(Münster 1603/5–1668 Antwerp)
A study for two caryatids with female personifications holding Instruments of the Passion, inscribed „Vandyk.” by another hand, pen and brush, brown wash, on laid paper, laid down on cardboard, 44 x 25,5 cm, browned, stained, mounted, framed, (Sch)

Provenance:
Collection J. Deschamps (late 19th century), Lugt 764; Sotheby’s, London, 21st March 1979; auction sale Finarte, Milan, 25th Oktober 1988, lot 184; from there acquired by the present owner – private collection, Italy.

The present study of two caryatids which was formerly attributed to Theodoor van Thulden (1606–1669) was sold at Sotheby’s London on March 21st, 1979. Due to the drawing style of the Flemish artist of the surrounding of Anthonis van Dyck (1599–1641) which has been examined thoroughly by art historical research, the attribution of the present study to Van Tulden cannot be maintained anymore. Prof. Jeremy Wood suggested an alternative attribution to Jan Boeckhorst (1604–1668) on the basis of the drawing’s style and of technical features. Prof. Wood points to a comparable drawing of the artist in the Musée des Beaux-Arts de Besancon (Inv. D.34) with a study for „Mater Dolorosa“, which was executed on light brown paper and with white heightening as well. The resemblance of the Madonna’s head posture is amazingly identical with the one of the head of left caryatid in the present study. The two sheets share the overhanging draperies and the flowing washes in brown ink in contrast to the white heightening which the artist used for emphasizing space. Both drawings may have been designs for sculptures: either for a wall epitaph whose figures could have ornated a relief or they were considered as part in a larger architectural framework on the façade of a church or of a frame belonging to an altar painting. It is remarkable in this context, that an oil sketch representing an “Adoration of the shepherds” in the Koninklijk Museen voor Schone Kunsten, Antwerp (Inv. 5150) which was formerly attributed to Lucas Franchoys II shows a scene where two caryatids are framing the main altar as well.

We are grateful to Prof. Jeremy Wood for the scientific support.