Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)

Portrait of Jan van Malderen

Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Jan van Malderen
oil on canvas
44½ x 37 in. (113 x 94 cm.)
Pierre Crozat (1655-1740), Paris, and by descent to his nephew
Louis-Antoine Crozat, Baron de Thièrs (died 1770).
Catherine II of Russia, Palace of Tsarskoe-Selo, near St. Petersburg, 1772.
Hermitage, St. Petersburg (no. 683 in later catalogues).
Count Aleksander Stroganov (1733-1811), Leningrad; Berlin, Lepke, 12-13 May 1931, lot 81.
with Frank T. Sabin, London, until 1952.
Anonymous sale; London, Christie's, 25 November 1960, lot 69.
with Frost & Reed, London.
with Duveen, New York. Anonymous sale; Sotheby's, New York, 27 January 2005, lot 139, as 'Attributed to Sir Anthony van Dyck and Studio'.
J.B. de la Curne de Sainte-Palaye, Catalogue des Tableaux du Cabinet de M. Crozat, Baron de Thièrs, Paris, 1755, pp. 43-44.
La Galerie Imperiale..., St. Petersburg, 1838, p. 434, no. 13.
J. Guiffrey, Antoine van Dyck: sa Vie et son Oeuvre, Paris, 1882, p. 270, no. 677b.
M. Rooses, trans. F. Knowles, Fifty Masterpieces of Anthony van Dyck in Photogravure Selected from the Pictures Exhibited at Antwerp in 1899, London, 1900, p. 25.
L. Cust, Anthony van Dyck: An Historical Study of his Life and Works, London, 1900, p. 257, under no. 67.
A. Somof, Ermitage Imperial. Catalogue de la Galerie des Tableaux, St. Petersburg, 1901, II, p. 87, no. 638.
E. Schaeffer, Van Dyck: des Meisters Gëmalde, Klassiker der Kunst, Stuttgart, 1909, XIII, p. 505, no. 206.
G. Gluck, Van Dyck: des Meisters Gëmalde, Klassiker der Kunst, Stuttgart, 1931, no. 13; 2nd rev., p. 551, under no. 248.
E. Dacier, Gabriel de Saint-Aubin, Paris and Brussels, 1931, II, pp. 190-191, no. 1030, pl. XXXVIII.
S.J. Barnes, et al., Van Dyck, A complete catalogue of the paintings, New Haven and London, 2004, p. 407, no. III.A17, as 'a [better] representation [than the Antwerp picture] of the lost original'.
London, Frank T. Sabin, Spring Exhibition, 1952, no. 28.
Wenceslaus Hollar, Antwerp, 1645.

If you wish to view the condition report of this lot, please sign in to your account.

Sign in
View condition report

Lot Essay

Jan van Malderen or Johannes Malderus (1563-1633) studied philosophy in Douai and theology in Leuven, took the degree of doctor of theology in 1594, was professor of theology in Leuven from 1596 onward and became Bishop of Antwerp in 1611. He remained there until his death and published much. In 1625 and 1633 he is recorded as having donated stained-glass windows to several churches in the city.

Ludwig Burchard examined the present painting in 1957 and 1959 and stated that despite what he called 'the delicacy of the execution', this work could not be considered the original version by van Dyck. On the basis of old photographs, Dr. Horst Vey included the present work in his 2003 catalogue raisonné on van Dyck, as an accepted work from the second Antwerp period. However, he subsequently revised his opinion from the study of better images and considered that the present work is the prime studio repetition of a lost original by van Dyck. Dr. Vey noted that the head is particularly impressive and the sketchy treatment of the robes that the Bishop wears is slightly less sophisticated in handling. This stylistic discrepancy led Vey to conclude that, 'It stands to reason that such a picture was painted under the immediate artistic control of van Dyck, and it is reasonable to assume that he would improve the head and perhaps other important parts of the picture if it was deemed necessary'. This opinion is repeated in the latest van Dyck catalogue raisonné published in 2004 in which the present work is considered the best version of a lost original and superior in quality to the one in the Koninklijk Museum, Antwerp.

The present work formerly belonged to the celebrated collector Pierre Crozat. The majority of his paintings passed to his nephew, Louis-Antoine, Baron de Thiers, a bibliophile who is not otherwise known to have bought paintings. The portrait then passed directly to another prestigious collection, that of Catherine the Great, where it hung in the Palace of Tsarskoe-Selo, near St. Petersburg.

More from Old Masters & 19th Century Art Including Select Works From the Salander-O'Reilly Galleries

View All
View All