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VAN DYCK, Anthony, Adam van Noort (ca. 1680s)
Sir Anthony van Dyck was a Flemish painter who was one of the most important and prolific portraitists of the 17th century. He is also considered t… [Read biography »]
Signed Anthony van Dyck (1599 - 1641), Original Etching and Engraving, Adam van Noort (ca. 1680s)  |
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| Artist: | van Dyck, Anthony (1599 - 1641) |
|---|---|
| Title: | Adam van Noort (ca. 1680s) |
| Medium: | Original Etching and Engraving |
| Image Size: | 9.5 in x 5.75 in (24.13 x 14.61 cm) |
| Sheet Size: | 10.69 in 7.56 in (27.15 x 19.2 cm) |
| Framed Size: | 26 in x 22.52 in (66.04 x 57.2 cm) |
| Signed: | Signed in the plate 'Ant. Van Dyck fecit aqua forti', in the lower left |
| Edition: | Lifetime Impression. Seventeenth century impression, noted by the Bunch of Grapes and Star with BR watermark from the 1680s |
| Condition: | This work is in excellent condition, with wide margins well outside the plate mark. A dark impression with great detail! |
Price :Item# 1932 | $2,500 To speak directly with the Director, Alex Adelman, please call (510) 777-9970 / 1-800-805-7060. |
| Description: | |
A wonderfully detailed and charismatic portrait, this exquisite work illustrates the technical mastery and artistic vision of van Dyck. Van Noort's stately, and yet approachable expression, reflects van Dyck's refined ability to comfort and relax his sitters, resulting in a realistic and acute portrait. This lifetime impression etching and engraving is printed on a fine paper containing a Bunch of Grapes and BR*(star) watermark (Heawood 2290, ) dating this work to the 1680s. Signed in the plate 'Ant. Van Dyck fecit aqua forti', in the lower left, this work is in excellent condition, some conservation to the margin by a professional conservator that does not affect the image. A large and dark impression with great detail! The title of the work reads below the image 'Adamus van Noort Antuerpiæ Pictor Iconum.' Depicting a noble man with a regal air about him, the delicate linear details of his face and hair give a sense of volume and realism to the image. Positioned in side profile, van Noort gives us subtle bits of information about himself through his posture, dress and general appearance. His well groomed facial hair, ruffled collar and regal sash indicate that he is a man of learning, he is accomplished but not of the royal elite, and his strong stance with clenched left fist, firmly grasping the toga-like sash speaks to the strength of his character. Utilizing detail gradation, the artist illustrates the shawl around the figure in a more ghostly image than the face, hair and collar. The importance placed on the facial features, beard, hair, and hand reflects the artist's interest in the portrait sitter, rather than the secondary details of the environment and clothing. A fine dark impression with extraordinary detailing-this is a marvelous example of van Dyck's refined trademark style. Catalogue Raisonné & COA: 1) National Gallery of Art, Van Dyck 350, 1994, documented with details on page 357. 2) Pallatyne Press London, Etching of Van Dyck, cat. no. 20 on page 19 and illustrated as plate XX. 3) Hind, Arthur, Van Dyck: His Original Etchings and His Iconography, 1915, image pictured on pg 26 with details on pg 101. 4) Heawood, Edward, Watermarks Mainly of the 17th and 18th Centuries, 1969, Bunch of Grapes and BR*(star) watermark listed as no. 2290 with details on page 115. About the Framing: | |
Biography of Anthony van Dyck
Sir Anthony van Dyck was a Flemish painter who was one of the most important and prolific portraitists of the 17th century. He is also considered to be one of the most brilliant colorists in the history of art.
Van Dyck was born on March 22, 1599, in Antwerp, son of a rich silk merchant, and his precocious artistic talent was already obvious at age 11, when he was apprenticed to the Flemish historical painter Hendrik van Balen. He was admitted to the Antwerp guild of painters in 1618, before his 19th birthday. He spent the next two years as a member of the workshop of the Flemish painter Peter Paul Rubens in Antwerp. Van Dyck's work during this period is in the lush, exuberant style of Rubens, and several paintings attributed to Rubens have since been ascribed to van Dyck.
From 1620 to 1627 van Dyck traveled in Italy, where he was in great demand as a portraitist and where he developed his maturing style. He toned down the Flemish robustness of his early work to concentrate on a more dignified, elegant manner. In his portraits of Italian aristocrats—men on prancing horses, ladies in black gowns—he created idealized figures with proud, erect stances, slender figures, and the famous expressive “van Dyck” hands. Influenced by the great Venetian painters Titian, Paolo Veronese, and Giovanni Bellini, he adopted colors of great richness and jewel-like purity. No other painter of the age surpassed van Dyck at portraying the shimmering whites of satin, the smooth blues of silk, or the rich crimsons of velvet. He was the quintessential painter of aristocracy, and was particularly successful in Genoa. There he showed himself capable of creating brilliantly accurate likenesses of his subjects, while he also developed a repertoire of portrait types that served him well in his later work at the court of Charles I of England.
Back in Antwerp from 1627 to 1632, van Dyck worked as a portraitist and a painter of church pictures. In 1632 he settled in London as chief court painter to King Charles I, who knighted him shortly after his arrival. Van Dyck painted most of the English aristocracy of the time, and his style became lighter and more luminous, with thinner paint and more sparkling highlights in gold and silver. At the same time, his portraits occasionally showed a certain hastiness or superficiality as he hurried to satisfy his flood of commissions. In 1635 van Dyck painted his masterpiece, Charles I in Hunting Dress (Louvre, Paris), a standing figure emphasizing the haughty grace of the monarch.
Van Dyck was one of the most influential 17th-century painters. He set a new style for Flemish art and founded the English school of painting; the portraitists Sir Joshua Reynolds and Thomas Gainsborough of that school were his artistic heirs. He died in London on December 9, 1641.
