CIRCLE OF SIR ANTHONY VAN DYCK | PORTRAIT OF JEAN-GASPARD GEVAERTS (1593-1666)

With Van Diemen - Lilienfeld, New York (according to a label on the reverse);

With Knoedler, New York, by 1963.

L. Van Puyvelde, Van Dyck, Brussels-Paris 1950, p. 198;

M. Mauquoy-Hendrickx, L'Iconographie d'Antoine Van Dyck, Brussels 1956, cat. no. 49;

E. Larsen, The Paintings of Anthony van Dyck, Freren 1988, vol. II, pp. 332-333, cat. no. 848, reproduced (as the original modello for the print, datable to circa 1634-1635);

S. Barnes, N. De Poorter, O. Millar, and H. Vey, Van Dyck: A Complete Catalogue of the Paintings, New Haven 2004, p. 369, under cat. no. III.154 (as a copy);

S. Alsteens and A. Eaker, Van Dyck: The Anatomy of Portaiture, exhibition catalogue, New York 2016, p. 156, under cat. no. 47, note 11. 

This portrait of Jean-Gaspard Gevaerts relates to van Dyck's Iconographia—an ambitious series of portrait prints designed by him in the early 1630s. A black chalk drawing today in Vienna¹ as well as a tonal sketch en grisaille, similar in visual concept to the present example, were made by Van Dyck to establish a design for the copper plate. Gevaerts' portrait would later be engraved in reverse by Paulus Pontius and printed around 1632-1645 (fig. 1).²  

A few versions are known of the present composition, including one in the Buccleuch Collection.³ That painting, which includes an inscription of the sitter's name in the upper left, displays a high degree of finish and refinement. Another version of this composition attributed to the Workshop of Van Dyck is today in the Rijksmuseum, Amsterdam.⁴ 

Jean Gaspart Gevaerts (1593 - 1666), also known as Gaspar Gevartius, was a prominent figure in Antwerp, serving four decades as the city's secretary. A well-educated jurist, historian, philosopher, and poet, his scholarly pursuits are captured in his focused expression and by the open book held tightly in his hand. Gevaerts' most recognizable likeness is his portrait by Sir Peter Paul Rubens showing the scholar seated at his desk with pen and book in hand, surrounded by other texts and a statue of Marcus Aurelius.⁵  

1. Albertina, Vienna, inv. no. 17643. Black chalk, incised for transfer, 27 by 19 cm. See Alsteens and Eaker 2016, cat. no. 46, reproduced. 

2. New Hollstein, 1, 36. 

3. Barnes et. al. 2004, cat. no. III.154, reproduced. Oil on panel, 24.8 by 18.7 cm, The Duke of Buccleuch and Queensberry KBE, Boughton House, Northamptonshire. 

4. Inv. no. SK-A-2319, oil on panel, 25.5 by 20 cm. 

5. Royal Museum of Fine Arts, Antwerp, inv. no. 706, oil on panel, 119 by 98 cm.