Anthony van Dyck, Joannes Livens (Jean Lievens), c. 1700

Signed Anthony van Dyck engraving, Joannes Livens (Jean Lievens), c. 1700

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Artist:Anthony van Dyck (1599 - 1641)

Title:Joannes Livens (Jean Lievens), c. 1700

Medium:Original Engraving

Image Size:9 3/4 in x 6 1/4 in (24.8 cm x 15.9 cm)

Sheet Size:10 in x 6 5/8 in (25.4 cm x 16.8 cm)

Framed Size:approx. 23 in x 20 in (58.4 cm x 50.8 cm)

Edition:A Mauquoy-Hendrickx State VI (of VI), engraved by Lucas Vorsterman (Zaltbommel, 1595 - Antwerp, 1675) in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641). Printed on a fine paper with the grapes watermark (Mauquoy-Hendrickx 309), dating the piece to the late 1600s- early 1700s.

Signature:Signed in the plate 'Ant. van Dyck pinxit', in the lower left; also signed "Vorsterman fculp" in the lower left.

Condition:This work is in very good condition; paper thinning on corners with minute tear on upper left corner of sheet, not affecting the image.

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Gallery Price:
Item # 3671
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Historical Description of this artwork

A wonderfully detailed and charismatic portrait, this exquisite work illustrates the technical mastery and artistic vision of Van Dyck. Jean Lieven’s stately, yet approachable expression reflects Van Dyck’s refined ability to comfort and relax his subjects, resulting in a realistic and acute portrait. Jean Lievens was a Dutch painter who worked in the style of Rembrandt. Lievens gained fame from a young age, serving as a painter for the British court, drawing great influence from Van Dyck during his stay there. Upon his return from England, Lievens collaborated and shared a studio with Rembrandt van Rijn (Leiden 1606 – Amsterdam, 1669) from 1626 – 1631. They had a very competitive relationship that resulted in many paintings, drawings, and etchings that are difficult to attribute from this period. Van Dyck here depicts Lievens as a somewhat cocky young man. Lievens, with his shaggy hair and young appearance, tilts his head to the side, lifts his chin, and gazes out from the corners of his eyes. His clothing is somewhat less elaborate than other subjects in this series, yet he still appears proud and confident, gripping his garment with his right hand, his arm raised to his chest.

This portrait is a Mauquoy-Hendrickx State VI (of VI), engraved by Lucas Vorsterman (Zaltbommel, 1595 – Antwerp, 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 “Ant. Van Dyck pinxit,” and beneath that “Vorsterman fculp” and in the lower right of the plate “Cum privilegio.” Beneath the engraved portrait is the inscription: IOANNES LIVENS | PICTOR HVMANARVM FIGVRARVM MAIORVUM LVGDVNI BATTAVORVM. Printed on a fine laid paper with the grapes watermark (Mauquoy-Hendrickx 309), dating the piece to the late 1600s- early 1700s.


1) Mauquoy-Hendrickx. L’Iconographie d’Antoine Van Dyck: Catalogue Raisonne I. Bruxelles: Bibliotheque Royale Albert I, 1991. Listed as catalogue no. 85 on pg. 155.

2) Mauquoy-Hendrickx. L’Iconographie d’Antoine Van Dyck: Catalogue Raisonne II. Bruxelles: Bibliotheque Royale Albert I, 1991. Illustrated as catalogue no. 85 on pg. 54.

3) A Certificate of Authenticity will accompany this work.

Framed to archival museum grade conservation standards, this piece is framed in a complementary moulding with silk mats and optical grade Plexiglas.

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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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Artistic Styles of van Dyck

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Anthony van Dyck (1599-1641)

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.

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