Pierre Lombart - Countess of Canarvaen - Van Dyck
Description: From te famous set of 'The Countesses': Portrait of Anna Sophia, Countess of Carnavon, half-length, turned to the right, wearing silk dress adorned with pearls and precious stones, and holding rose in left hand; in ornate frame; second, lettered state, with privilige added; after Van Dyck. Anna Sophia, Comitissa De Canaruaen," "Anton, Van Dyck, pinxit,", "avec Priuileige du Roy", and "P. Lombart sculpsit et ex. Parisis Londini".
Notes: Alle measurements are taken on the plate mark. Secure international inhouse shipping at low cost. Dimensions: 31,20 x 24,40 cm Artist Name: Pierre Lombart (1621 - 1681 ) Literature: Firmin-Didot 1876 1384 O'Donoghue 1908-25 2 New Hollstein (Dutch & Flemish) 254.II (Van Dyck)The portrait is based on Van Dyck's painting, now kept in Chatsworth, Derbyshire, see S. Barnes, N. de Poorter, O. Millar and H. Vey, 'Van Dyck: A Complete Catalogue of the Paintings', Yale & London, 2004, cat.no.IV.41. (Text from Antony Griffiths, 'The Print in Stuart Britain', BM 1998, cat. 119: see also entry for cat.120, under P,3.350) Lombart's most famous work was the series of twelve portraits after van Dyck that he engraved around 1660, often known as the 'Countesses' from the Latin of their titles. Mariette in his entry on Lombart in his Abecedario stated that this set alone would suffice to place him 'au rang des premiers graveurs'. All twelve plates are the same size, and show three-quarter-length figures, ten women and two men, in 15mm wide borders that imitate frames of the period. Walpole described them as 'too well known to be particularised', but the complete list is not easily accessible (though see now New Hollstein, van Dyck, nos.250-261). It is given here with references to Oliver Millar's catalogue of the paintings of Van Dyck, of 2004. The women were Anne Carr, Countess of Bedford (IV.22); Lucy, Countess of Carlisle (IV.38); Margaret, Countess of Carlisle (later Manchester) (IV.39); Anna Sophia, Countess of Carnarvon; Elizabeth, Countess of Castlehaven (IV.42); Elizabeth, Countess of Devonshire (IV.90); Rachel, Countess of Middlesex (a title she gained on her re-marriage in 1655) (IV.A4); Penelope, Lady Herbert (IV.A28); Dorothy Sidney, Countess of Sunderland (IV.223); and Elizabeth, Countess of Morton (IV.A24). The two men were Henry Howard, Earl of Arundel (IV.12), and Philip Herbert, Earl of Pembroke (IV.185). Four of the paintings that he copied were in Northumberland House in London, for which they had been commissioned from van Dyck by the 10th Earl of Northumberland (see Jeremy Wood in 'Van Dyck 350', Washington 1994, pp.281-324), of which most are today in Petworth. Presumably the paintings Lombart used for the rest of the set were also available to him in London. Medium: Engraving Circa: 1661-1662
Condition: Excellent condition on watermarked laid paper. Superb impressions. Wide marginned. Several collection stamps on the backside.
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Description: From te famous set of 'The Countesses': Portrait of Anna Sophia, Countess of Carnavon, half-length, turned to the right, wearing silk dress adorned with pearls and precious stones, and holding rose in left hand; in ornate frame; second, lettered state, with privilige added; after Van Dyck. Anna Sophia, Comitissa De Canaruaen," "Anton, Van Dyck, pinxit,", "avec Priuileige du Roy", and "P. Lombart sculpsit et ex. Parisis Londini".
Notes: Alle measurements are taken on the plate mark. Secure international inhouse shipping at low cost. Dimensions: 31,20 x 24,40 cm Artist Name: Pierre Lombart (1621 - 1681 ) Literature: Firmin-Didot 1876 1384 O'Donoghue 1908-25 2 New Hollstein (Dutch & Flemish) 254.II (Van Dyck)The portrait is based on Van Dyck's painting, now kept in Chatsworth, Derbyshire, see S. Barnes, N. de Poorter, O. Millar and H. Vey, 'Van Dyck: A Complete Catalogue of the Paintings', Yale & London, 2004, cat.no.IV.41. (Text from Antony Griffiths, 'The Print in Stuart Britain', BM 1998, cat. 119: see also entry for cat.120, under P,3.350) Lombart's most famous work was the series of twelve portraits after van Dyck that he engraved around 1660, often known as the 'Countesses' from the Latin of their titles. Mariette in his entry on Lombart in his Abecedario stated that this set alone would suffice to place him 'au rang des premiers graveurs'. All twelve plates are the same size, and show three-quarter-length figures, ten women and two men, in 15mm wide borders that imitate frames of the period. Walpole described them as 'too well known to be particularised', but the complete list is not easily accessible (though see now New Hollstein, van Dyck, nos.250-261). It is given here with references to Oliver Millar's catalogue of the paintings of Van Dyck, of 2004. The women were Anne Carr, Countess of Bedford (IV.22); Lucy, Countess of Carlisle (IV.38); Margaret, Countess of Carlisle (later Manchester) (IV.39); Anna Sophia, Countess of Carnarvon; Elizabeth, Countess of Castlehaven (IV.42); Elizabeth, Countess of Devonshire (IV.90); Rachel, Countess of Middlesex (a title she gained on her re-marriage in 1655) (IV.A4); Penelope, Lady Herbert (IV.A28); Dorothy Sidney, Countess of Sunderland (IV.223); and Elizabeth, Countess of Morton (IV.A24). The two men were Henry Howard, Earl of Arundel (IV.12), and Philip Herbert, Earl of Pembroke (IV.185). Four of the paintings that he copied were in Northumberland House in London, for which they had been commissioned from van Dyck by the 10th Earl of Northumberland (see Jeremy Wood in 'Van Dyck 350', Washington 1994, pp.281-324), of which most are today in Petworth. Presumably the paintings Lombart used for the rest of the set were also available to him in London. Medium: Engraving Circa: 1661-1662
Condition: Excellent condition on watermarked laid paper. Superb impressions. Wide marginned. Several collection stamps on the backside.
