安東尼·凡·戴克爵士 | 《牧羊人來朝》

估價

600,000 - 800,000 GBP

招標截止

描述

《牧羊人來朝》
油彩橡木畫板，棕灰色裝飾畫
58.5 x 47公分；23 x 18 1/2英寸

來源

拍賣，倫敦佳士得，1921年7月22日，拍品編號34，以12畿尼售予佩勒姆家族；尊敬的瑪格麗特·鮑威爾夫人，南迪斯，鄰近亞伯立斯威，威爾斯；

克策爾畫廊，倫敦，1938年；

莫蒂默·勃蘭特，紐約，1942年；

愛德華M.艾爾斯購自上述藏家，1942年贈予曾斯維爾美術館，舊稱曾斯維爾藝術中心，曾斯維爾，俄亥俄州；

上述機構出售館藏，售於紐約蘇富比，2006年1月26日，拍品編號30，由現藏家購藏

展覽

劍橋，麻薩諸塞州，福格藝術博物館，〈魯本斯與凡·德克素描作品〉，1941年10月（無圖錄）；曾斯維爾，俄亥俄州，曾斯維爾美術館，1942至2006年

出版

曾斯維爾，俄亥俄州，曾斯維爾美術館，《永久館藏圖錄》，1942年，品號45； F.S.貝里曼，〈新聞及評論〉，《藝術雜誌》，第35冊，1942年，227及230頁；

J.D.莫爾斯，《美國收藏西洋古典油畫》，芝加哥，1955年，67頁；

H.法伊，〈安東尼·凡·德克之油彩素描〉，《皇家美術館簡報》，第5冊，布魯塞爾，1956年，186頁，圖14載圖；

E.拉森，《凡·德克》，弗雷倫，1988年，第I冊，473頁，圖497載圖，第II冊，278頁，圖錄品號689；

H.法伊，載於S.J.巴恩斯、N.德·波特、O.米勒與H. 法伊，《凡·德克油畫作品圖錄全集》，紐黑文及倫敦，2004年，250頁，圖錄品號III.5，載圖

Condition

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拍品資料及來源

This is an unusually large oil sketch by Anthony van Dyck, dating from early in his second Antwerp period, probably shortly after his return from Italy in 1627. It corresponds to no known finished work or commission. Horst Vey saw in its monumental composition and architectural setting echoes of Venetian altarpieces that Van Dyck would have been familiar with, in particular those of Titian and Veronese.

The twin columns rising behind the Holy Family are particularly reminiscent of Titian's work. In the years after his return to Antwerp, Van Dyck executed a number of large-scale ecclesiastical commissions in Flanders, and while the compositions are different, a full-scale work based on this sketch would show many similarities in concept and style with works such as the Adoration of the Shepherds that Van Dyck painted for a new altar in the lady chapel of the Onze-Lieve-Vrouwekerk in Dendermonde (where it remains in situ), which has two Titianesque fluted columns rising behind the Holy Family, and the Adoration of the Shepherds, an unidentified commission, now in Hamburg, Kunsthalle, with a similar use of architectural framing elements.¹ An oil sketch now in Berlin for the latter altarpiece provides a good example of how the relationship between Van Dyck's sketches and completed works operated.² The sketch, of horizontal, not vertical format, differs in a number of ways from the Hamburg painting, especially in the two uppermost Shepherds. In the sketch, but not the finished work, fluted classical columns act as a repoussoir to the right, and extend behind the figures, whereas in the completed painting the architecture is less willfully classical, with wooden uprights and lintels. In the present sketch, Van Dyck combines both types of architecture, not as a repoussoir, but as a backdrop.

In these works Van Dyck adopted a synthesis of Venetian ideas with the familiar rhetorical language of Rubens' mature full-scale altarpieces. The figures are more numerous and more widely disposed than in the Dendermonde and Hamburg altarpieces, and the movement of the shepherds inwards from the right recalls Van Dyck's much earlier versions of the Betrayal of Christ.³

Horst Vey had not seen this sketch in the original prior to including it in the 2004 catalogue raisonné compiled by the distinguished quadrumvirate of whom he was part: he confessed to have passed through Zanesville on a Greyhound bus in the middle of the night, thus unable to inspect it. He was however able to see it in the original after the present owner had acquired it.

A tree-ring analysis conducted by Ian Tyers of Dendrochronological Consultancy concludes that one of the two vertical boards of Netherlandish (North-West European) oak has a latest heartwood ring of 1605, and that it was thus most likely felled sometime after 1613.⁴ The ring pattern is very similar to that found in a board used for Rubens' Peace Embracing Plenty at Yale, which has sapwood rings from 1608–18, and is plausibly from the same tree.⁵

1 Vey in Barnes, De Poorter, Millar and Vey 2004, pp. 247–49, nos III.2 and III.4, reproduced.

2 Vey in Barnes, De Poorter, Millar and Vey 2004, pp. 248–49, no. III.3, reproduced.

3 Vey in Barnes, De Poorter, Millar and Vey 2004, pp. 33–37, nos I.17, I.20 and I.21, all reproduced.

4 Report no. 1046, available on request. The second board produced no data.

5 I. Tyers, The tree-ring analysis of 2 panel paintings from the Yale Center for British Art, New Haven, Connecticut, Dendrochronological Consultancy Report, 828, 2016.