John Ruskin, H.R.W.S. (London 1819-1900 Brantwood, Coniston)
John Ruskin, H.R.W.S. (London 1819-1900 Brantwood, Coniston)

Anna Maria van Thielen (b. 1628), aged about five, after Van Dyck's double portrait of her with her mother Anna van Thielen

Details
John Ruskin, H.R.W.S. (London 1819-1900 Brantwood, Coniston)
Anna Maria van Thielen (b. 1628), aged about five, after Van Dyck's double portrait of her with her mother Anna van Thielen
signed, inscribed and dated 'J. Ruskin after VANDYCK/ MUNICH.1859'
pencil, pen and brown ink, brown wash heightened with white
20 x 13 7/8 in. (51 x 35.3 cm.)
Provenance
Mr and Mrs A.W. Severn.
Literature
E.T. Cook and A. Wedderburn, Library Edition of the Works of John Ruskin, VII, p. 7, XXXVIII, p. 291 as 'Study of a girl of the wife of Colyn de Nole at Munich’, 1859.
Exhibited
London, Royal Watercolour Society, Ruskin, 1901, no. 273.
London, Fine Art Society, The Watercolours and Drawings by the Late John Ruskin, 1907, no. 196.
London, Tate Britain, Ruskin, Turner and the Pre-Raphaelites, 9 March - 29 May 2000, no. 152.
Sale room notice
Please note the additional exhibition history for this lot:
Ottawa, National Gallery of Canada and Edinburgh, National Galleries of Scotland, John Ruskin: Artist and Observer, 14 February-28 September 2014, no. 129, lent by Brian Sewell.

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Lucy Cox
Lucy Cox

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Lot Essay

Ruskin travelled to Germany in 1859 to visit the galleries and museums in the main cities and report back to a Government commission into the organisation of the National Gallery. In his diary Ruskin records studying works of art that he might previously have been expected to dismiss, works by artists such as Rembrandt, Correggio and Veronese. The Van Dyck portrait from which Ruskin made the present study, is in the Alte Pinakothek, Munich (fig. 1). Until the 1930s it was wrongly identified as the wife of the Antwerp sculptor André Colyns de Nole and her daughter (S.J. Barnes, N. de Poorter, O. Millar, Van Dyck, a complete catalogue of the paintings, New Haven and London, 2004, III, p. 122). It is characteristic of Ruskin’s drawings that he focuses on a peripheral element in the composition, the little girl’s attention being distracted by something outside the frame.

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