Sir Anthony van Dyck

Previously unknown, this subtle and sophisticated study for a composition showing an unidentified religious ceremony can convincingly be attributed to the young Van Dyck, executed at around the same time – circa 1618-20 – as the great, double-sided sheet, lot 23 above. 

The condition of the drawing makes some areas very hard to read, but the scene seems to show a group of figures gathered to the left, either around a child or an altar, with others, including a donor in early 17^th-century costume, looking on from the right. Were it not for the figures in contemporary clothing, this could have been a Circumcision, but the subject must for now remain unclear. The composition does not correspond with any known work by Van Dyck or any of his contemporaries.

In terms of drawing style, the angularity of facial features, broad, almost blotchy, rendering of hair, and general sense of movement are very comparable with other drawings by Van Dyck from this period; Jeremy Wood singles out in particular a study for The Brazen Serpent, in the Morgan Library¹, and two sheets in the Albertina.²  

Another interesting aspect of this intriguing sheet is that the facial features of the standing gentleman in contemporary costume bear a striking resemblance to those of the great art collector, patron and Burgermeester of Antwerp, Nicolas Rockox, as recorded in various other works by Van Dyck, including a fine circular painting, recently sold in these Rooms.³

1. Jeremy Wood, communication with the present owner; New York, Pierpont Morgan Library and Museum, inv. 2004.39; I. van Tuinen, Power and Grace: Drawings by Rubens, Van Dyck, and Jordaens, New York 2018, page 22, fig. 10

2. Vienna, Albertina, inv. 11644 and 8637; H. Vey, Die Zeichnungen Anton van Dycks, Brussels 1962, nos. 80 and 97

3. Sale, New York, Sotheby’s, 28 January 2010, lot 170