Los

1255

William Dobson, nachBildnis des Endymion PorterÖlfarbe auf Papier, auf Holz montiert. 41,5 x 32,5

In Old Masters & 19th Century Art

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William Dobson, nachBildnis des Endymion PorterÖlfarbe auf Papier, auf Holz montiert. 41,5 x 32,5
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
William Dobson, nach
Bildnis des Endymion Porter

Ölfarbe auf Papier, auf Holz montiert. 41,5 x 32,5 cm.

Provenienz
Wohl Jerome Bonaparte. – Duke of Cumberland. - Norman Winston, Vereinigte Staaten. – Belgische Privatsammlung.

Literatur
Ausst.-Kat. London 1983: William Dobson, London 1983, S. 35. - R.H. Marijnissen: A Portrait of Endymion Porter. A Dobson-van Dyck Problem, in: Academiae Analecta, vol. 56, Brussels 1996, pp.65–7. – Karen Hearn: Katalogeintrag “William Dobson, Portrait of Endymion Porter”, Homepage Tate Gallery (https://www.tate.org.uk/art/artworks/dobson-endymion-porter-n01249)

Auf der Rückseite ein maschinengeschriebenes Etikett: "Anthonie van Dijck/Portretstuk./Beschreven door Dr. W.R. Valentiner./Collection of Jerome Bonaparte, King of Westphalia/Collection of the Duke of Cumberland."

Mit Endymion Porter ist in diesem Bildnis eine der herausragenden Persönlichkeiten im England des frühen 17. Jahrhunderts dargestellt. Porter nahm eine zentrale Stellung in der Politik, Diplomatie und nicht zuletzt in der Kunstszene während der Herrschaft Karls I. ein, sein Antlitz hat sich nicht zuletzt aufgrund des Doppelportraits, das Anthonis van Dyck von sich gemeinsam mit Porter gemalt hat, eingeprägt (Madrid, Museo del Prado).
Das vorliegende Portrait zeigt Endymion Porter als Jäger, belgeitet von einem Pagen und einem Jagdhund. William R. Valentiner hat es einst aufgrund der Qualität der Ausführung Anthonis van Dyck zugeschrieben. Marijnissen (op. cit., passim) hat ebenfalls von der „high quality“ der Malerei gesprochen und das Bildnis einer eingehenden Analyse im Hinblick auf die Autorschaft unterzogen. Marijnissen ließ dabei seinerzeit die Frage der Autorschaft offen und schloss seine Untersuchung mit den Worten: „In my view, the sketch discussed here, deserves further investigation“.
Außer Zweifel steht, dass das vorliegende Gemälde in Verbindung steht zu Endymion Porters Portrait von der Hand William Dobsons (Öl auf Leinwand, 150 x 127 cm) in der Tate Gallery in London, das zwischen 1642 und 1645 entstanden ist. Marijnissen hat die Möglichkeiten ins Spiel gebracht, dass es sich um eine Entwurfsskizze van Dycks oder Dobsons für das Londoner Portrait, oder aber um eine Replik als Vorlage für einen Radierung handele. All diese Möglichkeiten kommen jedoch aus verschiedenen Gründen nicht in Frage. Es ist eher davon auszugehen, dass es sich um eine Kopie nach dem von Dobson ausgeführten Gemälde in der Tate Gallery handelt, die in der Werkstatt oder im Umkreis William Dobsons entstanden ist.

William Dobson, copy after
Portrait of Endymion Porter

Oil paint on paper mounted on wood. 41.5 x 32.5 cm.

Provenance
Possibly Jerome Bonaparte. – Duke of Cumberland. - Norman Winston, United States. – Belgian private collection.

Literature
Exhib. cat. London 1983: William Dobson, London 1983, p. 35. - R.H. Marijnissen, A Portrait of Endymion Porter. A Dobson-van Dyck Problem, in: Academiae Analecta, vol. 56, Brussels 1996, pp. 65–7. – Karen Hearn: Catalogue entry “William Dobson, Portrait of Endymion Porter”, Homepage Tate Gallery (https://www.tate.org.uk/art/artworks/dobson-endymion-porter-n01249)

On the reverse a typewritten label: "Anthonie van Dijck/Portretstuk./Beschreven door Dr. W.R. Valentiner./Collection of Jerome Bonaparte, King of Westphalia/Collection of the Duke of Cumberland."

This portrait depicts Endymion Porter, one of the most exceptional personalities in England in the early 17th century. Porter played a central role in the country's politics, diplomacy, and artistic scene during the reign of Charles I. His features have become familiar in part due to the double-portrait painted together with him by Anthony van Dyck, now housed in the Museo del Prado in Madrid.
The present work depicts Endymion Porter in hunting clothes accompanied by a page and a dog. William R. Valentiner has attributed this work to Van Dyck due to its exceptional quality. Marijnissen also spoke of the “high quality“ of the piece in his in depth expertise. However, he left the question of the work's authorship open and closed his analysis with the statement “In my view, the sketch discussed here, deserves further investigation“.
What is known for sure is that the present work can be brought into connection with William Dobson's portrait of Endymion Porter in the Tate Gallery in London, painted between 1642 and 1645 (oil on canvas, 150 x 127 cm). Marijnissen suggested that the work could have been made as a study by van Dyck or Dobson for the London portrait, or that it could have been a replica made as the design for an engraving. However, for various reasons none of these considerations are plausible. More likely is that the work is a copy after Dobson's painting in the Tate Gallery made in his studio or by an artist from his circle.
William Dobson, nach
Bildnis des Endymion Porter

Ölfarbe auf Papier, auf Holz montiert. 41,5 x 32,5 cm.

Provenienz
Wohl Jerome Bonaparte. – Duke of Cumberland. - Norman Winston, Vereinigte Staaten. – Belgische Privatsammlung.

Literatur
Ausst.-Kat. London 1983: William Dobson, London 1983, S. 35. - R.H. Marijnissen: A Portrait of Endymion Porter. A Dobson-van Dyck Problem, in: Academiae Analecta, vol. 56, Brussels 1996, pp.65–7. – Karen Hearn: Katalogeintrag “William Dobson, Portrait of Endymion Porter”, Homepage Tate Gallery (https://www.tate.org.uk/art/artworks/dobson-endymion-porter-n01249)

Auf der Rückseite ein maschinengeschriebenes Etikett: "Anthonie van Dijck/Portretstuk./Beschreven door Dr. W.R. Valentiner./Collection of Jerome Bonaparte, King of Westphalia/Collection of the Duke of Cumberland."

Mit Endymion Porter ist in diesem Bildnis eine der herausragenden Persönlichkeiten im England des frühen 17. Jahrhunderts dargestellt. Porter nahm eine zentrale Stellung in der Politik, Diplomatie und nicht zuletzt in der Kunstszene während der Herrschaft Karls I. ein, sein Antlitz hat sich nicht zuletzt aufgrund des Doppelportraits, das Anthonis van Dyck von sich gemeinsam mit Porter gemalt hat, eingeprägt (Madrid, Museo del Prado).
Das vorliegende Portrait zeigt Endymion Porter als Jäger, belgeitet von einem Pagen und einem Jagdhund. William R. Valentiner hat es einst aufgrund der Qualität der Ausführung Anthonis van Dyck zugeschrieben. Marijnissen (op. cit., passim) hat ebenfalls von der „high quality“ der Malerei gesprochen und das Bildnis einer eingehenden Analyse im Hinblick auf die Autorschaft unterzogen. Marijnissen ließ dabei seinerzeit die Frage der Autorschaft offen und schloss seine Untersuchung mit den Worten: „In my view, the sketch discussed here, deserves further investigation“.
Außer Zweifel steht, dass das vorliegende Gemälde in Verbindung steht zu Endymion Porters Portrait von der Hand William Dobsons (Öl auf Leinwand, 150 x 127 cm) in der Tate Gallery in London, das zwischen 1642 und 1645 entstanden ist. Marijnissen hat die Möglichkeiten ins Spiel gebracht, dass es sich um eine Entwurfsskizze van Dycks oder Dobsons für das Londoner Portrait, oder aber um eine Replik als Vorlage für einen Radierung handele. All diese Möglichkeiten kommen jedoch aus verschiedenen Gründen nicht in Frage. Es ist eher davon auszugehen, dass es sich um eine Kopie nach dem von Dobson ausgeführten Gemälde in der Tate Gallery handelt, die in der Werkstatt oder im Umkreis William Dobsons entstanden ist.

William Dobson, copy after
Portrait of Endymion Porter

Oil paint on paper mounted on wood. 41.5 x 32.5 cm.

Provenance
Possibly Jerome Bonaparte. – Duke of Cumberland. - Norman Winston, United States. – Belgian private collection.

Literature
Exhib. cat. London 1983: William Dobson, London 1983, p. 35. - R.H. Marijnissen, A Portrait of Endymion Porter. A Dobson-van Dyck Problem, in: Academiae Analecta, vol. 56, Brussels 1996, pp. 65–7. – Karen Hearn: Catalogue entry “William Dobson, Portrait of Endymion Porter”, Homepage Tate Gallery (https://www.tate.org.uk/art/artworks/dobson-endymion-porter-n01249)

On the reverse a typewritten label: "Anthonie van Dijck/Portretstuk./Beschreven door Dr. W.R. Valentiner./Collection of Jerome Bonaparte, King of Westphalia/Collection of the Duke of Cumberland."

This portrait depicts Endymion Porter, one of the most exceptional personalities in England in the early 17th century. Porter played a central role in the country's politics, diplomacy, and artistic scene during the reign of Charles I. His features have become familiar in part due to the double-portrait painted together with him by Anthony van Dyck, now housed in the Museo del Prado in Madrid.
The present work depicts Endymion Porter in hunting clothes accompanied by a page and a dog. William R. Valentiner has attributed this work to Van Dyck due to its exceptional quality. Marijnissen also spoke of the “high quality“ of the piece in his in depth expertise. However, he left the question of the work's authorship open and closed his analysis with the statement “In my view, the sketch discussed here, deserves further investigation“.
What is known for sure is that the present work can be brought into connection with William Dobson's portrait of Endymion Porter in the Tate Gallery in London, painted between 1642 and 1645 (oil on canvas, 150 x 127 cm). Marijnissen suggested that the work could have been made as a study by van Dyck or Dobson for the London portrait, or that it could have been a replica made as the design for an engraving. However, for various reasons none of these considerations are plausible. More likely is that the work is a copy after Dobson's painting in the Tate Gallery made in his studio or by an artist from his circle.

Old Masters & 19th Century Art

Auktionsdatum
Lose: 1200-1371
Lose: 1500-1583
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % pre-paid importation VAT on the hammer price, only reclaimable in case of export to a country outside the EU
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

 

Some lots:

19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
- 20.00 % buyer's premium on the amount of the hammer price exceeding 400,001 EUR

AGB

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Takuro Ito, Auctioneer

 

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