EUR

A. LEMOINE (1824) after DE KEYSER (1813), Rubens painting, around 1860, Etching Alfred Lemoine (1824 Paris - 1881 ibid.) after Nicaise de Keyser (1813 Antwerp - 1887 ibid.): Rubens painting the so-called Woman with the Straw Hat, c. 1860, Etching Technique: Etching and Copper engraving on Paper Inscription: At the lower part signed in the printing plate: "Peint par N. DeKeyser. / Gravé par Lemoine.". At the lower part inscribed in the printing plate: "Rubens peignant la femme dite au chapeau de Paille". lower left further inscription: "Delaire, Editeur, 18 rue J. J. Rousseau, Paris". At the lower part additional inscription: "Imp. Par Alfred Chardon jeune, 3, rue Racine Paris / E. Jouy, Eidteur, 56, Boulevard Sebastopol, Paris". Date: c. 1860 Description: Several people from Peter Paul Rubens' circle are depicted. Rubens himself sits in front of an easel and holds his painting utensils in his hand. Those present are listening to a singer singing in the foreground. To her right, Rubens' pupil, Anthonis van Dyck, is playing the lute. Ruben's wife, Hélène Fourment, sits in the centre of the picture. Behind her stands Ruben's patron, the regent and Archduke Albrecht VII. Person: Depicted: Peter Paul Rubens (1577 - 1640 ) Depicted: Anthonis van Dyck (1599 Antwerp - 1641 London) Flemish painter and graphic artist of the Flemish Baroque period Keywords: Baroque, Rubens, portrait, music, lute, singing, making music, painting, artist's studio, 19th century, Romanticism, Depiction of Artists, France, Size: Paper: 70,0 cm x 87,0 cm (27,6 x 34,3 in), Plate: 62,0 cm x 79,5 cm (24,4 x 31,3 in), Depiction: 49,8 cm x 69,8 cm (19,6 x 27,5 in)

Starting price 300 EUR

Vorstermann der Ältere, LucasDie Beweinung Christi. Um 1634. Kupferstich auf Bütten. 34,1 cm x 43,5 cm (34,5 x 43,5 cm). Mit der gestochenen Signatur, der Widmung an Anthony van Dyck und George Gage sowie mit dem Privileg der spanischen Krone. Unter Glas gerahmt. - Ränder etwas unregelmäßig geschnitten, am rechten Rand beschnitten. Vereinzelt Randeinrisse (der längste ca. 3,4 cm), teils verso hinterlegt. Mit einer vertikalen, geglätteten Falzspur. Verso mit Spuren der Montierung in den oberen Ecken und leichte Anschmutzungen. Insgesamt noch gut. - Ausgezeichneter, prachtvoller und kontrastreicher Abzug der nahezu formatfüllenden Darstellung. Alte Kunst - Graphik Vorstermann der Ältere, Lucas Die Beweinung Christi. Um 1634. Kupferstich auf Bütten. 34,1 cm x 43,5 cm (34,5 x 43,5 cm). Mit der gestochenen Signatur, der Widmung an Anthony van Dyck und George Gage sowie mit dem Privileg der spanischen Krone. Unter Glas gerahmt. - Ränder etwas unregelmäßig geschnitten, am rechten Rand beschnitten. Vereinzelt Randeinrisse (der längste ca. 3,4 cm), teils verso hinterlegt. Mit einer vertikalen, geglätteten Falzspur. Verso mit Spuren der Montierung in den oberen Ecken und leichte Anschmutzungen. Insgesamt noch gut. - Ausgezeichneter, prachtvoller und kontrastreicher Abzug der nahezu formatfüllenden Darstellung. Hollstein 32, New Hollstein 539. - 2.-5. Etat, unser Blatt mit den Inschriften "Anton. van Dyck inuen" und "Cum priuilegio", die ab dem 6. Etat in der Formulierung verändert sind. - Hg. von Vorstermann dem Älteren in Zusammenarbeit mit Anthonis van Dyck. - Nach dem gleichnamigen Gemälde von 1628 - 1630 von Anthonis van Dyck (1599-1641), unser Stich die seitenverkehrte Kopie. Copper engraving on laid paper. With the engraved signature, the dedication to Anthony van Dyck and George Gage and with the privilege of the Spanish crown. Framed under glass. - Margins a bit irregularly cut, right margin cut. Occasional marginal tears, partially closed on the verso. With a vertical, smoothed fold mark. On the verso with traces of mounting in the upper corners and slight soiling. Still good. - Superb, splendid and high-contrast impression of the almost full-format depiction. - 2nd-5th state, our sheet with the inscriptions "Anton. van Dyck inuen" and "Cum priuilegio" which change from the 6th state on. - Edited by Vorstermann the Elder in collaboration with Anthonis van Dyck. - After the painting of the same name from 1628 - 1630 by Anthonis van Dyck (1599-1641), our engraving the laterally reversed copy.

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