Sir Anthony van Dyck (1599-1641)

Portrait of Charles, Marquis de Vieuville, full-length, in a silver slashed doublet with a lace-edged collar and cuffs, black silk cloak and breeches, and pink hose, wearing the Order of the Saint Esprit, beside a draped curtain on a terrace, a landscape beyond

細節

Sir Anthony van Dyck (1599-1641)
Portrait of Charles, Marquis de Vieuville, full-length, in a silver slashed doublet with a lace-edged collar and cuffs, black silk cloak and breeches, and pink hose, wearing the Order of the Saint Esprit, beside a draped curtain on a terrace, a landscape beyond
oil on canvas
82½ x 46½in. (212 x 118cm.)

來源

Richard Temple, 2nd Marquess and 1st of Duke of Buckingham (1776-1839), by 1828 and by inheritance to his son Richard Plantagent Temple, 2nd Duke of Buckingham, Stowe, Buckinghamshire; Christie's, sale on the premises, 1848 (210gns. to Town and Emmanuel for the following.)
John Campell, 2nd Marquess of Breadalbane (1796-1862) and by inheritance through the husband of his great-niece (and granddaughter of the 2nd Duke of Buckingham), Mary, Lady Kinloss, Captain Morgan-Greenville, Moreton Lodge, Buckingham; Christie's, London, 28 June 1890, lot 105 (unsold) and 6 May 1893, lot 65 (unsold) to their son Colonel, the Hon. Thomas George Breadalbane Morgan Grenville, D.S.O., O.B.E., M.C., Taymouth Castle, Perthshire; Christie's, London, 18 June 1954, lot 33 (560gns. to O'Nians).
with David Koetser, New York, from whom purchased in December 1954 by the following.
Walter P. Chrysler, Jr.; his sale, Sotheby's, New York, 1 June 1989, lot 33, as Sir Anthony van Dyck and Studio, where purchased by present owner.

出版

J. Dallaway, in H. Walpole, Anecdotes of Painting in England, II, 1828, p. 215, note.
J. Smith, A Catalogue raisonné, etc., III, 1831, pp. 231-2, no. 829 (as by van Dyck).
G.F. Waagen, Art Treasures of Great Britain, 1854, II, p. 239 (as by van Dyck).
J. Guiffrey, Antoine van Dyck, sa Vie et son Oeuvre, 1882 and 1896 translation, p. 305, no. 925 (as by van Dyck).
G. Redford, Art Sales, 1888, II, p. 341.
W. Roberts, Memorial of Christie's, 1897, I, p. 149 (as by van Dyck).
L. Cust, Anthony van Dyck: An Historical Study of his Life and Work, 1900, p. 285, no. 217 (as by van Dyck).
H. Mireur, Dictionnaire des Ventes d'Art, 1911, II, p. 639 (as by van Dyck).
O. Millar, Tudor, Stuart and Early Georgian Pictures in the Collection of H.M. the Queen, 1963, I, p. 109 (as a better, but not original version).
E. Larsen, L'Opera Completa di van Dyck, 1980, II, p. 112, no. 800 (as by van Dyck with studio assistance).
E. Larsen, The Paintings of Anthony van Dyck, 1988, II, p. 327, no. 834, illustrated p. 328 (as a 'fair original' by van Dyck, 'probably executed with studio help').

展覽

Portland, Oregon, The Collection of Walter P. Chrysler, Jr., 1956-7, no. 9, illustrated p. 64.
Brunswick, Maine, Bowdrin College Museum of Fine Art, Baroque Paintings from the Collection of Walter P. Chrysler, Jr., 15 March-28 April 1963, no. 23, illustrated, as by van Dyck.
On loan to the Chrysler Museum, Norfolk, VA, 1971-89.

刻印

R. Cooper.
R. Earlom (oval head and shoulders).

拍品專文

The Marquis de la Vieuville (c. 1582-1653) held the posts of Grand Fauconnier and Surintendant des Finances (1623) under Louis XIII. As a result of intrigues against Richlieu, he was disgraced in 1632, but was later reinstated by Cardinal Mazarin. The present portrait may be dated to 1631, made during the sitter's exile with Marie de Medici, Queen of France in Brussels, and may be compared with van Dyck's portrait of the Queen's brother-in-law, Gaston d'Orléans, painted at the same period (Larsen, op. cit., 1988, p. 363).

Professor Horst Vey has recently examined the present painting and believes that van Dyck was responsible for the head and hands of the sitter, and the studio for the remainder of the picture. Sir Oliver Millar (op. cit.) originally believed the present painting to be 'a better, but not original, version' of the painting in the collection of H.M. the Queen at Windsor Castle which he described as 'probably a contemporary copy'. However, he too has recently examined the present lot and now believes it to be an autograph work by van Dyck, noting the considerable pentimenti visible in the sitter's right leg and foot and around his belt. He does not discount the presence of some studio assistance in the background areas of the portrait, pointing out that this was van Dyck's normal working procedure during this period of his career.