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Jan van Eyck · 1432

Léal Souvenir

Posters from $15.00 CAD · Canvas from $39.00 CAD

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A man in a green chaperon and red tunic holds a small scroll behind a painted stone parapet inscribed with Greek letters, the words 'Leal Souvenir' and van Eyck's signature and date. National Gallery, London.

Up to 11 × 19.5 in · portrait

Size

Larger sizes are unavailable for this painting because the source scan's resolution wouldn't print at gallery quality.

Format & finish

Archival cotton canvas stretched over a wooden frame. Ready to hang as-is. No external frame.

Scale next to a 5'10" person

8″14.2″

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Materials & quality

›Canvas & inks

Giclée-printed on archival cotton canvas with fade-resistant pigment inks, hand-stretched over wooden bars. Gallery-wrapped — ready to hang with no extra frame needed.

›Floater frame

Hand-finished solid wood floater frame in five finishes. The canvas sits inside with a clean shadow gap — the way galleries hang contemporary canvas.

›Posters

Premium archival paper — 200 gsm soft matte or 230 gsm vibrant glossy. Ships flat or rolled, ready for your own frame.

›Faithful to the source

Printed from the highest-resolution museum and archive scans available. Each painting's maximum size is capped at what its source scan can support at gallery quality.

The story of Léal Souvenir

Léal Souvenir (also known as Timotheus or Portrait of a Man) is a small oil-on-oak portrait dated 1432. The sitter has not been identified, but his distinctive features suggest a real person rather than an ideal type. The parapet carries three sets of inscriptions made to look chiselled into stone: a Greek word, the French 'Leal Souvenir' (loyal memory), which points to a posthumous commemoration, and van Eyck's signature and date. The panel was acquired by the National Gallery, London, in 1857.

Adapted from Wikipedia, available under CC BY-SA 4.0.

Jan van Eyck

Jan van Eyck was an early Netherlandish painter active in Bruges who was one of the early innovators of what became known as Early Netherlandish painting, and one of the supreme figures of the Early Northern Renaissance. Such was his legacy, that he has been called “the inventor of oil-painting” by Vasari, Ernst Gombrich, and others, although this claim is now considered an oversimplification.

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Biography adapted from Wikipedia, available under CC BY-SA 4.0.

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