131
131
Attributed to Sir Anthony van Dyck
DOUBLE-SIDED SHEET OF STUDIES OF CHRIST IN GLORY, SURROUNDED BY PUTTI
Estimate
10,00015,000
JUMP TO LOT
131
Attributed to Sir Anthony van Dyck
DOUBLE-SIDED SHEET OF STUDIES OF CHRIST IN GLORY, SURROUNDED BY PUTTI
Estimate
10,00015,000
JUMP TO LOT

Details & Cataloguing

Old Master & British Works on Paper

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London

Attributed to Sir Anthony van Dyck
ANTWERP 1599 - 1641 LONDON
DOUBLE-SIDED SHEET OF STUDIES OF CHRIST IN GLORY, SURROUNDED BY PUTTI
Pen and brown ink and black chalk (recto and verso);
bears numbering in brown ink, top center: A#63 (?) and inscription in brown ink, lower right: Va. Dyck
295 by 201 mm
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Provenance

Prosper Henry Lankrink (L.2090);
sale, New York, Sotheby's, 27 January 2010, lot 70

Exhibited

Frankfurt-am-Main, Städelsches Kunstinstitut, Handzeichnungen alter Meister aus deutschem Privatbesitz, 1924, cat. no. 35, reproduced (as Van Dyck)

Catalogue Note

This intriguing, double-sided sheet is remarkable for the way in which the artist has drawn very similar compositional studies on each side, but in strikingly different combinations of media.  They must be studies for the top part of the same altarpiece, but no corresponding painting has yet been identified.  As a compositional type, this scene would seem to have more in common with the paintings of Rubens than with those of Van Dyck.  The only remotely similar surviving composition by the latter is the Ecstasy of St. Augustine, in the Augustijnenkerk, Antwerp, for which this cannot be considered a preparatory study, as a key element in the iconography of that subject is that the swarming putti bear a great variety of attributes.

The technique is, however, very Van Dyckian: the angular penwork in the central figure, the much broader handling in the putti, which are entirely drawn with the brush, and the complementary and imaginative use of pen, wash and black chalk within the same composition, can all be found in various drawings by Van Dyck.1 The drawing cannot be convincingly linked with any other artist in the Rubens circle, and is certainly of high enough quality to justify the attribution to Van Dyck, so although the sheet is unquestionably rather unusual within his work, it would seem reasonable to retain this traditional attribution.

1. See, for example, the drawings in Rotterdam, New York, Berlin and Hamburg: reproduced Van Dyck Drawings, exhib. cat., New York, Pierpont Morgan Library, and Fort Worth, Kimbell Museum of Art, 1991, cat. nos. 13, 18, 31 and 34

Old Master & British Works on Paper

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London