16th Mar, 2024 9:30 GMT/BST

British, European & Sporting Art

 
  Lot 1149
 

1149

Follower of Sir Anthony Van Dyck (1599-1641) Flemish
Family portrait
Oil on canvas, 147.5cm by 206cm

Sold for £3,800
Estimated at £4,000 - £6,000


 

Unlined canvas, stretcher missing keys. Slack tension. A small 1.25 inch split to canvas at the top edge to the right of the curtain. Partially repaired (?) and surrounded by a swathe of restoration (see images). The canvas and stretcher are slighly distorted and bend away from the frame rebate at the two top corners. The slack canvas is distorted and undulating in places, most prominently at the top right corner (see image) and bottom right edge. Further small bulges from blows from face and reverse for example the top left corner, through the dress of the right hand girl and to bottom right of lute.

Stretcher bar marks on all sides and associated with cross-members, and a network of brittle age craquelure throughout, and impact cracks. Paint and ground secure, but the cracks have elevated slighly. There are also passages of drying cracks (unretouched), most prominently in the red of the curtain and in the darker passages of drapery of the father. There is a more noticeable impact crack to the hand of the little girl, where the varnish has powdered and is now white, and there further minor white cracks to the right hand side of this. Two further scuffs to the varnish to left hand edge and scattered minor spots to top left.

There are scattered small retouched losses and retouched cracks throughout, the restoration now discoloured. There has been a further campaign of retouching to the flesh tones of the mother/girls, baby, and hand of the father, and to the hair of the mother. This is opaque and is apparent in bright light (see images in torchlight). It appears that the painting has been selectively and partially cleaned in these areas leaving an uneven appearance. The same varnish has been partially removed from the paler passages of drapery too, which has caused some abrasion particularly evident in the green of the mother's skirt. It has been left on in most of the painting. It is difficult to see through the discoloured varnish layers if there is further wear in the dark areas.

There are thick surface layers of discoloured varnish and ingrained dirt, but a fairly even glossy upper varnish layer.

Not examined in UV, examined in frame.

Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)... Lot 1149 - Follower of Sir Anthony Van Dyck (1599-1641)...

 


We are happy to provide Condition Reports to prospective buyers, but would welcome your request as soon as possible, preferably at least 48 hours before the Day of Sale. We cannot guarantee a reply to any requests made within 48 hours of the start of the auction. The absence of a Condition Report from a lot does not mean that the lot is in perfect condition. A Condition Report is an honest expression of our opinion, not a statement of fact and is provided as a service to the seller. All lots are available on public view ahead of an auction and we encourage prospective buyers to inspect an item in person where possible. Our Condition Reports are not prepared by professional conservators, restorers, or engineers, and are prepared with the naked eye unless otherwise stated.

Regarding Pictures, Prints and Works on Paper, works are not examined out of the frame, unless specifically stated. Tennants Auctioneers do not cover damage to gilded wood or plaster picture frames, or to picture frame glass whilst the item is in our possession.

We accept no liability for the opinions expressed in any Condition Report.

Auction: British, European & Sporting Art, 16th Mar, 2024

Coming up for auction this Spring are three notable works by Adolphe Valette (1876-1942), a French Impressionist artist who spent the majority of his career in the North of England. Whilst he is best remembered today as being the highly influential tutor to L.S. Lowry, Valette created a significant body of work in oils, watercolours and drawing media. All three works are sold with provenance from The Perera Collection, the largest collection of works by Valette to have been assembled in private hands.

Further notable works in the sale include an exquisitely detailed still life of a peach, black grapes and cobnuts on a marble shelf by Emilie Preyer (1849-1930), and a work by historical genre painter Edward Matthew Ward (1816-1879) that depicts the hero of a popular comic ballad, John Gilpin.

The sale will also see the final part of the Raymond Booth Studio, comprising 19 works. Raymond Booth (1929-2015) was perhaps the greatest botanical artist and illustrator of his generation, and his passion for the natural world shines through in his highly detailed oil studies of flora and fauna.

Viewing

Sunday 10 March - Friday 15 March 11am-4pm, and morning of sale from 8am

View all lots in this sale

Sell one like this

If you've got a similar item to sell, complete the valuation form below and one of our experts will get in touch. 

YOUR DETAILS

ITEM DETAILS

Upload images

Drag and drop .jpg images here to upload, or click here to select images.


CONFIRM & SUBMIT