31 January 2013
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION
Circle of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Bishop Antonius Triest (1576-1657), three-quarter length, seated
oil on canvas
51½ x 42½ in. (130.8 x 107.9 cm.)
Friedrich van Amerling (1803-1887), and by inheritance to his wife,
Countess Maria Hoyos-Amerling, Vienna, 1916.
John and Johanna Bass; Parke-Bernet Galleries, New York, 24 October 1962, lot 50, as 'Sir Anthony van Dyck' ($11,000).
Mr. and Mrs. Lester Francis Avnet, New York; Sotheby's, New York, 19 January 1984, lot 124A, as 'Studio of Sir Anthony van Dyck' ($9,900), where acquired by the present owner.
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E. Larsen, The Paintings of Anthony van Dyck, Freren, 1988, II, p. 453, no. A 134/7.
S. Barnes et al., Van Dyck: A Complete Catalogue of the Paintings, New Haven and London, 2004, p. 413, under III.A26, as 'another repetition'.
Offered on 6 December in London, Anthony van Dyck’s Portrait of Princess Mary, Daughter of King Charles I of England
Highlights from a sale of items from Rugby School’s collection include works by Lucas van Leyden and Correggio, medieval manuscripts and important antiquities
Andrew Graham-Dixon on how full-length portraits have been used in history to boost the status of nobles, kings and statesmen
Artists, patrons and critics have argued for centuries over the right way to frame a painting. Ultimately, it’s a matter of personal taste, says Andrew Graham-Dixon
International Head of Watches John Reardon on why devotees of Patek Philippe never settle for less than the best
Ahead of Christie's inaugural European Paintings auction on 31 October, Arne Everwijn discusses Courbet’s radical nudes