Lot 418 – Antoine Van Dyck (1599-1641), Portrait de Sir Edward Lyttelton (1589-1645), huile sur toile, XVIIe s., 62×55,5 cm
Lot 418 – Antoine Van Dyck (1599-1641), Portrait de Sir Edward Lyttelton (1589-1645), huile sur toile, XVIIe s., 62×55,5 cm
Antoine Van Dyck (1599-1641), Portrait de Sir Edward Lyttelton (1589-1645) plus tard Lord Littleton of Mounslow, huile sur toile, XVIIe s., 62×55,5 cm
Note: Cette oeuvre a été retenue comme authentique par l’ancien expert référent Monsieur Erik Larsen dans son ouvrage: Anthony Van Dyck, 1988, vol. 1 p. 72-73, no. 25, vol. 2 p. 352, по. 901а (avec une illustration pleine page) “the present painting, showing only the head and the lace collar, which I have carefully examined, is the study from life for the large-scale version. It is plastically treated and certainly autograph. Executed c.1636-38”. L’attribution à Van Dyck est contestée aujourd’hui, cette œuvre aurait été exécutée d’après un portrait original de l’artiste aujourd’hui disparu, et connu seulement sous la forme de copies, tout comme celle présente à la National Gallery.
Bibliographie: Lionel Cust, Anthony van Dyck: an historical study of his life and works, 1900, p. 278, no. 133, Erik Larsen, The Anthony Van Dyck, 1988, vol. 1 p. 72-73, no. 25, vol. 2 p. 352, по. 901а
Provenance: ancienne collection Raymond Ferrier, Genève (sur plusieurs générations)
Anthony Van Dyck (1599–1641), Portrait of Sir Edward Lyttelton (1589–1645), later Lord Littleton of Mounslow, oil on canvas, 17th century, 62 x 55.5 cm.
Note: This work was recognized as authentic by the former reference expert Mr. Erik Larsen in his publication Anthony Van Dyck, 1988, vol. 1, pp. 72–73, no. 25; vol. 2, p. 352, no. 901a (with a full-page illustration):
“The present painting, showing only the head and the lace collar, which I have carefully examined, is the study from life for the large-scale version. It is plastically treated and certainly autograph. Executed c. 1636–38.”
The attribution of this painting to Anthony Van Dyck is currently disputed; it is believed to have been executed after an original portrait by Van Dyck, now lost and known today only through copies, such as the one held in the National Gallery.
Bibliography:
Lionel Cust, Anthony van Dyck: An Historical Study of His Life and Works, 1900, p. 278, no. 133
Erik Larsen, The Anthony Van Dyck, 1988, vol. 1, pp. 72–73, no. 25; vol. 2, p. 352, no. 901a
Provenance: Geneva, former collection of Raymond Ferrier (held for several generations)
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