Print Page
Email to FriendThe School of Van Dyck, Engraving, Antonius Triest (Antoine Triest), c. 1650 - 1660  |
Place your cursor over the thumbnails below to view the full-size image:
| Artist: | The School of Van Dyck (1600 - 1700) |
|---|---|
| Title: | Antonius Triest (Antoine Triest), c. 1650 - 1660 |
| Medium: | Original Engraving |
| Image Size: | 9 3/8 in x 6 7/8 in (23.8 cm x 17.5 cm) |
| Sheet Size: | 9 3/4 in x 7 in (24.8 cm x 17.8 cm) |
| Framed Size: | approx. 24 1/2 in x 21 5/8 in (62.2 cm x 54.9 cm) |
| Signed: | Signed in the plate 'Ant. van Dyck pinxit' in the lower left; also signed 'Pet. de Ioden fcup' in the lower left. |
| Edition: | A copy in reverse after the original engraving by Anthony van Dyck (Antwerp, 1559 - London, 1641). This piece is printed on a fine paper with the Cow in a Shield with Crown watermark (Mauquoy - Hendrickx no. 281), dating this piece to c. 1650 - 1660. |
| Condition: | This work is in very good condition; slight paper thinning along right border with tape remnants on verso. |
|
Super Price
|
Item# 3730
|
|
Created in reverse after an original engraving from Van Dyck's "Iconographie" series, this portrait truly captures the essence of its subject. As the Bishop of Bruges, Antoine Triest appears draped in rich garbs before monumental columns, a man with a powerful position and a commanding appearance. |
|
|
Read more about our pricing |
|
|
Gallery Price: This is a common gallery retail price Read more about our pricing |
|
|
Request Invitation: We have openings for a few new members each day. Members receive exclusive offers on our entire inventory. |
|
| Historical Description: | |
| A wonderfully detailed and charismatic portrait, this exquisite work illustrates
the technical mastery and artistic vision of the artist. Triest was the fifth
Bishop of Bruges and then the Bishop of Ghent. As the Bishop of Bruges, he took
as his motto "Confidenter" (with confidence) and sought to improve
the relationship between the governments of Bruges and the Liberty of Bruges.
He also strove to restore the Catholic faith based on strict adherence to religious
rules. As the Bishop of Ghent, he became the dominant figure in the revival
of Catholicism in Ghent. He excelled in piety and charity and was known as a
man who was social and warm hearted with a particular fondness for art. The
artist depicts Triest as a somewhat stern man seated indoors before massive
columns with a rich drapery behind him. He looks at the viewer with a sideways
glance, completely covered in a flowing garment except for his right hand, emerging
with a ring on his finger.
This piece is a copy in reverse after the original engraving by Anthony van Dyck (Antwerp, 1559 - London, 1641). The plate has been marked in the lower left of the plate "Ant. van Dyck pinxit" and 'Pet. de Ioden fcup." Also marked "GH" in the lower center and "cum privilegio" in the lower right. Beneath the engraved portrait is the inscription to the left: PERILLVS ET RE.MVS DNVS D. ANTONIVS TRIEST EPISCOPVS GANDAVENSIS | TOPARCHA DOMINY S.TI BAVONIS COMES EVERGHEMIENSIS ET REGI? MA.TI | A CONSILIO STATVS ETC. This piece is printed on a fine paper with the Cow in a Shield with Crown watermark (Mauquoy - Hendrickx no. 281), dating this piece to c. 1650 - 1660.
1) Mauquoy-Hendrickx. L'Iconographie d'Antoine Van Dyck: Catalogue Raisonne
I. Bruxelles: Bibliotheque Royale Albert I, 1991. Listed as catalogue no. 13
on pg. 110.
| |
| Style: | Old Master |
About Us: Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We believe the most direct way to accomplish this is by establishing a lifetime of personal and professional relationships with our clients. More About Us »
Do you own a similar The School of Van Dyck to sell? We offer free evaluations.
Biography of The School of Van Dyck
Anthony van Dyck (Antwerp, 1559 - London, 1641) collaborated with masterful engravers to create his remarkable Iconography series, a large and extensive series of prints with half-length portraits of eminent contemporaries. Van Dyck produced drawings and, for eighteen of the portraits, he himself engraved the plates with the heads and the main outlines of the figures with much skill. However, for most of the series, he left the printmaking work to specialists who engraved the plates based on Van Dyck's own drawings. The series was highly successful and exists as Van Dyck's only venture into printmaking. It was also greatly influential as a commercial model for reproductive printmaking, as Van Dyck's work was greatly admired by other artists as being accessible and possible to emulate to certain level of exactness.
Van Dyck's success with the Iconography series compelled him to maintain a large
workshop in London. While he did have assistants and students such as Adriaen
Hanneman (1604 - 1671), Van Dyck's Iconography prints are considered more of
a collaborative effort with other known artists, who engraved these works of
portraiture after original sketches and paintings by Van Dyck.
