Anthony van Dyck, Alexander Della Faille, c. early 1700s
|Artist:||Anthony van Dyck (1599 - 1641)|
|Title:||Alexander Della Faille, c. early 1700s|
|Image Size:||11 1/8 in x 7 3/4 in (28.3 cm x 19.7 cm)|
|Sheet Size:||12 1/8 in x 9 1/8 in (30.8 cm x 23.2 cm)|
|Framed Size:||approx. 23 in x 20 in (58.4 cm x 50.8 cm)|
|Edition:||A Mauquoy-Hendrickx State IV (of VI) engraved by Adrien Lommelin (1637-1675) in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641); printed on a fine paper with the Letters KIK watermark (Mauquoy-Hendrickx no. 337), dating the piece to the early 1700s.|
|Signature:||Signed in the plate 'Anton van Dyck pinxit' in the lower left; also signed 'A. Lommelin fculp.' in the lower right.|
|Condition:||This work is in very good condition with wide margins; slight fraying on borders of sheet; slight tape remnants on verso.|
REQUEST PRICE/SUBMIT BEST OFFER
Item # 3713
|Have One To Sell?|
Historical Description of this artwork
A wonderfully detailed and charismatic portrait, this exquisite work illustrates the technical mastery and artistic vision of Van Dyck. Alexander Della Faille’s stately yet approachable expression reflects Van Dyck’s refined ability to comfort and relax his subjects, resulting in a realistic and acute portrait. Della Faille was an alderman and senator of Antwerp. Van Dyck depicts Della Faille as calm and composed, fitting for a local government official. Della Faille grips his cloak with his right hand and gazes calmly forward, a ruffled collar around his neck and belt around his waist that creates an intriguing cross formation when overlapping the vertical row of buttons on his garment. This portrait is noteworthy for the intriguing crest in the upper left, which perhaps represents Della Faille’s family emblem.
This portrait is a Mauquoy-Hendrickx State IV (of VI), engraved by Adrien Lommelin (1637-1675) in collaboration with Anthony van Dyck (Antwerp, 1559 – London, 1641) as part of his Iconographie series of engraved portraits of famous people at the time. The plate has been marked in the lower left of the plate “Anton van Dyck pinxit” and in the lower right of the plate ‘A. Lommelin fculp.” Also marked “Giles Hendricx excudit” in the lower right of the plate. Beneath the engraved portrait is the inscription: D. ALEXANDER DELLA FAILLE nobilis, senator Antüerpienfis. This piece is printed on a fine paper with the Letters KIK watermark (Mauquoy-Hendrickx no. 337), dating the piece to the early 1700s.
DOCUMENTED AND ILLUSTRATED IN:
1) Mauquoy-Hendrickx. L’Iconographie d’Antoine Van Dyck: Catalogue Raisonne I. Bruxelles: Bibliotheque Royale Albert I, 1991. Listed as catalogue no. 107 on pg. 166.
2) Mauquoy-Hendrickx. L’Iconographie d’Antoine Van Dyck: Catalogue Raisonne II. Bruxelles: Bibliotheque Royale Albert I, 1991. Illustrated as catalogue no. 108 on pg. 65.
3) A Certificate of Authenticity will accompany this work.
ABOUT THE FRAMING:
Framed to archival museum grade conservation standards, this piece is framed in a complementary moulding with silk mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
You may also like
- Maria Clara de Croiio (Marie-Claire de Croy), c. 1645 Anthony van Dyck Engraving Signed in the PlateREQUEST PRICE/SUBMIT BEST OFFERItem # 3683
- Quintinus Simons (Quentin Simons), c. 1675 Anthony van Dyck Engraving Signed in the PlateREQUEST PRICE/SUBMIT BEST OFFERItem # 3719
- Cesar Alexander Scaglia (César-Alexandre Scaglia), c. 1654 Anthony van Dyck Engraving Signed in the PlateREQUEST PRICE/SUBMIT BEST OFFERItem # 3728
- Thomas Willeborts Bosschaert, c. 1645
Anthony van Dyck EngravingREQUEST PRICE/SUBMIT BEST OFFERItem # 3712
- Thomas Francois de Savoie, Prince de Carignan (Thomas Francis, Prince of Carignano), c. 1645 Anthony van Dyck Engraving Signed in the PlateSOLDItem # 3666
We have openings for a few new members each day. Members receive exclusive offers on our entire inventory. Join Now!
Why van Dyck?
Original Anthony Van Dyck drawings, etchings, and engravings from the 17th Century, and earlier. At 25-50% off gallery retail prices, you can invest in Van Dyck, and a piece of history.
Sell Your van Dyck
Sell your van Dyck fine art with us. We offer free evaluations.
Artistic Styles of van Dyck
Anthony van Dyck Complete Biography
News About van Dyck
Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We also want to be an educational resource to the artcommunity. We have educational fine art material for students and researchers, and we will continue to donate fine art to charities. You can see some of our donationsmade by Masterworks Fine Art. We believe the most direct way to accomplish this is byestablishing a lifetime of personal and professional relationships with our clients. More About Us »
Anthony van Dyck Biography
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.