Anthony van Dyck, Joannes de Wael
|Artist:||Anthony van Dyck (1599 - 1641)|
|Title:||Joannes de Wael|
|Medium:||Original Etching and Engraving|
|Image Size:||8 1/4 in x 6 5/8 in (20.96 cm x 16.84 cm)|
|Sheet Size:||9 3/4 in x 7 in (24.77 cm x 17.78 cm)|
|Framed Size:||22 1/4 in x 19 1/4 in (56.52 cm x 48.90 cm)|
|Edition:||From a later edition printed C. 1641, before Hendricx's edition|
|Signature:||Signed in the plate 'Ant. Van Dyck fecit aqua forti', in the lower left. Later edition printed CA 1641|
|Condition:||This work is in good condition, with full margins and a defined plate mark|
Item # 1934
|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. De Wael’s stately, yet approachable expression reflects van Dyck’s refined ability to comfort and relax his subjects, resulting in a realistic and acute portrait.
Originally created in 1641, this portrait had become part of a series of 84 engraved portraits created by van Dyck in hopes of compiling his work in a published portfolio entitled “Iconographie.” The plate has also been marked in the lower left of the plate “Ant. Van Dyck fecit aqua forti.” Beneath the engraved name is the inscription: ANTVERPIÆ PICTOR HVMANARVM FIGVRARVM.
According to Frank Newbolt, van Dyck has depicted de Wael in such a way as to have revealed acute personality traits and characteristics otherwise overlooked by other portrait makers of the time. “The pose and modeling of the head make it one of the best of the series” (17) . The ¾ turn accents the prominent forearm and shoulder of the subject, allowing it to project into our space through its extraneous attention to detail and skill with burin in all the shaded and highlighted areas. The first state of this print shows de Wael as unfinished, however, the heavy, engraved background had been completed earlier on, suggesting the etcher’s intent of the work to be completed by the engraver.
Catalogue Raisonné & COA:
It is fully documented and referenced in (copies will be enclosed as added documentation with the invoices that I will enclose with the sale of the work) :
1) Newbolt, Frank. Etchings of Van Dyck, Ballantyne Press: London. Listed as cat. no. 9 on pg. 17 and illustrated as plate IX.
2) Hind, Arthur. Van Dyck: His Original Etchings and His Iconography, Houghton Mifflin: New Yor, 1915. Listed on pg. 102 as W. 17; D. 16 and illustrated on pg. 31.
About the Framing:
Conservation framed with museum quality archival materials, this work is mounted in a Spanish-style black and gold moulding whose intricately carved fleur-de-lys accents compliment van Dyck’s engraved mastery. The refined gold leaf details with subtle hints of red and black highlights the shadows and remarkable details within this work. Completed with white, linen-wrapped mats and a matching gold inner fillet, this work is set behind an archival Plexiglas cover.
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.
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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.