Anthony van Dyck, Thomas Francois de Savoie, Prince de Carignan (Thomas Francis, Prince of Carignano), c. 1645
Signed Anthony van Dyck engraving, Thomas Francois de Savoie, Prince de Carignan (Thomas Francis, Prince of Carignano), c. 1645
|Artist:||Anthony van Dyck (1599 - 1641)|
|Title:||Thomas Francois de Savoie, Prince de Carignan (Thomas Francis, Prince of Carignano), c. 1645|
|Image Size:||9 1/4 in x 7 1/4 in (23.5 cm x 18.4 cm)|
|Sheet Size:||9 1/4 in x 7 1/4 in (23.5 cm x 18.4 cm)|
|Framed Size:||23 in x 19 3/4 in (58.4 cm x 50.2 cm)|
|Edition:||A Mauquoy-Hendrickx State IV (of IV) from the Giles Hendrickx edition, engraved by Paulus Pontius (Antwerp, 1603 - Antwerp, 1658) in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641); printed on fine paper with 2 partial unidentified watermarks.|
|Signature:||Signed in the plate 'Ant. van Dyck pinxit', in the lower center; also signed "Paul Pontius fculp" in the lower left.|
|Condition:||This work is in very good condition.|
Item # 3666
|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. Thomas Francois de Savoie, Prince de Carignan’s stately yet approachable expression reflects Van Dyck’s refined ability to comfort and relax his subjects, resulting in a realistic and acute portrait. Thomas Francois de Savoie was an Italian military commander and the founder of the Savoy-Carignano branch of the House of Savoy which reigned as kings of Sardinia from 1831-1861 and as the kings of Italy from 1861 until the dynasty’s fall in 1946. Van Dyck depicts Thomas Francois in armor, sword sheathed at his side. He stands tall and proud, the victor of many battles. Francois’ hands, in particular, appear large in comparison to his body, perhaps representing his might on the battlefield. Van Dyck places his subject against the background of a clouded sky, perhaps hinting at the tumult that follows Francois when he is on the war path.
This portrait is a Mauquoy-Hendrickx State IV (of IV) from the Giles Hendrickx edition, engraved by Paulus Pontius (Antwerp, 1603 – Antwerp, 1658) 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 center of the plate “Ant. Van Dyck pinxit,” and in the lower left “Paul Pontius fculpit” and in the lower right of the plate “Cum privilegio.” Beneath the engraved portrait is the inscription: SERENISSMVS PRINC. FRANCISVS. THOMAS. A. SABAVDIA PRINC. | CARIGNANI. ETC. ARMOR. ET. EXERCIT. CATH.? MAI.TIS IN. BELG. | PR?FECT. ET. GVBERNAT. GENERAL. This piece is printed on a fine paper with 2 partial unidentified watermarks.
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. 63 on pg. 142-143.
2) Mauquoy-Hendrickx. L’Iconographie d’Antoine Van Dyck: Catalogue Raisonne II. Bruxelles: Bibliotheque Royale Albert I, 1991. Illustrated as catalogue no. 63 on pg. 41.
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
- Richard Weston, 1st Earl of Portland, c. 1675 Anthony van Dyck Engraving Signed in the PlateREQUEST PRICE/SUBMIT BEST OFFERItem # 3722
- Gerardus Segers (Gérard Seghers), c. 1680-1690 Anthony van Dyck Engraving Signed in the PlateREQUEST PRICE/SUBMIT BEST OFFERItem # 3668
- Cesar Alexander Scaglia (César-Alexandre Scaglia), c. 1654 Anthony van Dyck Engraving Signed in the PlateREQUEST PRICE/SUBMIT BEST OFFERItem # 3728
- Martinus Pepyn (Martin Pepyn), c. 1675-1690 Anthony van Dyck Engraving Signed in the PlateREQUEST PRICE/SUBMIT BEST OFFERItem # 3716
- Alexander Della Faille, c. early 1700s Anthony van Dyck Engraving Signed in the PlateREQUEST PRICE/SUBMIT BEST OFFERItem # 3713
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.