Attributed to Sir Anthony van Dyck

A member of the Belgium Royal Family  (a red wax seal with  the Royal Arms of Belgium is on the verso of the panel);
Barbizon House, London;
With John Levy Galleries, New York;
A. K. Schneider, New York;
C. M. Williams, Cincinnati, purchased in 1968 and thence by descent in the family;
By whom sold, Cedar Falls, Iowa, Jackson's, June 23, 2009, lot 248 (as by Anthony van Dyck);
Whereby purchased by the present collector.

The surface of the work is in good condition. There is some slight lifting in the paint. Under UV; minute inpainting on the bottom of the work.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This oil sketch is one of three grisailles portraits of Van Mallery associated with the engraving of the sitter published as part of Van Dyck's Iconography.  The prime version is in the collection of the Duke of Buccleuch (S. Barnes et al, III, 157) and a second was with the London dealer Thomas Williams (Thomas Williams Fine Art Ltd., Old Master Drawings, London 1998, no.11).  The oil sketches are in turn based on a black chalk drawing by Van Dyck at Chatsworth.  The evolution from chalk drawing to oil sketch to painting is consistent with the creation of the other prints in the series, but the Iconography was a large project and Van Dyck was involved with it to a greater or lesser degree over a number of years.  While most of the black chalk drawings are securely attributed, scholars disagree about which of the oil sketches are autograph.  The present work is unusual in that we know of no other instance in which there are three oil sketches for a single engraving, nor do we know of any other grisailles which are on paper affixed to panel.