Portrait of Cornelis Schut (1597-1695). First edition from Icones Principum Virorum Doctorum.
Antwerp: Gillis Hendricx, 1645. Engraving mounted on old laid watermarked paper. 24.3 x 16.3 cm to borderline. Very good. Published in "Icones Principum Virorum Doctorum, Pictorum Chalcographorum Statuariorum nec non Amatorum Pictoriae Artis numero centum." Antwerp: Gillis Hendricx, 1645....The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He directed and revised the work of the best engravers of the Rubens workshop such as Lucas Vosterman, Schelte Adamsz. Bolswert, Paulus Pontius, Pieter de Jode and Jacob Neefs. ...
Inscription
lower left in plate: Ant.van Dyck pinxit. / LVosterman Sculp.; across bottom in plate: CORNELIVS SCHUT / PICTOR HVMANARVM FIGVRARVM MAIORVM ANTVERPIAE....References: Mauquoy-Hendrickx, Marie. L'iconographie d'Antoine van Dyck: Cataloque raisonné. 2 vols. 2nd ed. Brussels, 1991, no. 91, final state; The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts, 1450-1700. (Anthony Van Dyck, Simon Turner, author). Rotterdam: Sound & Vision Interactive, 1996-, no. 89, state viii/viii...."Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Item #51-4824
Price: $250.00