Portrait of Hendrick van Steenwyck the Younger, Anthony van Dyck
Anthony van Dyck
Portrait of Hendrick van Steenwyck the Younger
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Printing plate

Paulus Pontius nach Anthonis van Dyck, Steenwyck (Hendrik van) le Jeune, peintre de La Haye / Hendrik van Steenwyck, ca. 1632-1635, Kupferplatte, 254 x 182 mm. Paris, Musée du Louvre, Département des Arts graphiques, Atelier de la chalcographie, Inv. Nr. 2364 C

Anthony van Dyck

Portrait of Hendrick van Steenwyck the Younger, ca. 1632 – 1635


Blatt
273 x 209 mm
Physical Description
Black chalk, grey washes (partly mixed with white), framing line with black chalk on all sides, fully pencilled, with reddish verso
Inventory Number
791
Object Number
791 Z
Status
Can be presented in the study room of the Graphische Sammlung (special opening hours)

Texts

About the Work

Anthony van Dyck may have been persuaded by his brilliant success as a portrait painter throughout Europe to publish a series of portrait engravings and etchings between about 1626 and 1635. In the eighteenth century the work was given the title 'Iconographia'. The 'Iconography of Anthony van Dyck' is a gallery of famous men of his time, showing princes and generals, diplomats and scholars, but especially artists and connoisseurs. Van Dyck's particular aim was to preserve their images for posterity. He took advantage of encounters with these personalities to record their facial features in drawings and oil sketches. Printmakers then used the works as a model to execute the copperplate engravings and etchings; Van Dyck himself carried out the etching of at least seventeen sheets, at least in part.

He probably met the Flemish painter Hendrick van Steenwyck the Younger (ca. 1580 - before 1650) in London in the first half of the 1630s. The latter achieved fame above all for his paintings showing the interior rooms of buildings. In this drawing he is shown as an energetic, lively man looking intently at the viewer. He is holding a sheet in his hand as proof of his profession. The portrait drawing is very carefully executed in black chalk, after which Van Dyck laid down the light and dark areas using a grey wash applied with a paintbrush, thereby creating three-dimensional volume and space. The back of the drawing has been rubbed with red chalk and pushed through with a stylus. This was the method employed by the copperplate engraver Paulus Pontius (1603-1658) to transfer the picture to the copper plate. To recreate Van Dyck's very precise levels of brightness, Pontius used hatching of varying density in the engraving. This sheet originates from the comprehensive collection of Johann Friedrich Städel, which was arranged on art-historical lines. Städel will have been interested to own not only such a masterly drawing by Anthony van Dyck, but one that was also a portrait of an artist.

About the Acquisition

In March 1815, the Frankfurt businessman and banker Johann Friedrich Städel bequeathed his entire fortune and art collection to a foundation which was to be named after him: the 'Städelsches Kunstinstitut'. However, he also dedicated the foundation to the citizens of Frankfurt immaterially, wishing it to be an "adornment and of practical use" to Frankfurt's citizenry. He was thus the first ordinary citizen in the German-speaking region to found a public art museum: the present-day Städel Museum. When he died, his collection comprised 476 paintings, some 4,600 drawings, almost 10,000 printed graphics and valuable books.

Work Data

Basic Information

Title
Portrait of Hendrick van Steenwyck the Younger
Draughtsman
Production Place
Period Produced
School
Object Type
Physical Description
Black chalk, grey washes (partly mixed with white), framing line with black chalk on all sides, fully pencilled, with reddish verso
Material
Technique
Geographic Reference
Production Reason
Label at the Time of Manufacture
Bezeichnet unterhalb der Darstellung (mit der Feder in Braun): Henricus Steenweijck
Captions Added Later
Verso Stempel des Städelschen Kunstinstituts, Frankfurt am Main (Lugt 2356)
Watermark
  • Nicht vorhanden

Property and Acquisition

Institution
Administration
Collection
Creditline
Städel Museum, Frankfurt am Main
Picture Copyright
CC BY-SA 4.0 Städel Museum, Frankfurt am Main

Work Content

Iconclass

Primary

Research and Discussion

Provenance

Object History
Johann Friedrich Städel (1728–1816), Frankfurt am Main [1]
Nachlass Johann Friedrich Städel, 1816 [2].

Information

Since 2001, the Städel Museum has systematically been researching the provenance of all objects that were acquired during the National Socialist period, or that changed owners or could have changed owners during those years. The basis for this research is the “Washington Declaration”, also known as the “Washington Conference Principles”, formulated at the 1998 “Conference on Holocaust-Era Assets” and the subsequent “Joint Declaration”.

The provenance information is based on the sources researched at the time they were published digitally. However, this information can change at any time when new sources are discovered. Provenance research is therefore a continuous process and one that is updated at regular intervals.

Ideally, the provenance information documents an object’s origins from the time it was created until the date when it found its way into the collection. It contains the following details, provided they are known:

  • the type of acquisition and/or the way the object changed hands
  • the owner's name and place of residence
  • the date on which it changed hands

The successive ownership records are separated from each other by a semicolon.

Gaps in the record of a provenance are indicated by the placeholder “…”. Unsupported information is listed in square brackets.

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Last update

19.01.2022