| Title: |
Genevieve d'Urfe, Duchess of Croy |
| Engraver: |
De Jode, Pieter "The Younger" (Antwerp, 1604 - London ?, 1674) |
| Designer: |
Van Dyck (Van Dyke), Anthony (Antwerp, Flanders, 1599 - 1641) |
| Date: |
1645 (First Published Edition by Gillis Hendricx, Antwerp) |
| Medium: |
Original Engraving |
| Note: |
Pieter de Jode 'the Younger' studied engraving techniques
under his father, Pieter de Jode ('the Elder', 1570-1634). In 1628 he
was admitted into the Guild of St. Luke, Antwerp. In 1631 and 1632 both
he and his father practiced engraving in Paris. When Pieter de Jode 'the Younger' returned
to Antwerp he worked almost exclusively for Van Dyck and accompanied him
on several occasions to live and work in England. |
| |
Although Pieter de Jode 'the Younger' engraved some fine religious and
mythological scenes his greatest works of art are his portraits after Van Dyck,
many of which appeared in The Iconography. His important Van Dyck portraits
include King Charles I of England, Thomas Wentworth, Prince Rupert, Jacob
Jordaens, Jeanne de Blois and Genevieve d'Urfe, Duchess of Croy. |
| |
Anthony Van Dyck and "The Iconography": The great age
of portrait engraving took place in the early and mid seventeenth century.
In France such remarkable portrait engravers as Robert Nanteuil and Antoine
Masson achieved fame at least equal to the most highly regarded painters.
In Belgium and Holland the division between painter and engraver/etcher
was much less distinct. Rembrandt was as great an etcher as a painter
and both Rubens and Van Dyck conducted a school of engravers under their
close personal supervision. In the 1620's Peter Paul Rubens founded an
engraver's school in Antwerp in order to render his paintings and drawings
into copper. Such great engravers as Lucas Vorsterman (1595-1675), Pieter
de Jode (1604 - 1674), Nicolaes Lauwers (1600-1652), Boetius a Bolswert
(1580-1633) and Paulus Pontius (1603-1658) formed the cornerstone of what
was soon known as the 'School of Rubens'. |
| |
At the age of nineteen Anthony Van Dyck (Antwerp, 1599-1641)
was admitted into the painter's Guild of Antwerp, as a Master. A year
later he was the senior assistant to Rubens. A superb portraitist, Van
Dyck became famous throughout Europe and later was appointed court painter
to King James the First of England. |
| |
Van Dyck was first introduced to both engraving and etching
by Peter Paul Rubens. Around 1630 he began his most ambitious printmaking
project to create a uniform series of engravings of famous contemporaries
derived from his portraits. Van Dyck provided his engravers with extensive
preparatory work, including drawings and oil sketches. He then corrected
his engraver's proofs and even etched the outline features on some of
the portraits. In the following years he designed and supervised about
eighty such portrait engravings which were published individually by Martin
van den Enden. His principal engravers included Paulus Pontius, Nicolaes
Lauwers, Pieter de Jode, Lucas Vorsterman, Robert van Voerst and others.
These wonderfully graceful portrait engravings were a high point of Baroque
art and proved to be perhaps the most influential group of portraits in
the history of printmaking. |
| |
The first complete published set of The Iconography
did not appear until four years after Van Dyck's death, in 1645. During
this year Gillis Hendricx published a series of one hundred Van Dyck portrait
engravings in three general categories; I, Princes, II, Scholars, and
III, Painters, Engravers, Sculptors and Patrons of Art. (Interestingly,
portrayals of painters and engravers were deliberately placed on a level
equal to nobility and scholars.) The entire series now bore the title,
Icones Principum Vivorum Doctorum Pictorum ... Impressions from
this first published set contain the Gillis Hendricx letters, 'G. H.'
along the lower plate mark. |
| |
The demand for portraits from The Iconography was
so great that many subsequent editions were printed in the following decades.
The final edition was in fact published as late as 1759 and many of the
plates still survive in the Louvre. Detecting early from late impressions
of portraits from The Iconography , however, is not difficult. With the
deterioration of lines and contrasts, late impressions bear only a ghostly
relationship to first edition printings. Secondly, Gillis Hendricx impressions
were printed on a fine, laid paper with a distinct watermark of a Foolscap
containing five points, four large bells and braided hair (seen in this
impression in the lower margin). This watermark appears on paper used
in both Antwerp and Holland between 1640 and 1660. Lastly, later impressions
appear without the 'G. H.' along the lower plate-mark. This impression
of Genevieve d'Urfe, Duchess of Croy, then, is clearly from the
1645 edition. |
| |
A Biographical Note: The Countess Genevieve d'Urfe (1595-1656) was the second wife of
Charles Alexandre de Croy (1581-1624), the Marquess of Havre and Count
of Fontenoy. A notorious beauty, she was rumoured to have been involved
in a number of affairs. In 1624 she and her lover, the Marquess of
Spinola, possibly conspired in the murder of her husband at his palace
in Brussels. An innocent man was imprisoned for this crime and spent
the following thirty-two years behind bars. Upon the death of Charles
Alexandre his four year old nephew inherited his titles. |
| Raisonne: |
F. Wibiral, L'Iconographie d' Antonie Van Dyck, Leipzig, 1877. |
| |
Catalogue #39. Third State, as published in the 1645 Hendricx edition. |
| |
(For watermark identification) Rembrandt: Experimental
Etcher, Boston, Museum of Fine Arts, 1969, pp. 181 - 183. (Catalogue
#15, illustrated on p. 182.) |
| Source: |
Icones Principum Vivorum Doctorum Pictorum Chalographorum
Statuariorum Nec Non Amatorum Pictoriae Artis Numero Centum AB Antonio
Van Dyck Pictore AD Vivum Expressae Eivsque Suptibus Aeri Incisae (The
Iconography) |
| Size: |
9 1/4 X 7 1/4 (Sizes in inches are approximate, height preceding width of plate-mark or image.) |
| |
Framed and Matted with 100% Archival Materials |
| |
 |
| Buy Now |
Price: $785.00 US |
| Condition: |
Printed upon fine 17th century, hand-made, laid paper and
with wide, full margins as published in Antwerp in 1645 by Gillis Hendricx.
A brilliant, early impression and in excellent condition throughout.
Genevieve d’Urfe, Duchess of Croy represents a superb, original
example of portrait engraving from the famous Iconography of Anthony
Van Dyck. |
| |
The Fine Arts Museums of San Francisco includes an impression of this engraving in its permanent collection. |
| |
de Jode, Anthony Van Dyck, Genevieve d’Urfe, Duchess
of Croy, Iconography, Countess Genevieve d'Urfe (1595-1656), Charles
Alexandre de Croy (1581-1624), Gillis Hendricx, Icones Principum Vivo
rum |
| Important Information: |
The artist biographies, research and or information pertaining to all the original works of art posted on our pages has been written and designed by Greg & Connie Peters exclusively for our site, (www.artoftheprint.com). Please visit us regularly to view the latest artworks offered for sale. We will soon be posting an update of our most recent research and include the biographical and historical information pertaining to our next collection of original works of art created by artists throughout the centuries. We hope you found the information you were looking for and that it has been beneficial.
Our Gallery, (Art of the Print / www.artoftheprint.com) guarantees the authenticity of every work of art we sell 100%. Full documentation and certification is provided. We offer a wide selection of international fine art dating from the early Renaissance to the contemporary art period. |
| Anthony Van Dyck (Van Dyke) (Antwerp, Flanders, 1599 - 1641) |
| # |
Image |
Title & Artist |
Engraver Info |
Medium |
Date |
- |
| 01.- |
 |
Cornelius De Vos, Pictor Iconum Antwerpiae (Cornelis De Vos) Engraved by Lucas Vorsterman designed by Anthony Van Dyck |
Lucas Vorsterman (Zaltbommel, 1595 - Antwerp, 1675) |
Original Engraving |
1645 (First Published Edition by Gillis Hendricx, Antwerp) |
Sold |
| 02.- |
 |
Fra Lelio Blancatcio (Brancaccio), Commander of Malta Engraved by Nicolaes Lauwers designed by Anthony Van Dyck |
Nicolaes Lauwers (Leuze 'Tournay' 1600 - Antwerp, 1652) |
Original Engraving |
1645 (First Published Edition by Gillis Hendricx, Antwerp) |
Sold |
| 03.- |
 |
Genevieve d'Urfe, Duchess of Croy Engraved by Pieter de Jode 'The Younger' designed by Anthony Van Dyck |
Pieter de Jode 'The Younger' (Antwerp, 1604 - London ?, 1674) |
Original Engraving |
1645 (First Published Edition by Gillis Hendricx, Antwerp) |
|
| 04.- |
 |
Henricus Arundelliae Comes (Henry, The Earl of Arundel) Engraved by Pierre Lombart designed by Anthony Van Dyck |
Pierre Lombart (Paris, 1620 - 1681) |
Original Engraving |
1650 - 1660 |
Sold |
| 05.- |
 |
James Stanley, Earl of Derby Engraved by Michael Van der Gucht designed by Anthony Van Dyck |
Michael Van der Gucht (Antwerp, 1660 - London, 1725) |
Original Engraving |
c. 1690 - 1700 |
|
| 06.- |
 |
Joannes van Ravesteyn, Pictor Iconum Hagae Comitis (Jan van Ravesteyn) Engraved by Paulus Pontius designed by Anthony Van Dyck |
Paulus Pontius (Antwerp, 1603 - 1658) |
Original Engraving |
1645 (First Published Edition by Gillis Hendricx, Antwerp) |
|
| 07.- |
 |
Kennelmus Digbi, Eques (Sir Kenelm Digby) Engraved by Robert Van Voerst designed by Anthony Van Dyck |
Robert Van Voerst (Arnheim, 1597 - London, 1636) |
Original Engraving |
1645 First published edition by Gillis Hendricx, Antwerp |
Sold |
| 08.- |
 |
Paulus de Vos Engraved by Adrien Lommelin designed by Anthony Van Dyck |
Adrien Lommelin (Amiens, 1636 - Antwerp, after 1673) |
Original Engraving |
c. 1660 - 1670 |
|
| 09.- |
 |
Paulus Pontius, Calcographus Antwerpiae Engraved by Paulus Pontius designed by Anthony Van Dyck |
Paulus Pontius (Antwerp, 1603 - 1658) |
Original Engraving |
1645 (First Published Edition by Gillis Hendricx, Antwerp) |
Sold |
| 10.- |
 |
William Cavendish, 1st Marquis and Duke of Newcastle Engraved by Lucas Vorsterman designed by Anthony Van Dyck |
Lucas Vorsterman (Zaltbommel, 1595 - Antwerp, 1675) |
Original Engraving |
c. 1630 |
|
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