No.1 

Anthony van Dyck (Antwerp 1599 - 1641 London), workshop of
The Ascension of Christ, oil on panel, en grisaille, 63 x 48 cm, framed, (Wo)

Provenance: Viennese private collection
In his early years in Antwerp, as well as during his second Antwerp period and his time in England, Van Dyck executed sketches en grisaille. Larsen mentions them as “rather an exception than the rule”. As one of the rare examples, he quotes the coloured sketch of the Assumption of the Virgin at the Akademie der Bildenden Künste in Vienna. According to Larsen, it shows strong influence from Rubens, although, in terms of artistic approach, composition, and execution, it was certainly made by Van Dyck: “Both the composition and the pattern of execution speak for Anthony’s authorship”. The Vienna Academy sketch is closely related to the present painting. The kneeling figure of the bearded apostle at the lower left margin in our composition recurs in the Academy’s picture in the reverse direction, at the lower right. Another sketch that is comparable to our painting, The Ecstacy of St. Augustine, is preserved at the Yale University Art Gallery in New Haven, Connecticut. The authors of the latest monograph on Van Dyck, Barnes, De Poorter, Millar, and Vey, consider the the Academy’s sketch to be an autograph work by the artist as well (see Literature).
Literature: Erik Larsen, The Paintings of Anthony van Dyck, 1988, vol. II, pp. 462, 474, repr.; Susan J. Barnes. Nora de Poorter, Oliver Millar, Horst Vey, Van Dyck A Complete Catalogue of the Paintings, 2004, p. 278, fig. III 42


The literature of this “Important picture” (Horst Vey) refers to the paintings in Vienna and the Yale University.

estimate €3.500,- to €5.000,-

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