Anthony van Dyck
Antwerp 1599 - Blackfriars 1641
Portrait of Martin Ryckaert.
Oil on Panel, 24.8 x 19 cmENQUIRES
Tesse Collection, Berlin, before 1876;
Albert Baron von Oppenheim, Cologne, by 1876;
His sale Berlin Lepke, originally scheduled for 27 October 1914 but postponed until 19 March 1918, lot 11, reproduced;
E. Sittenfeld, Berlin;
Consul Becker, Darmstadt;
With the Schoenemann Galleries, Inc., New York, 1943;
James N. Barney, New York, Parke-Bernet Galleries, 18 May 1948, lot 65;
Louis and Mildred Kaplan, New York, by 1950;
With Leonard Koetser Ltd., London, by 1962;
Private collection, England until 1994;
David Koetser, 1994;
Collection of Mr and Mrs Henry Weldon, New York, USA;
By descent to the present owner.
E. Molinier, Collection du baron Albert Oppenheim: tableaux et objects d'art, Paris 1904, pp. 4-5, cat. no. 10, reproduced plate IX;
A. Marguillier, "Bibliographie" in La Chronique des Arts et de la Curiosité, supplement à la Gazette des Beaux-Arts, 1905, p. 126;
G. Glück, Van Dyck des Meisters Gemälde, Stuttgart/Berlin 1931, p. 555, under cat. no. 332;
W. Bode, Catalogue of the Collection of Baron Albert von Oppenheim, Berlin 1914, cat. no. 11;
W.R. Valentiner and P. Wescher, A Catalogue of Paintings in the Collection of Louis and Mildred Kaplan, New York 1950, cat. no. 9, reproduced;
J. Spicer, "Anthony van Dyck's Iconography: An Overview of its Preparation," in Van Dyck 350, Studies in the History of Art, 46, Washington 1994, p. 362;
New Orleans 1997, pp. 45-48, cat. no. 18, reproduced;
Baltimore 1999, pp. 45-47, cat. no. 17, reproduced (all of the above as by Van Dyck).
Cologne, Kunsthistorische Ausstellung zu Köln, 1876, part II, no. 50, (as lent by Albert von Oppenheim);
London, Leonard Koetser Ltd., Tenth Annual Autumn Exhibition: Flemish, Dutch and Italian Old Masters, 23 October – 1 December 1962, no. 27;
New Orleans, New Orleans Museum of Art, In the Eye of the Beholder. Northern Baroque Paintings from the Collection of Henry H. Weldon, 1997, no. 18;
Baltimore, The Walters Art Gallery, An Eye for Detail, 17th Century Dutch and Flemish Paintings from the Collection of Henry H. Weldon, 20 June-5 September 1999, no. 17 (all of the above as by Van Dyck).
The attribution of the tonal models, whether to Van Dyck or his studio, has long been debated. In some cases there is more than one version, and it has been difficult to distinguish which is the prototype. The largest single group of works is the 39 grisailles in the collection of the Duke of Buccleuch, at Boughton House, and even some of these are now in question. The Weldon panel was published as Van Dyck by Glück, Bode, Valentiner and the other art historians cited under Literature. In addition, Julius Held, Michael Jaffé, Francisco Calvo Serraller, the former director of the Prado, Horst Vey and Walter Liedtke confirmed the attribution to Van Dyck on the basis of first-hand inspection.1 However, the entire project related to the designing of the Iconography is in the process of being re-examined, particularly the oil sketches. While the Portrait of Martin Ryckaert is of undoubtedly high quality, and, as such, could be by Van Dyck, given the current state of research, it is not possible at the present time to say unreservedly that it is an autograph work. We therefore believe that the designation "attributed to Van Dyck" best describes it.