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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Dec 7, 2010 | Christie's | London | Old Masters & 19th Century Paintings, Drawings & Watercolours (Evening Sale) | 18 | $****** - ****** | Portrait of a gentleman, traditionally called a Senator of Antwerp, half-length, leaning on a plinth |
paintings
123.9 x 97.2 cm (48.78 x 38.27 in)
oil on canvas
(Presumably) Henry Bentinck, 2nd Earl and 1st Duke of Portland (1682-1726) or his son, William, 2nd Duke of Portland (1709-1762), Bulstrode Park, Buckinghamshire, where recorded by John Achard, tutor to the latter and his younger brother, Lord George Bentinck, as 'A portrait of a Senator of Antwerp, half length, black hair, a plain band, in a Black flower velvet cloak, by Vandike', and by descent to the 2nd Duke's son,. William Henry Cavendish Cavendish-Bentinck, 3rd Duke of Portland (1738-1809), at Bulstrode, where recorded in his posthumous inventory, compiled by Thomas Hill, Jun., no. 13, and by descent to his son,. William Henry, 4th Duke of Portland (1768-1854), by whom moved with other pictures from Bulstrode to Burlington House, London, in 1810 (List of Pictures formerly at Bulstrode, no. 24) and subsequently to Welbeck Abbey, Norfolk (Catalogue of circa 1812, no. 77, as 'Senator of Antwerp. Vandyck.', Catalogue of 1861, no. 454), and by descent at Welbeck, where recorded in the Large Drawing Room in an inventory of 1831 (no. 77), by Dr. Waagen (1857) and in the Red Drawing Room by Charles Fairfax Murray (1894).
London, Royal Academy, Exhibition of Flemish and Belgian Art (1300-1900), 8 January-5 March 1927, no. 153. Bruges, Groeningemuseum, L'art flamand dans les collections britanniques, August-September 1956, no. 88. Nottingham, University Art Gallery, Paintings and Drawings by Van Dyck, 28 February-24 March 1960, no. 7 (catalogue by O. Millar).
G.F. Waagen, Galleries and Cabinets of Art in Great Britain, London, 1857, p. 514, 'this looks very inviting, but is too highly and darkly hung'. A. Guiffrey, Antoine van Dyck: Sa vie et son oeuvre, Paris, 1882, p. 285. C. Fairfax Murray, Catalogue of the Pictures belonging to His Grace the Duke of Portland, at Welbeck Abbey, and in London, London, 1894, p. 25, no. 92, illustrated, 'An early picture by Vandyck, in what is usually called his Italian or Genoese manner.'. L. Cust, Anthony Van Dyck, An historical Study of his Life and Works, London, 1900, pp. 51 and 245, no. 142, 'Painted in Italy.'. E. Schaeffer, Klassiker der Kunst: Van Dyck, Stuttgart and Leipzig, 1909, pl. 219, where dated 1622-7. R. Witt, Exhibition of Flemish and Belgian art (1300-1900): Illustrated souvenir, London, p. 53. Apollo, IX, 1929, p. 248, illustrated in colour. G. Glück, Van Dyck: Des Meisters Gemälde, London, 1931, pl. 279, p. 549, as of the Antwerp period. R.W. Goulding, revised by C.K. Adams, Catalogue of the Pictures belonging to His Grace the Duke of Portland, K.G., Cambridge, 1936, p. 33, no. 92. E. Larsen, L'opera completa di Van Dyck, Milan, 1980, p. 88, no. 526, 'uno splendido dipinto, risalente al secondo periodo di Anversa. Databile fra il 1626 e il 1632.'. E. Larsen, The Paintings of Anthony van Dyck, Freren, 1988, II, p. 235, no. 582. H. Vey, in S.J. Barnes, N. de Poorter, O. Millar and H. Vey, Van Dyck: A Complete Catalogue of the Paintings, New Haven and London, 2004, p. 384, no. III.184, illustrated.
