- Museum number
Titian and his beloved, in half length, at top; Salome with the head of St John the Baptist, accompanied by two maids, in half length, at bottom; leaf from van Dyck's Italian Sketchbook (containing 121 leaves)
Pen and brown ink; red chalk, worked over in pen and brown ink
Verso: Portrait of a man; after Raphael
Black chalk, worked over in pen and black ink by a later hand
- Production date
Height: 200 millimetres
Width: 153 millimetres (sight measurement)
- Curator's comments
- See Curatorial comment for BM 1957-12-14-207.1.
According to Jaffé, the recto sketch is after a painting which Van Dyck would have seen in the collection of the merchant Lucas van Uffel in Venice; H.E. Wethey, 'The Paintings of Titian, II, The Portraits', London, 1969, no.X-102. Depauw and Luijten, however, argue that the source for the composition remains unresolved. Van Dyck developed this theme into an etching which he dedicated to Lucas van Uffel, see R,1b.35.
The verso sketch is after Raphael's painted Portrait of a Man which Van Dyck would have seen in Rome; now missing. Brown argues that the pose of the man, who in Van Dyck's time was though to have been Raphael himself, resembles that which Van Dyck adopted in his own painted Self-Portrait now at the Hermitage, St Petersburg, inv.no.548.
Literature: Cristopher Brown and Hans Vlieghe, 'Van Dyck, 1599-1641', ex. cat. Koninklijk Museum voor Schone Kunsten, Antwerp and Royal Academy of Arts, London, no. 31; C. Depauw and G. Luijten, 'Anthony van Dyck as a printmaker', ex. cat. Museum Plantin-Moretus/Stedelijk Prentenkabinet, Antwerp and Rijksmuseum, Amsterdam,1999, no. 32; Michael Jaffé, 'The Devonshire Collection of Northern European Drawings, A Complete Catalogue', vol.I, 2002, p.118.
- Not on display
- Acquisition date
- Acquisition notes
- See Acquisition history in BM 1957-12-14-207.1 for further details of provenance.
- Prints and Drawings
- Registration number