3. [Dutch or Flemish school]

After VAN DYCK, Anthony

Portrait of Gaspar De Crayer.

Amsterdam, after 1646

Drawing, black and red chalk, 24,5 x 18 cm, laid paper with watermark from around 1667 (Amsterdam coat of arms, Heawood 424), unsigned (old coll. number in brown ink "31" attached to upper left corner, some minor stains, otherwise in very good condition).

Meticulously drafted after the engraving made by Paulus Pontius, after the drawings of Anthony van Dyck for the famous "Iconography" portrait series. This portrait series of prominent men was first published as a complete set in Antwerp in 1645 by Gillis Hendricx. Given the Dutch watermark and the faithfulness to Pontius' engraved portrait, the present drawing is copied after the print, rather than a preparatory design. It is however plausible that the drawing may have originated in the Amsterdam circle of Govert Flinck, who was responsible for the introduction of the Dyckian mode of portraiture in the North. "The early owners of Van Dyck prints included several artists, Rembrandt among them. Flinck, who was also an ardent art collector, seems to have owned eight of Van Dyck's preliminary drawings for the Iconography." (Lootsma 2007/2008, p. 226).
Ref. Maucquoy-Hendrickx 46. - New Hollstein (Van Dyck), 57. - G. Luijten, "The Iconography: Van Dyck's portraits in print", in: C. Depauw and G. Luijten (eds.), "Anthony van Dyck as a printmaker", Antwerp 1999, pp. 72-91. - H. Lootsma, "Tracing a pose: Govert Flinck and the emergence of the Dyckian mode of portraiture", Simiolus 33 (2007/2008), pp. 221-236.

€ 600 / 800

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