Olivier Debré (1920-1999) Ocre automne, 1965
Olivier Debré (1920-1999) Ocre automne, 1965
Huile sur toile, signée des initiales et datée 65 en bas à droite, resignée, redatée oct. 65, titrée, et située Cachan au dos, 100 x 100 cm. Estimation : 5 000 / 5 500 €
Beaussant-Lefèvre - Paris. Collection Jean et Gilberte Lescure. Peintures & Arts Graphiques. Drouot Richelieu - Salles 5 et 6. Pour tout renseignement, veuillez contacter la maison de ventes au 01 47 70 40 00
Six models from Coco Chanel, 1920s, 1970s sold @ Christie's London
A pair of motoring gauntlets and matching leather scarf. Coco Chanel, circa 1925. Image 2009 Christie's Ltd
the gloves' cuffs trimmed with bands of blue, navy and cream suede, the scarf similarly worked in chevrons of blue and cream kid. Stamped size 7
the gloves stamped inside Création Chanel, 31 rue Cambon, Paris, Gants Chanut, the scarf stamped in gilt in the nape CHANEL (3). Price Realized £8,750 ($14,586)
A black chiffon cape. Coco Chanel, circa 1920s. Image 2009 Christie's Ltd
edged with black feathers, smocked at the shoulders and hem. Labelled: Chanel, Cannes 31 Rue Cambon, Paris, Biarritz. Price Realized £4,000($6,668)
A black lace cocktail dress. Gabrielle Chanel. Image 2009 Christie's Ltd
with flying panel to one side, asymmetrically draped, labelled in side seam of slip Gabrielle Chanel on black silk, tagged 5545. Price Realized £3,250 ($5,418)
Notes: In her early years in Rue Cambon, Chanel used her first name, Gabrielle, on her black labels.
A cocktail dress of black silk chiffon. Coco Chanel, circa 1926. Image 2009 Christie's Ltd
with geometric black panels of beads cascading from the hip line to the hem. Labelled: Gabrielle Chanel, Paris. Price Realized £2,750 ($4,584)
Provenance: Sold with a copy of a Vanity article.
Literature: Sketched by Karl Lagerfeld, cf page 27, Karl Lagerfeld's Sketchbook: An Illustrated Fashion Journal of Anna Piaggi
A beaded cape. Coco Chanel, 1926. Image 2009 Christie's Ltd
embroidered with black bugle beads, with ties at the neck and hem. Labelled: Gabrielle Chanel, Paris. Price Realized £2,500 ($4,168)
Literature: Sketched by Karl Lagerfeld, cf page 26, Karl Lagerfeld's Sketchbook: An Illustrated Fashion Journal of Anna Piaggi, where it is being worn as an apron.
Coco Chanel with a cigarette. Christian Bérard, 1940s. Image 2009 Christie's Ltd
brush and black ink. Framed: 13in. x 15.7in. (33cm. x 40cm.). Signed: 'Bérard' at the bottom, with the studio stamp. Price Realized £2,125 ($3,542)
A coat and skirt suit of ivory bouclé wool. Chanel, 1970s. Image 2009 Christie's Ltd
trimmed with blue and magenta crochet, wolfs head gilt buttons, the coat lined in long haired sheepskin. 16+. labelled in coat (2) Price Realized £2,000 ($3,334)
Christie's. Fashion Through the Ages. 3 December 2009. London, South Kensington www.christies.com
ROUEN. Deux très grands plats ronds. Fin XVIIe siècle
ROUEN. Très grand plat rond. Fin XVIIe siècle
à bord uni à décor en camaïeu bleu au centre dans un médaillon cerné d'un galon fleuri de deux paons dont l'un en vol, rocher percé et pivoines. Sur l'aile, frise de rinceaux interrompus par quatre réserves polylobées ornées chacune d'un bouquet de fleurs. D: 56 cm. Éclats sur le bord et une petite fêlure - Estimation : 3 000 / 3 500 €
ROUEN. Très grand plat rond. Fin XVIIe siècle
à bord uni à décor en camaïeu bleu au centre d'oiseaux en vol, canards et motifs floraux. Sur l'aile, frise de rinceaux et dauphins affrontés interrompus par quatre réserves polylobées ornées chacune d'un oiseau et feuillage. D: 56 cm. Égrenures sur le bord - Estimation : 2 000 / 2 500 €
Aguttes - 69006 Lyon. Vente du Jeudi 10 décembre 2009. Expert Céramique / Aline Josserand Conan (AJ). Pour tout renseignement, veuillez contacter la maison de ventes au 04 37 24 24 24.
Outstanding Diamonds, Line Bracelets, and Rare Pieces at Bonhams New York's December Fine Jewelry Sale
An impressive diamond solitaire ring. Estimate: $550,000 - 650,000 © 2002-2009 Bonhams 1793 Ltd
On December 16th Bonhams will mount a highly anticipated Fine Jewelry sale at their New York galleries. Consisting of 150 lots the sale includes an exceptional diamond collection, several antique pieces, as well as a number of outstanding pearls.
One of the most sought after lots of the sale will be a spectacular diamond solitaire ring. Weighing 10.17 carats, the oval shaped diamond is accompanied by a GIA report stating E color and VVS1 clarity. Flanked by half-moon diamond shoulders, the eye-catching lot is estimated at $550,000-650,000.
Also of great interest is an impressive diamond necklace comprised of fifty-nine graduated pear-shaped diamonds. Ranging from 'D' to 'H' in color and 'Internally Flawless' to 'I' in clarity, the necklace has an estimated total diamond weight of 80.6 carats. Carrying an estimate of $180,000-250,000 it is certain draw serious collector attention.
An impressive diamond necklace comprising fifty-nine graduated pear-shaped diamonds. Estimate: $180,000 - 250,000 © 2002-2009 Bonhams 1793 Ltd
From Rio de Janerio, a retro aquamarine, diamond and sapphire bracelet by Mauboussin is attracting pre-sale attention as well. Circa 1939 the piece centers a rectangular-cut, 35 carat aquamarine within a scrolling panel of round brilliant-cut diamonds with baguette-cut diamond detail. It is completed by a three-row bracelet of cone-shaped sapphire collets. Estimated $20,000-30,0000, it is signed 'Mauboussin Paris', with French assay mark and mounted in eighteen karat white gold and platinum.
A retro aquamarine, diamond and sapphire bracelet, Mauboussin, circa 1939 © 2002-2009 Bonhams 1793 Ltd
Also cause for excitement is a notable collection of diamond pieces. The carefully selected group includes an outstanding necklace as well as a number of bracelets and earrings.
The line bracelets found in the collection may prove to be perfect gifts for this holiday season and include a diamond bracelet comprised of thirty-eight square-cut diamonds weighing 19.30 carats (est. $25/30,000); an emerald and diamond bracelet designed as alternating sections of calibré-cut emeralds and square-cut diamonds (est. $7/9,000); as well as a diamond and ruby bracelet with alternating seven-stone sections of square-cut diamonds and calibré-cut rubies (est. $7/9,000).
A diamond bracelet comprising thirty-eight square-cut diamonds. Estimate: $25,000 - 30,000 © 2002-2009 Bonhams 1793 Ltd
An emerald and diamond bracelet designed as alternating sections of calibré-cut emeralds and square-cut diamonds. Estimate: $7,000 - 9,000 © 2002-2009 Bonhams 1793 Ltd
A diamond and ruby bracelet with alternating seven-stone sections of square-cut diamonds and calibré-cut rubies. Estimate: $7,000 - 9,000 © 2002-2009 Bonhams 1793 Ltd
However, it is doubtless that one of the most desirable pieces in the collection is a pair of fine diamond pendant earrings. Each are designed as square-cut diamonds, weighing 3.23 and 3.01 carats, and both suspend kite-shaped diamonds as well as pear-shaped diamonds each weighing over 5.00 carats. The square surmounts are detachable, enabling them to be worn separately. Estimated at $200,000-250,000, they are an excellent collecting opportunity.
A pair of fine diamond pendant earrings designed as a square-cut diamond, weighing 3.23 or 3.01 carats, suspending a kite-shaped diamond and further pear-shaped diamond, weighing 5.25 or 5.15 carats. Estimate: $200,000 - 250,000 © 2002-2009 Bonhams 1793 Ltd
Additionally, a rare Oscar Heyman & Brothers diamond, sapphire, and enamel "Harlequin" brooch is certain to inspire serious bidding. The Harlequin brooch is one of the more challenging pieces to produce in the celebrated makers extensive line of creations. Made in 2001, this example is one of only eight Harlequin brooches that Oscar Heyman made over the last twelve years. Designed as a masked figure playing a lute, the body is pavé-set throughout with round brilliant-cut diamonds and accented with marquise-shaped sapphires. The mask, hat, and shoes are made of black enamel and the white enamel face is accented by hand-painted red lips. With a maker's mark 'no. 200791' and accompanied by a signed box, it is estimated at $15,000-20,000.
A diamond, sapphire and enamel "Harlequin" brooch, Oscar Heyman & Brothers, 2001. Estimate: $15,000 - 20,000 © 2002-2009 Bonhams 1793 Ltd
Paire de feuilles d’or impériales inscrites. Vietnam, dynastie des Nguyễn, règne de Gia Long, 1806
Paire de feuilles d’or impériales inscrites. Vietnam, dynastie des Nguyễn, règne de Gia Long, 1806
24,5 x 27, 5 cm. Estimation : 80 000 – 120 000 €.
Provenance : acquis par Ralph Marty après la chute de la cité impériale en 1887 ; vente au cercle Nautique de Cannes, succession R. Marty, 19 et 20 mars 1929.
Note: Originaire du district de Diên Phước (province de Quảng Nam), dame Đoàn Thị (dont nous ignorons le prénom) était la troisième fille du grand duc Thạch (Thạch Quận công) Đoàn Công Nhạn et de dame Vũ. Elle fut choisie à l’âge de 16 ans pour devenir concubine du seigneur héritier lors de son voyage d’inspection au Quảng Nam. Douée d’une grande intelligence, très active et réellement douce, elle fut comblée d’affection par le seigneur. Elle donna naissance à un prince, Nguyễn Phúc Tần, le futur seigneur chúa Hiền (1648-1687). Elle décéda le 12 juillet 1661.
Sous le gouvernement de Võ vương Nguyễn Phúc Khoát (1738-1765), elle fut élevé au rang de Trinh Thục Từ Tĩnh Huệ Phi, « Chaste Douce Compatissante Raffinée Charitable Epouse du seigneur ». Peu de temps après, deux autres mots furent rajoutés Mẫn Duệ, « Vive ».
Lorsque l’empereur Gia Long (1802-1820), descendant des seigneurs Nguyễn, parvint à réunifier le royaume et à se proclamer empereur du Vietnam, il fit transférer la capitale de Thăng Long (actuellement Hanoi) à Huế. Il fit construire dans l’enceinte de la Cité Impériale le temple de Thái Miếu, dédié au culte de ses ancêtres les seigneurs Nguyễn et leur accorda en1806 à titre posthume le rang d’empereur (hoàng đế) et à leur épouse celui d’impératrice (hoàng hậu).
C’est ainsi que dame Đoàn Thị fut élevée au titre de Trinh Thục Từ Tĩnh Mẫn Duệ Huệ Kính Hiếu Chiêu Hoàng Hậu 貞淑慈靖敏銳惠敬孝昭皇后, soit « Chaste Douce Compatissante Raffinée Vive Charitable Respectueuse Pieuse et Éclairée Impératrice ».
Selon la tradition, il fit réaliser pour chaque personnage un livre en or à cette occasion. Les livres d’or se composent de deux pages doubles portant un texte et de deux couvertures simples à décor de dragons, l’ensemble est relié par quatre anneaux.
Lors du pillage de Huê par l’armée française en 1885, une grande partie du Trésor a été volée. Seuls quelques livres d'or ont été rendus par le Gouvernement Français à l’empereur Dông Khanh en 1886.
Cette double (seconde et troisième) page du livre d’or de l’impératrice Hiếu Chương provient du vol dans la Cité Impériale. Elle a été vendue comme nombre d’autres pièces à Ralph Marty, qui a créé les compagnies « Les Messageries Maritimes du Tonkin » et les « Ateliers Maritime de Haiphong ». Marty a également acheté le bassin en or qui fut récemment mis en vente chez Keverne à Londres. (Philippe Truong)
Sotheby's. Art d'Asie. 18 décembre 2009 www.sothebys.com
photo Philippe Truong by courtesy of Sotheby's Paris
Audrey Hepburn's Dress Takes Nearly $100,000 at Auction
The Givenchy haute couture black chantilly lace cocktail dress, worn in `How to Steal a Million', 1966. Sold for nearly $100,000.
LONDON (AP).- The black cocktail dress worn by Audrey Hepburn in 'How to Steal a Million' has sold for nearly $100,000 at auction.
Kerry Taylor Auctions says the Chantilly lace dress sold to an anonymous bidder for about $97,700. It was one of 40 items from Hepburn's wardrobe sold off by her friend Tanja Star-Busmann.
The auctioneer said Tuesday's sale made a total of 268,320 pounds. It says half of the net proceeds will go to The Audrey Hepburn Children's Fund.
Audrey Hepburn was not just a film star - she was a major style icon of the 20th Century. Simplicity and seemingly effortless elegance was her trademark. Ably aided and abetted by the young couturier Hubert de Givenchy, she became the personification of chic elegance in the 1950s and 60s. Givenchy said of her “All the responsibility for the way Audrey looked is hers. She made the selections.” Audrey was the first actress off-screen who was able to play the part of fashion models on-screen and be credible. For `Funny Face’ in 1957 and many of her other major films, Audrey had it written into her film contracts that de Givenchy would make all the clothes she wore and also astutely had it agreed that she retain the majority of her Parisian wardrobe. Copyright 2009 The Associated Press.
The Givenchy haute couture white point d'esprit ball gown worn by Audrey Hepburn in the opera scene of `Love in the Afternoon', 1956.
The Elizabeth Arden black goffered chiffon cocktail dresss, worn when Audrey met her first husband Mel Ferrer in 1953.
A Givenchy haute couture shocking pink silk crêpe sheath, Autumn-Winter 1966-7.
The ivory satin bridal gown designed for Audrey Hepburn by the Fontana Sisters for her marriage to James (later Lord) Hanson in 1952 which did not take place.
A Givenchy black point d'esprit ball gown, 1956.
A Givenchy haute couture black cloqué silk dress worn to promote the film `Paris When it Sizzles', 1962.
An Yves Saint Laurent Rive Gauche empire-line gown with blue velvet sash, 1970.
A Valentino haute couture cream lace and silk mini dress, Spring-Summer 1968.
A Givenchy haute couture black silk evening coat, circa 1967.
Richard Avedon portrait of Ms Hepburn - also up for auction - taken when she filmed 'Funny Face,' in 1956. Photo: Richard Avedon
Givenchy Haute Couture white point d'esprit ball gown worn by Audrey Hepburn in the opera scene of "Love in the afternoon," 1956
A Givenchy domed jade green velvet hat (1964).
A visitor looks at dresses worn by Audrey Hepburn, including the outfit in black lace, second left, that she wore in the 1966 film 'How to Steal a Million', exhibited amongst dozens of garments and personal items once belonging to the Hollywood star. AP Photo/Francois Mori.
http://alaintruong.canalblog.com/archives/2009/11/11/15756537.html
Exceptional Self Portrait by Sir Anthony van Dyck Sells for a Record US$13,521,704
The outstanding van Dyck Self Portrait was hotly pursued by nine bidders, who drove the price far above the pre-sale expectations of £2-3 million and established the record-breaking price. AP Photo/Akira Suemori
LONDON.- Tonight’s sale of Old Master & British Paintings at Sotheby’s in London saw a new auction record established for Sir Anthony van Dyck - one of the most important artists to have worked in England - when his last Self Portrait soared above expectations and sold for £8,329,250/ €9,207,960/US$13,521,704. The portrait was the top-selling lot in a sale which realised £15,098,250/ €16,691,068/ US$24,510,499, within the pre-sale expectations of £12,340,000-18,410,000. Strong prices were also seen for works by the Dutch artist Cesar Boetius van Everdingen and the prominent British masters, Sir Edwin Henry Landseer and Samuel Scott.
The outstanding van Dyck Self Portrait was hotly pursued by nine bidders, who drove the price far above the pre-sale expectations of £2-3 million and established the record-breaking price. The painting was finally purchased by Alfred Bader in partnership with Philip Mould. Van Dyck painted the portrait in London in 1640 in the final months of his life. It is one of only three self portraits that he executed in England and this, his last, captures him dashingly attired in a black and white slashed silk doublet. Prior to this evening’s sale, the painting had last appeared on the market in 1712 and it therefore came to the market with exemplary provenance, having been in the same family collection for almost 300 years. It was offered for sale tonight by the Earl of Jersey’s Trust.
Discussing the record-price achieved for the van Dyck self portrait, David Moore Gwyn, Deputy Chairman, UK and Senior Specialist in Early British Paintings at Sotheby’s, said: “This was without doubt the most important portrait by van Dyck to come to auction in my 33-year career at Sotheby’s. Over the last few weeks and months the painting has attracted an enormous amount of interest and we are absolutely thrilled with tonight’s record-breaking result, which is testament to the rare opportunity that it’s sale – after 300 years in a family collection – represented.”
A hitherto unrecorded and unpublished painting by the Dutch artist Cesar Boetius van Everdingen was also the subject of considerable bidding battle this evening. It saw interest from six potential buyers who competed strongly and whose determined bids took the price to £1,161,250, which was 16 times the pre-sale estimate of £50,000-70,000. The remarkable painting provides a rare addition to the known oeuvre of one of the most important Dutch classicist painters of the mid-17th century.
The British master Sir Edwin Henry Landseer was represented this evening by an exceptional Highland scene which performed well and brought £937,250 against an estimate of £800,000-1.2 million. This ranks as the second highest price ever for a work by the artist at auction. Return from the Staghunt captures a peaceful moment at the end of a day of hunting adventure and it came to auction in a superb, untouched condition. The dramatic scenery of the Scottish Highlands had a profound influence on Landseer and his art and Scottish subjects came to dominate his oeuvre, with the most iconic of these being his hunting scenes.
Furthermore, the exquisitely detailed and superbly preserved Shipping at Anchor in the Thames Estuary, Near Wapping by Samuel Scott (circa 1702-1772) sold for £481,250, handsomely within an estimate of £400,000-600,000. Painted on a grand scale, the depiction of the great sailing vessels of the age is characteristic of Scott’s most endearing work.
Sir Anthony van Dyck (ANTWERP 1599 - 1641 LONDON), Self Portrait. Photo Sotheby's oil on canvas, oval, held in an important seventeenth century Italianate Mannerist style English frame; 59.7 by 47.3 cm. 23 1/2 by 18 3/4 in. PROVENANCE: Possibly in the collection of Sir Peter Lely, d. 1680; EXHIBITED: London, Arts Council of Great Britain, Old Masters from Jersey Collections, 1952, no. 11; LITERATURE AND REFERENCES: G. Gluck, 'Reflections on Van Dyck's Early Death,' The Burlington Magazine, 1941, vol. 79, no. 465, p. 194; NOTE: This is one of the most important Flemish Baroque self portraits and perhaps the finest still remaining in private hands. Painted in England in 1640, it presents a powerful image of the artist who so successfully immortalised the social elegance and aristocratic sophistication of King Charles I and his court. Infused with character and charisma it was painted at the height of van Dyck's career - with the utmost bravado and confidence; each sweep of the paint brush breathtakingly effective despite its deceptive simplicity. Van Dyck portrays himself dressed in a rich black and white silk doublet his body leaning intimately against the picture plane and towards the viewer. His intense gaze attracts and holds our attention. A highlight of the recent Van Dyck & Britain exhibition, this portrait epitomises the elegant poise and relaxed informality that the artist had brought to the art of portraiture in Britain, a new style that was to revolutionise the entire genre forever. As Stephen Deuchar has observed, "Sir Anthony Van Dyck was the most profoundly influential of European-born artists who were to work in England and so notably nurture its artistic growth from the sixteenth to the eighteenth centuries – amongst them Holbein, Rubens, Lely and Canaletto."[1] Born in Antwerp, van Dyck was an exceptionally precocious artist whose penetrating if perhaps tentative gaze is first presented in his early self-portrait (Fig. 1, Gemäldegalerie, Vienna). He first visited England briefly in 1620, and returned following a period of artistic development and travel through Italy and northern Europe, in 1632. The young artist's timing was fortuitous with the arrival on the throne of the young Charles I who was clearly determined to secure the loyalty of van Dyck. Not only was he immediately knighted but also given a pension for life and a house. Van Dyck proudly advertised his new role as 'Principal Painter in Ordinary to their Majesties' in his Self-portrait with a Sunflower (Fig. 3, 1632/3, Private Collection). Here he presents himself almost with his back turned on us the viewer. He wears the gold chain, a recent gift from Charles I, and points emphatically towards the sunflower a symbol of devotion (and an allusion to the sun of regality). Extravagantly dressed and fashionably coiffured, his costume is of the most sumptuous, brilliant and bold red silk. It is a self-portrait which illustrates a halcyon era of Charles I and his devoted artist and courtier. Van Dyck further advertised his position within the court and broader diplomatic circles at this time in his Self portrait: Van Dyck with Endymion Porter (Fig, 2, c. 1633, Museo Nacional del Prado, Madrid). Here he not only pays tribute to his close friendship with the trusted courtier and diplomat, Porter (whose portrait by Van Dyck was sold in these Rooms, 8 July 2009, lot 11, for £1,800,000), but also takes great care to display the exceptional richness of their costume. In the present self-portrait van Dyck now distances himself from the Stuart Court and displays no specific reference to his social or political loyalties. He does, however, paint a portrait which perhaps deliberately echoes the composition and pose of the celebrated Self portrait of circa 1623 by his earlier master, Sir Peter Paul Rubens (Royal Collection, London), who had only recently died. Both self portraits were intended as private images and neither was subsequently engraved for a public audience. However, van Dyck's portrait went on to have a profound influence. Numerous contemporary and later copies were produced (Sir Oliver Millar lists at least twelve variants), and the pose and composition was also re-used by a number of subsequent artists, attempting to align themselves with the talents and fame of Van Dyck. They include William Dobson (Private Collection), Robert Walker (The Ashmolean Museum, Oxford), Samuel Cooper (Royal Collection) and Sir Godfrey Kneller (now untraced). Even over a hundred years later this charismatic portrait inspired emulation by a new generation of ambitious artists including Sir Joshua Reynolds (see examples of circa 1746, Private Collection and circa 1766, Society of Dilettanti Collection) and Richard Cosway (Attingham Park) amongst others. Further evidence of the importance of this portrait is demonstrated by its probable subsequent ownership by the artist who made the most significant attempt to emulate and revive Van Dyck's manner, Sir Peter Lely.[3] This painting was probably the portrait purchased in Lely's studio sale by Francis 2nd Baron Newport, 1st Earl of Bradford (1619-1708). Newport's political career saw him move advantageously in and out of court circles during the reigns of Charles I, Charles II, James II and finally William III. He was clearly an ambitious as well as astute man as he purchased a baronetcy for his father in 1642 following his marriage to the rich heiress Diana Russell (1624-1695), youngest daughter of Francis Russell, 4th Earl of Bedford. Newport was renowned for owning a fine art collection, which included other works by van Dyck, Lely, Dobson and Poussin, many of which were purchased in Lely's studio sale. Newport was succeeded by his eldest surviving son Richard, but his younger surviving son, the Hon Thomas, Baron Torrington was thought to have inherited his collection. He clearly did not inherit the entire collection, as it appears this painting was acquired by Richard Graham at some point following Newport's death in 1708.[4] The Childs had amassed a large fortune through activities as bankers and goldsmiths. Osterley Park became the main family seat in 1713 and this portrait and the family's exquisite collection of Old Master paintings were displayed there. By 1782 the inventory of works in the Gallery alone at Osterley listed 49 paintings, including this self portrait and other works by Sir Anthony van Dyck, works by van de Velde, Rubens (the large equestrian portrait of the Duke of Buckingham) and The Glorification of the Duke of Buckingham, (National Gallery, London), Poussin, Lucca Giordano, Claude Lorrain and Salvator Rosa. However, the last male descendent Robert Child (1739-1782) died without a male heir and having disinherited his own daughter Sarah Anne for eloping and marrying John, 10th Earl of Westmorland (1759-1841) his entire estate was left to his grand daughter Lady Sarah Sophia Fane (1785-1867). Lady Sarah married George Child-Villiers (he assumed the Child name in 1819), 5th Earl of Jersey and 8th Viscount Grandison (1773-1859) of Middleton Park in whose family this portrait has descended. This painting is now offered for sale for the first time in nearly 300 years. [1] S Deuchar, Director Tate Britain, Van Dyck & Britain, 2009, p. 7
Possibly his sale 18th April 1682 (bt. by Lord Newport, 1st Earl of Bradford (1619-1708) for £34);
Richard Graham (fl. 1695-1727) until sold in his sale, Peletier London, 6 March 1712, lot 41, bt by Sir Francis Child the Younger (1684-1740);
by descent to his nephew Robert Child (1739-1782) of Osterley Park;
by descent to his grand-daughter Lady Sarah Sophia Fane (1785-1867) who married George Child-Villiers, 5th Earl of Jersey and 8th Viscount Grandison (1773-1859) of Osterley Park, Middlesex and Middleton Park, Oxfordshire;
by descent
London, National Portrait Gallery, Van Dyck in England, 1982, no. 65;
London, Tate Gallery, Van Dyck in Britain, 2009, no. 67;
Possibly, 'Sir Peter Lely's Collection,' Editorial, The Burlington Magazine, August 1943, p. 187;
E. Larsen, L'Opera Completa di Van Dyck, Milan, 1980, no. 757;
E. Larsen, The Paintings of Anthony van Dyck, Freren, 1988, Vol. II, no. 1018;
R. Davids, The Artist as a Portrait, London 2000, p. 48;
E.E.S. Gordenker, Anthony van Dyck and the Representation of Dress in Seventheenth Century Portraiture, Brepols 2001, pp. 61, 118 no. 126;
S Barnes, N de Poorter, O Millar, H Vey, Van Dyck: A Complete Catalogue of the Paintings, Yale & London, 2004, no. IV.5, p. 432
Utterly ambitious by 1639 Van Dyck had cemented his presence within Court circles by marrying Mary Ruthven the lady in waiting to the Queen and grand daughter of the 1st Earl of Gowrie. However, a year later, when this portrait was painted, the world had irrevocably changed. By November of that year the Long Parliament met for the first time without royal permission in London. The King's rule had been questioned and many of those of the court who had supported the King had moved or were to move into opposition. Among them were van Dyck's most important patrons including the Earls of Bedford, Danby, Northumberland and Warwick and van Dyck was planning to leave England and move back to his native Antwerp.[2]
Richard Graham was one of the most influential early 18th Century writers and exponent of the arts. He wrote a Short Account of the Most Eminent Painters both Ancient and Modern (1695),[5] where he listed the artist William Dobson as Van Dyck's 'happy imitator.' Graham acquired both the present portrait and one on which it had a direct influence as mentioned above, the Self portrait by William Dobson, 1645 (Private Collection). He was also probably responsible for framing both paintings in the dramatic matching frames in which they both remain to this day.[6] In 1712 he offered both paintings for sale at Peletier's where they were subsequently purchased by Sir Francis Child the Younger (1684-1740).
[2] September 1640, The Earl of Arundel obtains a passport for Van Dyck and his new wife to travel to Antwerp. During his return in October Van Dyck accepts the commission to paint the Martyrdom of St George for the altar of the Archer's Guild in Antwerp Cathedral. The painting was unfinished at his death.
[3] It is widely accepted to be the one listed in Sir Peter Lely's Studio sale on the 18th April 1682 entitled 'Of Sir Anthony Van Dyck, His Own Picture in an Oval,' (bought by the Earl of Newport for £34 and listed as measuring 01f 10 in. by 01 f 6 in., (22 by 18 in. 56 by 46 cm.) which coincides with the size of the present painting. Editorial, 'Sir Peter Lely's Collection,' The Burlington Magazine, 1943, p. 187 and Diana Dettloff, 'The Executor's account book the dispersal of Sir Peter Lely's Collection,' Journal of the History of Collections, 1996, pp. 18, 29.
[4] We are grateful to Gareth Williams, Curator to the Weston Park Foundation for pointing out that this painting is not listed in the earliest inventory of Lord Torrington's Surrey Street House, London pre-1714.
[5] This was added at the end of John Dryden's translation of Dufresnoy's De Arte Graphica, trans. J Dryden (1695), pp. 227-355
[6] The present frame is believed to date from the late 17th century with later 19th century re-guilding. We are grateful to Lynn Roberts, Paul Mitchell and Malcolm Rogers for their assistance in researching this frame. Further information on the design, date and gilding of the frame is available upon request.
