Anton van Dyck Paintings & Artwork for Sale | Anton van Dyck Art Value Price Guide

Nov. 22, 2024
Dyck, Anthony van (1599-1641) (after). "Michael Mirevelt, iconum pictor in Hollandia."
Est: €40 - €60
Dyck, Anthony van (1599-1641) (after). "Michael Mirevelt, iconum pictor in Hollandia." Engraving by JACOB WILLEMSZ. DELPHIUS, 23,5x19 cm., engr. captions and "cum privilegio" below. - ADDED: an engr. portrait of "Thomas Muntzer" by ROMEYN DE HOOGHE (from A. GODFRIED, Historie der kerken en ketteren, 1701).
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Nov. 22, 2024
Dyck, Anthony van (1599-1641) (by/ after). Icones Principum Virorum Doctorum (...).
Est: €1,000 - €1,500
Dyck, Anthony van (1599-1641) (by/ after). Icones Principum Virorum Doctorum (...). Collection of 112 engravings and etchings i.a. by the artist, Lucas VORSTERMAN, Wenzel HOLLAR and Petrus DE JODE, each ±24x17 cm. - All but a few on thick woven paper, w. wide margins; most plates sl. or trifle foxed in margins, a few worse. = All but a few with the blindstamp "Chalcographie du Louvre Musées Imperiaux" (printed during the French second empire, 1852-1870) (Lugt 1695, variant). I.a. 11 etched portraits by Van Dyck himself: the title print with his selfportrait (NH I, 5th state of 6, before the adjustment of the title), Jan Brueghel the Elder (New Hollstein 2, 6th state of 6), Pieter Brueghel (New Hollstein 3, 6th and final state), Desiderius Erasmus (NW 4, 5th state), Frans Francken (NH 5, 6th and final state), Adam van Noort (NH 7, 6th state of 7, before the removal of the rust stains), Paulus Pontius (NH 8, 7th and final state), Jan Snellinck (NH 9, 7th and final state), Lucas Vorsterman (NH 12, 7th and final state), Willem de Vos (NH 14, 6th or 7th state), Jan de Wael (NH 15, 7th and final state).
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Nov. 20, 2024
After Sir Anthony van Dyck, Flemish 1599-1641- Portrait of a gentleman, possibly the sculptor Duq
Est: £200 - £300
After Sir Anthony van Dyck, Flemish 1599-1641- Portrait of a gentleman, possibly the sculptor Duquesnoy, wearing a ruff; watercolour on ivory, oval, 4.8 x 3.9 cm. Ivory submission reference: 88E96JJG. Provenance: Private Collection, UK. Note: The present portrait is a copy after Van Dyck's original, now held in the Royal Museum of Fine Arts of Belgium [3928], which is believed to depict the sculptor François Duquesnoy (1597-1643), known as 'Il Fiammingo', holding a carved head.
Roseberys
Nov. 16, 2024
Anthony VAN DYCK: "Lucas Vorstermans" - Etching
Est: $800 - $1,200
17th century Belgian etched portrait on laid paper, depicting Lucas Vorstermans, by Anthony Van Dyck (Flemish, 1599-1641), from his series "The Iconography". [Image: 220 mm H x 151 mm W; Sheet: 244 mm H x 156 Mm W]. Light soiling and toning.
Roland Auctions NY
Nov. 16, 2024
Anthony Van Dyck, attributed to, Portrait of a 37 Year Old Man in a Dark Robe
Est: €50,000 - €60,000
This portrait of a young man in dark clothing under a red velvet drapery was attributed to the Flemish painter Anthony van Dyck in expertises by Gustav Glück, Léo Van Puyvelde and Erik Larsen (see catalogue of the 856th Lempertz auction of 22 May 2004). However, it is not listed in the catalogue raisonné published in the same year by Susan J. Barnes, Nora De Poorter, Oliver Millar and Horst Vey (Van Dyck. A complete Catalogue of the paintings, New Haven 2004). Glück described the painting as ‘an excellent, genuine and characteristic work, distinguished by its lively expression and ingeniously free painterly modelling of the head’, while E. Larsen published the portrait in 1993 with the following words: ‘The sitter is unknown to us, but his simple and solemn garb suggests a lawyer or magistrate. Van Dyck knew how to lend the composition a baroque verve, which is visible in the clothing but is also counterbalanced by the colouristically muted curtain. Not only the expressive face, but also the beautifully drawn and modelled hands are highly characteristic of Van Dyck.’
Kunsthaus Lempertz KG
Nov. 13, 2024
VAN DYCK Antoon (1599 - 1641). Suiveur de. Tableaux Huile sur toile maroufl
Est: €700 - €900
VAN DYCK Antoon (1599 - 1641). Suiveur de. Tableaux Huile sur toile marouflée sur panneau "Vierge allaitant l'Enfant Jésus". Suiveur de Antoon Van Dyck. Ecole flamande. Epoque: fin XVIIème. Dim.:+/-52x44cm.
Vanderkindere
Nov. 12, 2024
Anthony Van Dyck (1599-1641), A portrait of Franciscus Snyders, engraving, 10" x 6.5" (25.5 x 16.5cm), unframe
Est: £70 - £100
Anthony Van Dyck (1599-1641), A portrait of Franciscus Snyders, engraving, 10" x 6.5" (25.5 x 16.5cm), unframed.
John Nicholson's Fine Art Auctioneers & Valuers
Oct. 28, 2024
Flemish or Italian school of the seventeenth century. Following models of ANTON VAN DYCK (Antwerp, 1599 - London, 1641). "Drunken Silenus". Oil on canvas. It presents restorations.
Est: €15,000 - €18,000
Flemish or Italian school of the seventeenth century. Following models of ANTON VAN DYCK (Antwerp, 1599 - London, 1641). "Drunken Silenus". Oil on canvas. It presents restorations. Measurements: 72 x 52 cm; 88 x 69 cm (frame). The most faithful follower of Dionysus, Silenus, has been characterized as a decadent satyr, old and drunk, with a reddened face and a prominent belly. A branch of branches of branches falls on his crown. He is accompanied by four figures who help him stand. The flabby flesh of the Silenus contrasts with the smooth skin of the beautiful maenad who holds him with one of her arms. On his right side, a young man wrapped in a red robe watches him with a stern countenance, as if reprimanding him. Behind him, an animalized character with very dark skin sticks out his tongue, also intoxicated by the excesses of the Dionysian ritual. His tanned skin adds another note of color in a painting in which the contrasting palette contributes to the drama of the scene. A third satyr drinks wine from a ceramic jug with great avidity. On an earthy background, the warm tones of the robes predominate, in dialogue with the cold lights of the stormy atmosphere. With respect to the original work by Anton Van Dyck (currently kept in the Gemäldegalerie Kunstsammlungen in Dresden), the version we are dealing with preserves the spirited treatment of the stroke, the broad and enveloping brushstroke, the naturalism imprinted in the expressions and the deep carnality of the bodies, the latter inherited from the teaching of Rubens. In the present painting, the author allows himself certain licenses in the substitution of the blues of the feminine mantle for sienna and amber. It is a spirited painting, executed with extraordinary fugue, full light and large brushstrokes. The figures are squeezed together, completely filling the surface of the canvas, and the drunkenness of the obese old man is expressed in an orgy of color, in the warm flesh tones enhanced by that red cloak and that blue mantle, whose tonalities are so peculiar to Van Dyck. This was a work of Van Dyck's youth. He had begun to collaborate in the workshop of Rubens (before his trip to Italy in 1621). In the paintings of this period we can appreciate his taste for rustic human types and for highlighting textures. This youthful work is dated at the time when he established himself as a master in the painters' guild and began to collaborate professionally in the workshop of Rubens. In it, however, the spirit of the master is already fully alive. Mythology is the pretext for the orgy of color and sensualism. Anton Van Dyck began his training with Van Balen, a Romanist painter, in 1609. In 1615-16 he worked with Jordaens, and between 1617 and 1620 with Rubens, who said that he was his best pupil. In 1620 he visited England for the first time, in the service of James I. In London he enjoyed greater freedom and left aside religious painting to devote himself fully to portraiture. Between 1621 and 1627 he completed his training with a trip to Italy, where he was impressed by Bolognese painting and the works of Titian, and here he achieved his mature, refined and elegant style, as well as establishing his own type of portrait, which became a model for Western painting. In 1629 he was again in London, this time working for King Charles I, who admired Titian's work and saw in Van Dyck his heir. Thus, he dismissed all his painters, having found in Van Dyck the court painter he had wanted for years. In 1640, on the death of Rubens, the painter returned to Antwerp to finish the works he had left unfinished. The following year he moved to Paris, and returned to London for health reasons, dying shortly thereafter at his home in the English capital. Anton Van Dyck is represented in major museums around the world: the Louvre, the Prado, the Kunsthistorisches in Vienna, the National Gallery and the British Museum in London, the Hermitage in St. Petersburg and the Metropolitan in New York.
Setdart Auction House
Oct. 26, 2024
A. ARNST (19th) after DYCK (*1599), Stand portrait of Alexander von Croi, Lithography
Est: €60 - €100
A. Arnst (19th century) after Anthonis van Dyck (1599 Antwerp - 1641 London): Stand portrait of the Alexander von Croi, 19th century, Lithography Technique: Hand colored Lithography on Paper, rolled-on on Paper Inscription: Inscribed in print below the stand portrait on the backing sheet with the sitter's name and information on the original painting: "Aus der Königlich Bayerischen Pinakothek zu München für Werke älterer Meister". Date: 19th century Keywords: 19th century, Romanticism, Portraits, France, Size: Paper: 49,9 cm x 36,2 cm (19,6 x 14,3 in), Depiction: 32,3 cm x 21,5 cm (12,7 x 8,5 in)
Fichter Kunsthandel
Oct. 26, 2024
A. LOMMELIN (17th) after DYCK (*1599), Marie de Barbançon, Copper engraving
Est: €120 - €200
Adriaen Lommelin (17th century) after Anthonis van Dyck (1599 Antwerp - 1641 London): Portrait of Marie de Barbançon (1754-1793), Princess of Arenberg Half portrait in half profile, 18th century, Copper engraving Technique: Copper engraving on Paper Inscription: Inscribed below the image in the printing plate with "Maria die Gratiâ Princeps Comes Arenbergiæ Princeps Barbansonia etca.". Signed below by the artist with "Ant. va Dÿck pinxit. Adrian Lommelin sculpsit.". Date: 18th century Description: Half-portrait in half-profile, seated in richly decorated dress and draped with numerous pearls. Keywords: 18th century, Baroque, Portraits, Belgium, Size: Paper: 31,0 cm x 22,0 cm (12,2 x 8,7 in), Plate: 28,2 cm x 19,8 cm (11,1 x 7,8 in), Depiction: 25,8 cm x 19,3 cm (10,2 x 7,6 in)
Fichter Kunsthandel
Oct. 25, 2024
Antoon van Dyck (FL 1599-1641) Icones Principum etc
Est: $300 - $500
1878 Antoon/Anthony/Antoine van Dyck (Flemish 1599-1641 ) Cent Portraits de Princes, Savants, Illustres Artistes Etc. Published Ferdinand Organia Venice- 1878 folio of restrike engravings by van Dyck (not collated) with original onion skins, some losses around margins, marks on cover. 23 x 15" limited edition 71/100
Merrill's Auctioneers & Appraisers
Oct. 23, 2024
ANTON VAN DYCK. After. Portrait of the Countess of Oxford.
Est: €400 - €450
Oil on canvas Partial copy of the original (1638) kept in the Prado Museum, Madrid. Provenance: collection of the architect Bernardí Martorell i Montells (1877-1937), Barcelona; private collection. 53x43.5 cm.
Balclis
Oct. 23, 2024
ANTHONY VAN DYCK (1599-1641). Jan de Wael. Plate: 10 x 7 in. (253 x 180 mm.
Est: $12,000 - $18,000
ANTHONY VAN DYCK (1599-1641). Jan de Wael. Plate: 10 x 7 in. (253 x 180 mm.) Sheet: 10 13⁄16 x 7.15⁄16 in. (271 x 198 mm.).
Christie's
Oct. 22, 2024
Circle of Anthony van Dyck
Est: €6,000 - €8,000
(Antwerp 1599–1641 London) Study of a saint, oil on paper laid down on panel, 39 x 27 cm, framed Provenance: Private collection, Austria; where acquired by the present owner
Dorotheum
Oct. 10, 2024
FLEMISH SCHOOL, FOLLOWER OF ANTHONY VAN DYCK (1599-1641): PORTRAIT OF JAN VAN MALDEREN OR JOHANNES MALDERUS, OIL ON CANVAS, CA. 1700
Est: €800 - €1,200
Work: 61,5 x 45,5 cm Frame: 81,5 x 66,5 cm Johannes Malderus (1563-1633) was the fifth bishop of Antwerp and the founder of Malderus College at the University of Leuven.
Coronari Auctions
Oct. 01, 2024
ANTHONY VAN DYCK
Est: CHF300 - CHF400
(Antwerpen 1599–1641 Blackfriars/London) "Ioannes Breugel: Antverpiae pictor florum et ruralium prospectuum" (Bildnis des Malers Jan Bruegel d. Ä.). Um 1632. Radierung. LM 24x15 cm. Gerahmt.
Schuler Auktionen
Sep. 27, 2024
Dyck, Anthonius van
Est: €2,200 - €3,300
(1599-1641), Schule. Dornenkrönung. Öl auf Holz. Linke Seite etwas gekürzt. Bildgrösse: 66 x 41 cm. - Dyck, Anthonius van (school). Oil on wood, framed. Left side somewhat shortened. D
Kiefer Buch- und Kunstauktionen
Sep. 26, 2024
ANTHONIUS VAN DYCK, 1599 ANTWERPEN – 1641 LONDON, NACHFOLGE DES
Est: €6,000 - €8,000
BEWEINUNG CHRISTI Öl auf Leinwand. Doubliert. 100 x 130 cm. In mit Goldornamenten dekoriertem Rahmen. Im Zentrum der vom Kreuz genommene Jesus auf einem weißen Laken, das teils auch seinen Schambereich bedeckt, mit seinem Oberkörper und den Armen im Schoß der hinter ihm sitzenden Maria in blauem Gewand liegend. Sie hat ihre Arme nach unten ausgestreckt, hält mit ihrer rechten Hand den Unterarm Jesu und blickt mit verweinten Augen zum Himmel. Hinter ihr der Kreuzbalken mit der darauf befestigten Inschrift „I.N.R.I.“ rudimentär zu erkennen. Links drei Engel, von denen besonders der mittlere mit seinen großen Flügeln und einem leuchtend roten Gewand herausragt, die alle den Leichnam betrachten und ihn beweinen. Im rechten Hintergrund des Himmelsbereiches Cherubim erkennbar. Das Gemälde ist eine seitenverkehrte Kopie eines Originals von Anthonius van Dyck, das von ihm um 1628 bis 1630 angefertigt wurde und sich heute in der Alten Pinakothek in München befindet. (14111412) (3) (13)
Hampel Fine Art Auctions
Sep. 26, 2024
ANTHONIUS VAN DYCK, 1599 ANTWERPEN – 1641 LONDON, ZUGESCHRIEBEN
Est: €14,000 - €18,000
SALVATOR MUNDI Öl auf Leinwand. Doubliert. 85 x 62 cm. In gekehltem, vergoldeten Rahmen. Beigegeben folgende Gutachten in Kopie: Maurizio Marini, Rom, ohne Datum, sowie Didier Bodart, Rom, 15. November 1990. Beide Gutachten kommen inhaltlich zu dem Schluss, dass es sich um ein Werk von Anthonius van Dyck handelt. Ferner eine technische Analyse von M.I.D.A. von Claudio Falcucci, Rom, in Kopie. Der Knabe hält die rechten Finger erhoben, ein rotes Tuch zieht über den Hinterkopf hinweg, mit dem Fuß tritt er auf die Schlange, während er sich auf einen Globus stützt. Das Gemälde nach einem Gemälde von Anthonius van Dyck (1599-1641), das sich in den Staatlichen Kunstsammlungen in Dresden befindet (Galerienr. 1025). Literatur: Vgl. Erik Larsen, L‘opera completa del Van Dyck 1626 - 1641, Bd. II, S. 91f, Nr. 574. Vgl. Gemäldegalerie Alte Meister, Dresden 2007, Bd. III, S. 237, Nr. 1025. (1400767) (13) Anthonius van Dyck, 1599 Antwerp – 1641 London, attributed SALVATOR MUNDI Oil on canvas. Relined. 85 x 62 cm. Accompanied by an expert‘s report by Maurizio Marini, Rome, n.d. and by Didier Bodart, Rome, 15 November 1990, in copy. Both reports conclude that the present work is by Anthony van Dyck. Furthermore a technical analysis by M.I.D.A. by Claudio Falcucci, Rome, in copy. Literature: cf. E. Larsen, L‘opera completa di Van Dyck 1626 - 1641, vol. II, pp. 91, no. 574. cf. Gemäldegalerie Alte Meister, Dresden 2007, vol. III, p. 237, no. 1025.
Hampel Fine Art Auctions
Sep. 14, 2024
SIR ANTHONIS (ANTOON) VAN DYCK (NACHFOLGER, UM 1900) MONUME
Est: €3,900 - €7,800
FOLLOWER OF SIR ANTHONIS (ANTOON) VAN DYCK AROUND 1900 22 March 1599 Antwerp - 9 December 1641 London MONUMENTAL PAINTING CHARLES I AT THE HUNT Oil on canvas. 255 x 214 cm (F. 275 x 234 cm). Part. min. old rest. Frame. Provenance: South German private collection. SIR ANTHONIS (ANTOON) VAN DYCK (NACHFOLGER, UM 1900) 22. März 1599 Antwerpen - 9. Dezember 1641 London MONUMENTALES GEMÄLDE KARL I AUF DER JAGD Öl auf Leinwand. 255 x 214 cm (R. 275 x 234 cm). Part. min. altrest. Rahmen. Provenienz: Süddeutsche Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Sep. 14, 2024
ANTHONY VAN DYCK (WAHRSCHEINLICH WERKSTATT) PORTRAIT EINES
Est: €3,000 - €6,000
PROBABLY WORKSHOP OF ANTHONY VAN DYCK 22 March 1599 Antwerp - 9 December 1641 London PORTRAIT OF AN ANTWERP SENATOR Oil on canvas (old relined). 126 x 100 cm (F. 129 x 103.5 cm). Part. old rest., old retouching. Frame. Provenance: Rhenish private collection. ANTHONY VAN DYCK (WAHRSCHEINLICH WERKSTATT) 22. März 1599 Antwerpen - 9. Dezember 1641 London PORTRAIT EINES ANTWERPENER SENATORS Öl auf Leinwand (altdoubl.). 126 x 100 cm (R. 129 x 103,5 cm). Part. altrest., Altretuschen. Rahmen. Provenienz: Rheinische Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Sep. 14, 2024
ANTHONY VAN DYCK (WERKSTATT) APOSTEL PAULUS
Est: €5,000 - €10,000
WORKSHOP OF ANTHONY VAN DYCK March 22, 1599 Antwerp - December 9, 1641 London APOSTLE PAULUS Oil on oak panel. 64 x 47.5 (F. 73.5 x 57.5 cm). Part rest., old retouching. Attached comprehensive restoration report by Kerstin Stemme, Cologne. Frame. Provenance: Rhenish private collection. ANTHONY VAN DYCK (WERKSTATT) 22. März 1599 Antwerpen - 9. Dezember 1641 London APOSTEL PAULUS Öl auf Eichenholztafel. 64 x 47,5 (R. 73,5 x 57,5 cm). Part. rest., Retuschen. Beigefügter umfangreicher Restaurierungsreport von Kerstin Stemme, Köln. Rahmen. Provenienz: Rheinische Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Sep. 14, 2024
ANTHONIS VAN DYCK (UMKREIS ODER NACHFOLFE) LANDSCHAFT MIT S
Est: €1,000 - €2,000
CIRCLE OR FOLLOWER OF ANTHONIS VAN DYCK ('Also Anton van Dijck and Antony van Dyck') 22 March 1599 Antwerp - 9 December 1641 London LANDSCAPE WITH PLAYING PUTTI Oil on copper on panel (cradled). 45.5 x 37 cm (F. 56 x 37 cm). Part. slightly old rest., min. old retouching. Frame. Provenance: Berlin private collection. ANTHONIS VAN DYCK (UMKREIS ODER NACHFOLFE) ('Auch Anton van Dijck und Antony van Dyck') 22. März 1599 Antwerpen - 9. Dezember 1641 London LANDSCHAFT MIT SPIELENDEN PUTTI Öl auf Kupfer auf Tafel (parkettiert). 45,5 x 37 cm (R. 56 x 37 cm). Part. leicht altrest., min. Altretuschen. Rahmen. Provenienz: Berliner Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Sep. 14, 2024
ANTHONIS VAN DYCK (NACHFOLGER) BEWEINUNG CHRISTI
Est: €2,500 - €5,000
FOLLOWER OF ANTHONIS VAN DYCK 1599 Antwerp - 1641 London LAMENTATION OF CHRIST Oil on canvas (relined). 52 x 70 cm (F. 78 x 96 cm). Slightly old rest., min. old retouching. Frame. Provenance: South German private collection. ANTHONIS VAN DYCK (NACHFOLGER) 1599 Antwerpen - 1641 London BEWEINUNG CHRISTI Öl auf Leinwand (doubl.). 52 x 70 cm (R. 78 x 96 cm). Leicht altrest., min. Altretuschen. Rahmen. Provenienz: Süddeutsche Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Sep. 12, 2024
ANTHONY VAN DYCK
Est: CHF300 - CHF400
(Antwerpen 1599–1641 Blackfriars/London) "Ioannes Breugel: Antverpiae pictor florum et ruralium prospectuum" (Bildnis des Malers Jan Bruegel d. Ä.). Um 1632. Radierung. LM 24x15 cm. Gerahmt.
Schuler Auktionen
Sep. 10, 2024
Tableaux VAN DYCK Antoon (1599 - 1641). Suiveur de.
Est: €1,400 - €2,100
Huile sur toile marouflée sur panneau "Vierge allaitant l'Enfant Jésus". Suiveur de Antoon Van Dyck. Ecole flamande. Epoque: fin XVIIème. Dim.:+/-52x44cm.
Vanderkindere
Sep. 07, 2024
Anthony (Anthonis) van Dyck
Est: €2,600 - €5,200
(1599 Antwerpen - 1641 Blackfriars/London) Umkreis Brustbildnis eines vornehmen, hochstehenden Herrn In ein Oval komponiertes, repräsentatives Porträt eines englischen Adeligen im Viertelprofil, dargestellt in der Tracht der Zeit als Feldherr mit messingverziertem Harnisch und feiner, weißer Spitzen-Halskrause. Der hohe Rang des Dargestellten wird dem Betrachter zudem durch die kostbare, reich bestickte Schärpe ("Sash") vor Augen geführt, die dieser über die rechte Schulter gelegt hat. Das Gemälde zeigt Bezüge zu bekannten Bildnissen der Porträtmalerei der Zeit, die Anthony van Dyck prägte. 1620/21 war er erstmals in London und von 1632-1641 wieder in England tätig. Seine bedeutenden Zeitgenossen waren der Holländer Michiel van Mierevelt (1567 - 1641) und der in England wirkende Daniel Meytens (1590 - 1647), die George Villiers, 1st Duke of Buckingham, sowie Henry Wriothesley, 3. Earl of Southampton, in vergleichbarer Weise malten. Öl/Lwd., doubl.; 72 cm x 61 cm. Rahmen. Circle of Anthony (Anthonis) van Dyck (1599 - 1641). Oil on canvas, relined.
Kunstauktionshaus Schloss Ahlden
Sep. 07, 2024
Anthony (Anthonis) van Dyck
Est: €14,000 - €28,000
(1599 Antwerpen - 1641 Blackfriars/London) attr.; Bildnis der Heiligen Maria Magdalena Auf den Kopf Maria Magdalenas konzentriertes Bildnis, die ihren Blick hoch zum Himmel gerichtet hat und mit ihrer linken Hand eine Strähne ihres langen, gewellten, roten Haares fasst. Gemalt ist das Werk mit dem für van Dycks Porträts stilcharakteristischen weichen Farbenschmelz und Licht sowie einem subtil modellierenden Chiaroscuro, welche die Figur umhüllt. Laut der Expertise von Prof. Dr. Gustav Glück handelt es sich um ein Werk "aus seiner reifen Zeit, um 1630". Van Dyck, der bereits mit 19 Jahren als unabhängiger und anerkannter Meister in Antwerpen arbeitete und 1618 als Freimeister der dortigen Lukasgilde eingetragen wurde, widmete sich in einer größeren Werkreihe von Gemälden und Zeichnungen dem Thema der büßenden Maria Magdalena. Dies geschah schon während seiner Zusammenarbeit mit Peter Paul Rubens 1617-1620 in Antwerpen, der ihn 1618 als seinen "besten Schüler" bezeichnete. Auch später findet sich das Motiv immer wieder im Oeuvre van Dycks, sowohl als Kopf als auch in größerer Darstellung als Halb- und Ganzfigur. Öl/Lwd., alt auf Holztafel kaschiert. 42,5 cm x 34,5 cm. Ebonisierter Flammleisten-Rahmen des 17 Jhs., wohl original. Beigefügt: Expertise von Professor Dr. Gustav Glück, Liechtenstein Galerie, Wien, 24.09.1934. Der österreichische Kunsthistoriker Gustav Glück (1871 Wien - 1952 Santa Monica/Kalifornien) leitete 1911-1931 bis zu seiner Pensionierung die Gemäldegalerie des Kunsthistorischen Museums in Wien und wurde zum Geheimen Hofrat ernannt. Nach dem "Anschluss" Österreichs 1938 musste er in die USA emigrieren. Er befasste sich in mehreren Publikationen intensiv mit Peter Paul Rubens und Anthony Van Dyck. Provenienz: Auktion Kastern, Hannover, 29.03.2001, Lot 13; deutsche Privatsammlung. Attributed to Anthony (Anthonis) van Dyck (1599 - 1641). Oil on canvas, laid down on panel. Probably original frame. Accompanied by an expertise from Prof. Dr. Gustav Glück, Vienna, 24th of September 1934.
Kunstauktionshaus Schloss Ahlden
Jul. 27, 2024
D. POUND (19th) after DYCK (*1599), Danae and the laburnum, Steel engraving
Est: €90 - €150
D. J. Pound (19th century) after Anthonis van Dyck (1599 Antwerp - 1641 London): Danae and the shower of gold Zeus visits Danae in prison, 19th century, Steel engraving Technique: Steel engraving on Paper Inscription: Danae and the Golden Rain Danae and the Golden Rain Date: 19th century Description: Steel engraving after the painting by Anthonis van Dyck depicting Danae receiving Zeus in the form of a shower of gold. Keywords: Danae, Metamorphoses, Ovid, 19th century, Baroque, Mythology, Germany, Size: Paper: 22,0 cm x 29,3 cm (8,7 x 11,5 in), Plate: 12,2 cm x 18,0 cm (4,8 x 7,1 in)
Fichter Kunsthandel
Jul. 27, 2024
J. OBERNETTER (*1840) after DYCK (*1599), Rest on the run for Egyptians, heliogravure/photogravure
Est: €300 - €400
Johann Baptist Obernetter (1840 Munich - 1887 ibid.) after Anthonis van Dyck (1599 Antwerp - 1641 London): Biblical scene Rest on the flight to Egypt, masterpiece, 19th century, heliogravure/photogravure Technique: heliogravure/photogravure on Paper Inscription: Signed "Nach Anthonys van Dyck" on the left below the collotype in the printing plate and signed "Heliogravure Obernetter München." on the right, titled "Ruhe auf der Flucht nach Egypten" below. Date: 19th century Description: Rest on the Flight to Egypt. Masterpiece after Van Dyck. Keywords: 19th century, Baroque, Religious, Egypt, Size: Paper: 54,5 cm x 44,7 cm (21,5 x 17,6 in), Plate: 37,1 cm x 28,8 cm (14,6 x 11,3 in), Depiction: 31,1 cm x 25,9 cm (12,2 x 10,2 in)
Fichter Kunsthandel
Jul. 27, 2024
After DYCK (*1599), Artist François Duquesnoy, Copper engraving
Est: €150 - €250
After Anthonis van Dyck (1599 Antwerp - 1641 London): Portrait of the Flemish artist François Duquesnoy, 18th century, Copper engraving Technique: Copper engraving on Paper Inscription: Signed in the lower left corner of the printing plate, inscribed in the upper centre and on the right side Date: 18th century Keywords: Farmer, Reformer, Agriculture, 18th century, Baroque, People, Germany, Size: Paper: 35,5 cm x 29,0 cm (14 x 11,4 in)
Fichter Kunsthandel
Jul. 16, 2024
(CIRCLE FO) ANTHONIUS VAN DYCK (1599-1641), PORTRAIT OF CORNIELUS VAN DER GEEST
Est: €1,500 - €2,500
(CIRCLE FO) ANTHONIUS VAN DYCK (1599-1641), PORTRAIT OF CORNIELUS VAN DER GEEST Oil on oak wood. Carved and gilded wood frame (defects). Dim.: 81x56.5 cm.
Renascimento
Jul. 16, 2024
VAN DYCK ANTOON (1599 - 1641) - Follower of. Jupiter as satyr and Antiope
Est: €2,500 - €4,500
VAN DYCK ANTOON (1599 - 1641). Follower of. Jupiter as satyr and Antiope. 149,50 x 115,00 cm.
Capitolium Art
Jul. 09, 2024
After Sir Anthony van Dyck, Flemish 1599-1641- Portrait of Michel le Blo
Est: £150 - £250
After Sir Anthony van Dyck, Flemish 1599-1641- Portrait of Michel le Blon; oil on oak panel, 27.5 x 22.5 cm.
Roseberys
Jul. 09, 2024
Circle of Sir Anthony van Dyck, Flemish 1599-1641- Portrait of James Sta
Est: £4,000 - £6,000
Circle of Sir Anthony van Dyck, Flemish 1599-1641- Portrait of James Stanley, 7th Earl of Derby, half-length, wearing armour; oil on canvas, 36.1 x 30.4 cm. Provenance: The Property of the Right Hon. the Earl of Derby, MC, removed from Knowsley Hall, Prescot, Lancashire. his sale, Christie's, London, 31 March 1967, lot 80. Private Collection, UK. Note: The present portrait is informed by Van Dyck's c.1636 painting of 'James Stanley, Lord Strange, Later Seventh Earl of Derby, with His Wife, Charlotte, and Their Daughter', now in the Frick Collection in New York [1913.1.40], with this interpretation isolating the figure of Stanley (1607-1651), and depicting him in military costume. The depiction of Stanley in armour emphasises the sitter's role as a prominent supporter of Charles I (1600-1649) and the Royalist cause during the English Civil War (1642-1651), for which he was charged with treason and executed in 1651. Numerous versions of this same composition, contemporaneous with the present work, have been recorded, such as that in the Derby Collection at Knowsley Hall, Merseyside, and another, almost strikingly similar work by a pupil of Van Dyck which sold at Dorotheum, Vienna, on 10 November 2022 (lot 221) for €11,000. Another, larger-scale, depiction of Stanley in armour informed by Van Dyck's original composition is in the collection of the Government of the Isle of Man, where Stanley served as Governor.
Roseberys
Jul. 05, 2024
English Civil War.- van Dyck (Anthony) After. Prints. King Charles I. and the Heads of The Noble Earls, Lords, and others, who suffered for their Loyalty in the Rebellion and Civil-Wars of Englan...
Est: £150 - £200
van Dyck (Anthony), After. Prints. King Charles I. and the Heads of The Noble Earls, Lords, and others, who suffered for their Loyalty in the Rebellion and Civil-Wars of England, letterpress title, 2pp. preface and 10 engraved plates by Vertue after Van Dyck and others incorporating portraits and text, each sheet approx. 390 x 275 mm (15 1/4 x 10 3/4 in), small margins, all loose and unframed, J.Ryall & R.Withy, 1757.
Forum Auctions - UK
Jul. 05, 2024
Antoon van Dyck 1599 Anversa-1641 Londra, copia da Compianto sul Cristo morto
Est: €3,000 - €4,000
.
Cambi Casa d'Aste
Jul. 05, 2024
Dyck, Anthonius van
Est: €2,400 - €3,600
(1599-1641), Schule. Dornenkrönung. Öl auf Holz. Linke Seite etwas gekürzt. Bildgrösse: 66 x 41 cm. - Dyck, Anthonius van (school). Oil on wood, framed. Left side somewhat shortened. D
Kiefer Buch- und Kunstauktionen
Jul. 04, 2024
Dyck, Anthonis van
Est: €50 - €80
(1599 Antwerpen - London 1641) nach. Iacobus Iordaens Pictor Antverpiae. Hüftbild des vor einer Mauer stehenden Malers Jacob Jordaens. Radierung auf Bütten v. Pieter de Jode aus den Icones. Plgr. 24,6 x 17,5, Blgr. 25,8 x 18,5 cm. Mit den Namensz. u. Titel i.d. Platte. Auf Karton mont. - Wib. 33 V. - Hervorragender Druck in sehr guter Erhaltung.
Kiefer Buch- und Kunstauktionen
Jul. 02, 2024
ANTHONY VAN DYCK (1599-1641). Self-Portrait, from: Icones Principum Virorum
Est: - £60,000
ANTHONY VAN DYCK (1599-1641). Self-Portrait, from: Icones Principum Virorum. Plate 245 x 157 mm. Sheet 253 x 165 mm..
Christie's
Jun. 29, 2024
Anthonis Van DYCK (1599-1641), entourage de
Est: -
Vierge à l'enfant Huile sur panneau H. 30 cm - L. 23 cm En cours d'expertise
OXIO
Jun. 27, 2024
Anthonius van Dyck, 1599 Antwerpen – 1641 London, zugeschrieben
Est: €20,000 - €30,000
SALVATOR MUNDI Öl auf Leinwand. Doubliert. 85 x 62 cm. In gekehltem, vergoldeten Rahmen. Beigegeben folgende Gutachten in Kopie: Maurizio Marini, Rom, ohne Datum; Didier Bodart, Rom, 15. November 1990. Beide Gutachten kommen inhaltlich zu dem Schluss, dass es sich um ein Werk von Anthonius van Dyck handelt. Ferner eine technische Analyse von M.I.D.A. von Claudio Falcucci, Rom, in Kopie. Der Knabe hält die rechten Finger erhoben, ein rotes Tuch zieht über den Hinterkopf hinweg, mit dem Fuß tritt er auf die Schlange, während er sich auf einen Globus stützt. Das Gemälde nach einem Gemälde von Anthonius van Dyck (1599-1641), das sich in den Staatlichen Kunstsammlungen in Dresden befindet (Galerienr. 1025). Literatur: Vgl. Erik Larsen, L‘opera completa del Van Dyck 1626 - 1641, Bd. II, S. 91f, Nr. 574. Vgl. Gemäldegalerie Alte Meister, Dresden, Dresden 2007, Bd. III, S. 237, Nr. 1025. (1400767) (13) Anthonius van Dyck, 1599 Antwerp – 1641 London, Attributed SALVATOR MUNDI Oil on canvas. Relined. 85 x 62 cm. Accompanied by an expert‘s report by Maurizio Marini, Rome, n.d. and by Didier Bodart, Rome, 15 November 1990, in copy. Both reports conclude that the present work is by Anthony van Dyck. Furthermore a technical analysis by M.I.D.A. by Claudio Falcucci, Rome, in copy. Literature: cf. E. Larsen, L‘opera completa di Van Dyck 1626 - 1641, vol. II, pp. 91, no. 574. cf. Gemäldegalerie Alte Meister, Dresden 2007, vol. III, p. 237, no. 1025.
Hampel Fine Art Auctions
Jun. 26, 2024
Star Lot - The Mystical Betrothal of Saint Catherine - Manner/Possible Attribution to Anton Van Dyck or his 17th century workshop - 17th century Flemish Baroque School
Est: €12,000 - €15,000
Oil on canvas Canvas only measurements: 85 x 100 cm framed measurements: 100 x 115 cm Anton Van Dyck (Antwerp 1599-Blackfriars London 1641) He was the most important Flemish painter of his time after Rubens in the first half of the 17th century and by the 18th century he was already considered equally as he He was born in Antwerp the main commercial and cultural center of the Spanish Netherlands and was a disciple of Hendrik van Balen By 1615-1616 he was already an independent artist and from early 1618 he was a master painter in the guild of St Luke During these early years of his career Van Dyck served as an assistant in Rubens' studio After a few months in London during 1620-1621 Van Dyck moved to Italy where he lived for six years Reference bibliography: GUARINO Sergio Pinacoteca Capitolina Catalogo Generale Electa Milan 2006 ISBN 978-88-370-2214-3; Velázquez Rubens and Van Dyck: court painters of the 17th century cat exp Madrid Prado Museum El Viso 1999
Templum Fine Art Auctions
Jun. 25, 2024
ANTHONY VAN DYCK
Est: CHF1,500 - CHF2,500
(Antwerpen 1599–1641 Blackfriars/London) Kopie des 20.Jhs. Die Rast auf der Flucht nach Ägypten. Öl auf Leinwand. 116x140 cm. Gerahmt.
Schuler Auktionen
Jun. 25, 2024
ANONYMOUS 19TH CENTURY COPYIST AFTER AN
Est: -
Anonymous 19th century copyist after Anthonius van Dyck (1599-1641), life-size, full-length portrait of a young man, oil on canvas, unsigned, several patches and holes, in need of restoration, 205 x 120 cm, framed 218 x 133 cm
Historia Auctionata
Jun. 21, 2024
FLEMISH SCHOOL, FOLLOWER OF ANTHONY VAN DYCK (1599-1641): THE INFANT CHRIST AND ST. JOHN THE BAPTIST, OIL ON CANVAS, SECOND HALF 17TH C.
Est: €4,000 - €8,000
Flemish school, follower of Anthony van Dyck (1599-1641): The Infant Christ and St. John the Baptist, oil on canvas, second half 17th C. Work: 132,5 x 109,5 cm Frame: 150,5 x 127,5 cm The reverse with an old attribution to Anthony van Dyck. The painting is the mirror image of a later work by Anthony van Dyck, today part of the Royal Collection Trust (East Closet, Hampton Court Palace, RCIN 405630). The latter work is more than likely an autograph repetition of the painting in Lamport Hall, Northamptonshire. (link) The subject of the infant Christ and St. John the Baptist was a popular one in Italy and the Low Countries throughout the Renaissance, and derives from apocryphal texts dealing with the early life of Christ. It depicts the infant John the Baptist greeting his cousin Jesus upon his return from exile in Egypt. Christ's attribute here is a cross resting upon a globe, a symbol of the power of his salvation throughout the world; John has a small cross made from reeds in the wilderness and a scroll inscribed with the words he utters in St. John's Gospel (1: 29) and which, of course, refer to Christ: 'Ecce Agnus Dei, qvi tollit peccata mundi' (Behold the Lamb of God, which taketh away the sin of the world). Here John genuflects to the Christ Child, who is kissing him and raising him from his knees. The relationship between the two figures is a premonition of the baptism of Christ, as related in St. Matthew's Gospel (3: 13-17), when John refuses baptism, saying 'I have need to be baptized of thee' and Christ has to overcome his reluctance ( link).
Coronari Auctions
Jun. 06, 2024
ANTHONY VAN DYCK
Est: CHF1,500 - CHF2,500
(Antwerpen 1599–1641 Blackfriars/London) Kopie des 20.Jhs. Die Rast auf der Flucht nach Ägypten. Öl auf Leinwand. 116x140 cm. Gerahmt.
Schuler Auktionen
Jun. 01, 2024
van Dyck Anthony
Est: CHF32,000 - CHF40,000
Werkstatt Die drei Büssenden vor dem Kreuz (König David, Hl. Magdalena und Johannes der Täufer) Auf dem Keilrahmenmittelkreuz befindet sich ein Etikett mit folgendem Aufdruck: "Anthony van Dyck/ Antwerpen 1599 – 1641 London / "The three Penitents in front of the cross" / (König David, Hl. Magdalene und Johannes der T.) / Gemälde, Oel auf Leinwand, doubliert / Masse: 98 cm x 68,5 cm, in Goldrahmen / Ex. Collection Jean Zanchi, Geneva." Mit Kopie Zustandsuntersuchung und Restaurierungsbericht des SIK. Die vom SIK ausgeführte Röntgenaufnahme zeigt, dass sich unter der sichtbaren Kreuzesdarstellung eine Maria befindet, die auf die Heilige Magdalena herabblickt. Diese Entdeckung legt den Schluss nahe, dass es sich bei dem vorliegenden Gemälde um ein Werk aus der Werkstatt van Dycks handelt, denn genau diese Darstellung mit Maria und dem Jesuskind auf der linken Bildhälfte findet sich in dem Gemälde "the virgin and child adored by penent sinners" von van Dyck aus der Zeit um 1630, welches sich im Louvre befindet. (Abb. 8: Werkverzeichnis Nr. III.15, Susan J. Barnes et al. "van Dyck: a complete catalogue of the paintings", New Haven: London: Yale University Press, 2004, S. 256). Gerahmt Ausrufdatum: 01.06.2024 Ungefähre Ausrufzeit: 18:20
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