Anthony Van Dyck
Found in 167 Collections and/or Records:
A Country Lane, A depiction of a landscape with a lane lined with pollarded willows and birch trees at the left., c.1632-1640
Vanderbilt photo identifier: SC.MSS.088.FLEM.0835; Public Notes: This drawing has also been attributed to Frans Wouters (pupil of Peter van Avont).
A Woman in a Pearl Necklace, Portrait of an unknown woman in three-quarter view. She looks directly at the viewer with a slight smile. She wears a pearl necklace and a decorative white collar.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0816; Public Notes: "Sedelmeyer" is written in pencil in the bottom right corner of the photograph.
A Young Woman and her Son, Portrait of a young woman holding a child in her lap. Both the mother and the child look directly at the viewer. The mother is depicted wearing an ornate golden dress with a large ruff while her son wears a red valhoed (or protective hat), a cross necklace, a heavy chain across his chest, and a long, close-fitting coat. He holds his mother's feather fan in his hands.
Adoration of the Shepherds, Depiction of the Virgin Mary holding the infant Christ child with the shepherds gathered around her. Joseph sits to the right of Mary and points to the sleeping Christ child while angels fly overhead., c.1626-1628
Vanderbilt photo identifier: SC.MSS.088.FLEM.0620; Public Notes: This painting is a variant of the "Adoration of the Shepherds" in the Onze-Lieve-Vrouwekerk, Dendermonde, although our painting was probably painted before the altarpiece. A copy of this painting exists in the Sint-Annakapel, Antwerp. Another copy is a nearly full-sized stained glass version. "Mezzotinto Bruckmann" is written on the bottom right corner of the photograph.
Adoration of the Shepherds, Nativity scene depicting the shepherds surrounding the Virgin Mary and the Christ Child as they gaze upon him lovingly. Cherubs fly overhead.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0619; Public Notes: This piece depicts the same composition as Van Dyck's "Adoration of the Shepherds" that is housed at the Hamburg Kunsthalle Museum in Hamburg, Germany.
Amalia de Solms, Pricess of Orange, Portrait of Amalia de Solms, the Princess of Orange. Here she is depicted wearing an elegant black dress with a French collar. The dress is decorated with two rows of pearls and three large bows. She wears pearls on her ears, neck, and wrists and a large broach at her bosom. She sits looking directly at the viewer., 1631-1632
Vanderbilt photo identifier: SC.MSS.088.FLEM.0791; Public Notes: Photographer's mark is in the bottom left corner of photograph. This is copy of the original painting. The original's whereabouts are unknown.
Ambrogio Spinola, Portrait of Amrogio Spinola, the 1st Marques de los Balbases. He stands wearing a large ruff and suit of armor. He rests his left hand on the sword in his sheath while he holds a baton in his right hand. There is a helmet on the ground to the right and there is a column and a distant landscape to the left., 1627
Vanderbilt photo identifier: SC.MSS.088.FLEM.0780; Public Notes: "Centurione" is written in pencil in the bottom right corner of the photograph. This is indicative that the painting was once owned by the Centurione family.
Anna Maria de Camudio, Portrait of Anna Maria de Camudio, the wife of Ferdinand de Boisschot, sitting and looking directly at the viewer. She wears a large pendant.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0690; Public Notes: Two copies exist, one of which is attributed to Rubens.
Anton Giulio Brignole-Sale (1605-65), Portrait of Anton Giulio Brignole-Sale dressed in a Spanish style costume riding on a Spanish horse. Symbolic of the close economic and political ties between Genoa and Spain. This is one of the two equestrian portraits painted by Van Dyck during his time in Italy., c.1627
Vanderbilt photo identifier: SC.MSS.088.FLEM.0693; Public Notes:
Anton Triest, Portrait of Anton Triest.
Vanderbilt photo identifier: SC.MSS.088.FLEM.0730; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu.
Battaina Balbi and her sons, Giacomo Durazzo and Carlo Emanuele Durazzo, Portrait of Battina Balbi, the daughter of Gerolamo Balbi. She sits looking directly at the viewer. Her two sons stand at her feet. One son dressed in a black gown holds a rose in his hand and gazes up towards his mother, while the other son dressed in blue sets his eyes on something outside of the picture plane, looking almost in a dreamlike state., c.1623
Vanderbilt photo identifier: SC.MSS.088.FLEM.0798; Public Notes: Photographer's mark is in the bottom right corner of the photograph. Battina was married to Giovanni Durazzo in 1619. After his death in 1622, Battina was remarried to Ippolito Invrea. The two children depicted here are sons she shared with Giovanni Durazzo.
Beatice, Countess of Oxford, Detail image of Beatrice, the Countess of Oxford looking directly at the viewer. She is turned in three-quarter view. She wears a string of pearls around her neck, pearl earrings, and pearls in her hair., 1638
Vanderbilt photo identifier: SC.MSS.088.FLEM.0786; Public Notes: Photographer's mark in bottom right corner of photograph.
Beatice, Countess of Oxford, Portrait of Beatrice, the Countess of Oxford, sitting and looking directly at the viewer. She wears an elegant dress decorated with pearls and other jewels. She wears a string of pearls around her neck and pearl earrings. She sits in three-quarter view holding a wilted rose in her hand. This is possibly symbolic of death, which would lead us to conclude that this is the portrait of a widow. A blue sky, rock, and foliage are evident in the background., 1638
Vanderbilt photo identifier: SC.MSS.088.FLEM.0785; Public Notes: The accession number is PO1481. In the past, the sitter has been misidentified as Diana, the daughter of the 2nd Earl of Exeter. The inscription disproves this claim, identifying her as the Countess of Oxford, the wife of Robert de Vere, the 19th Earl of Oxford, who was killed in battle in 1632. Copies exist at Syon House and Sotheby's.
Beatrice de Cusance, Princess of Cante croix, Portrait of Beatrice de Cusance, Princess of Cante Croix. She stands looking directly at the viewer. She holds on to her dress with her left hand while she pulls back a curtain with her right, similar to the pose of Lucy, Countess of Carlisle. There is a yapping dog present at her feet. In the background is a beautiful cloudscape. Beatrice wears pearls at her wrists, neck, ears, and even across her chest., 1634-1635
Vanderbilt photo identifier: SC.MSS.088.FLEM.0787; Public Notes: Beatrice de Cusance was the daughter of the Baron of Belvoir and the Countess of Berghes. She was married twice, the first time to the Prince of Cante Croix, Leopold-Eugène Perrenot de Granvelle d'Oiselet, and the second time to Duke Charles IV of Lorraine. It is evident that Beatrice originally wore a high collar but it was painted out. Several copies exist.
Cardinal Domenico Rivarola, Portrait of Cardinal Domenico Rivarola looking directly at the viewer and holding a letter. He was appointed Cardinal in August of 1611 by Pope Paul V. He was designated as the government's representative in September of 1623 and represented the Republic on various kinds of affairs. The inscription on the letter Rivarola holds alludes to these political appointments., c.1623
Vanderbilt photo identifier: SC.MSS.088.FLEM.0724; Public Notes: The accession number is 1999.37.
Cardinal Domenico Rivarola, Portrait of Cardinal Domenico Rivarola looking directly at the viewer and holding a letter. He was appointed Cardinal in August of 1611 by Pope Paul V. He was designated as the government's representative in September of 1623 and represented the Republic on various kinds of affairs. The inscription on the letter Rivarola holds alludes to these political appointments., c.1623
Vanderbilt photo identifier: SC.MSS.088.FLEM.0725; Public Notes: "Roma" is written on the letter in this version, unlike the original.
Cardinal Domenico Rivarola, Portrait of Cardinal Domenico Rivarola looking directly at the viewer and holding a letter. He was appointed Cardinal in August of 1611 by Pope Paul V. He was designated as the government's representative in September of 1623 and represented the Republic on various kinds of affairs. The inscription on the letter Rivarola holds alludes to these political appointments., c.1623
Vanderbilt photo identifier: SC.MSS.088.FLEM.0726; Public Notes: "Roma" is written on the letter in this version, unlike the original.
Cardinal Guido Bentivoglio, Detail image of Cardinal Guido Bentivoglio., c.1623
Vanderbilt photo identifier: SC.MSS.088.FLEM.0710; Public Notes: The number 2 is stamped on the back of this photograph.
Cardinal Guido Bentivoglio, Portrait of Cardinal Guido Bentivoglio, c.1623
Vanderbilt photo identifier: SC.MSS.088.FLEM.0709; Public Notes: Van Dyck gained much recognition for this painting. Cust noted that is was "the first portrait which raises Van Dyck from the rank of mere first-rate painters to that in which artists stand apart, unapproachable in their own particular line of art." The painting is done in the style of Titian's "Paul III." The number 1 is stamped on the back.
Charles I (1600-1649) in the Hunting-Field, Detail image of "Charles I (1600-1649) in the Hunting-Field." King Charles looks directly at the viewer in three-quarter view., c. 1636
Vanderbilt photo identifier: SC.MSS.088.FLEM.0679; Public Notes:
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