LOT 16
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ANTHONY VAN DYCK (1599-1641) Jan de Wael
作品估价：USD 12,000 - 18,000
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成交状态：待拍
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26%
图录号：
16
拍品名称：
ANTHONY VAN DYCK (1599-1641) Jan de Wael
拍品描述：
ANTHONY VAN DYCK (1599-1641)
Jan de Wael
etching and engraving
circa 1632
on laid paper, watermark Strasbourg Lily with pendant Letters SI and WR (Mauquoy-Hendrickx 158)
a brilliant proof impression of the second state (of six), before the completion of the arm
printing very sharply and clearly, with much plate tone in the blank text border and along the sheet edges
inscribed 'Hans de Wael.' in brown ink and 'S' in red crayon below
with margins
in very good condition
Plate: 10 x 7 in. (253 x 180 mm.)
Sheet: 10 13⁄16 x 715⁄16 in. (271 x 198 mm.)Sir Peter Lely (1618-1680), London (Lugt 2092, recto); possibly his posthumous sale, Sonnius, Lankrink and Thompson, London, 11 April 1688 (and following days).
With Knoedler & Co., New York (with their stocknumber K9134 in pencil verso); The Print Collector’s Bulletin. An Illustrated Catalogue for Museums and Collectors: The Complete Etched Portrait Work of Anthony van Dyck from the Collections of Sir Peter Lely and Prosper Henry Lankrink, vol 3, n. 3.
Clendenin J. Ryan (1905-1957), New York, Short Hills, New Jersey (not in Lugt); his sale, Parke-Bernet Galleries, New York, 17-18 January 1940, lot 127 ($ 950).
Hope Bacon von Klenk (1917-1983) and William Clifford Baron von Klenk (1927-2015), New York (not in Lugt); their sale, Sotheby Parke-Bernet, New York, 16 February 1979, lot 624.
Sotheby's, New York, 20 November 1986, lot 19 ($ 35,200).
Sam Josefowitz (1921-2015), Lithuania, Switzerland, USA and England (Lugt 6093); presumably acquired at the above sale; until 2004.
With C. G. Boerner, New York (with their stocknumber Jc. 20737 in pencil verso); on consignment from the above.
Alan and Marianne Schwartz Collection, Detroit; acquired from the above in 2009; then by descent to the present owners.Hollstein 17; Mauquoy-Hendrickx 17; New Hollstein 15;
C. Depauw, G. Luijten, Anthony van Dyck as a Printmaker, 1999-2000, Amsterdam, p. 162-66, n. 20 (another impression illustrated).This portrait of the Flemish painter Jan de Wael (1558–1633) is one of a large series of printed portraits of the most famous personalities of his time, including European royalty, military men, writers and artists, known as the
Iconography ('
Icones Principum Virorum...'). Influenced by earlier Italian and French portrait series, Anthony van Dyck began organizing a print publication containing the engraved likenesses of more than a hundred prominent men of his lifetime in 1630. The artist himself only worked on 17 of the plates, including the present one, but delegating most of the work to professional engravers from his workshop. Many preparatory drawings and oil sketches for the plates have survived, but rarely come to the market. Recently, the preparatory drawing for the portrait of
Willem Hondius, in black chalk, grey and brown wash, pen and brown ink, heightened with white, resurfaced and was sold for a record price at Christie's, New York (Old Master & British Drawings,1 February 2024, for $2,107,000).
As an etcher, he seems to have been only interested in the essentials of the portraits, the faces and heads, which he captured with great spontaneity and fluidity, and left it to the engravers to complete the plates by adding the garments and background. Van Dyck's virtuosity as an etcher, draughtsman and portraitist is therefore best appreciated in the early unfinished states, which are very rare.
The present portrait is an interesting example of this working method. In the first state, of which only one impression is known (Musée du Louvre, Paris, inv. n. 2540), van Dyck had already completed the sitter's left arm and hand. Not happy with it, he burnished it out in the present second state. In the third state the arm was left unfinished but the sitter's name and artist's address were engraved in the text border below. In the fourth state the arm was completed by the publisher and engraver Gillis Hendricx.