After Sir Anthony van Dyck

three-quarter length, standing, wearing a suit of armour and holding a baton in his right hand, his left hand resting on his helmet

STRUCTURE The canvas has been lined PAINT SURFACE The painting appears to be in very good condition. There is a light and even cracquelure in keeping with age, most visible to the sitter's face and collar. There has been some minor restoration carried out to frame abrasion marks to the lower and left edges of the canvas. ULTRAVIOLET Ultraviolet light reveals scattered re-touchings throughout the picture although concentrated on the sitter's left hand side and helmet. There has been some restoration work made to an area on the sitter's forehead and chin. FRAME Held in a 'Carlo Maratta' style frame.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The sitter was the elder son of Sir Everard Digby (c. 1578-1603) of Gayhurst, Buckinghamshire, and his wife Mary (c. 1581-1653), only daughter and heir of William Mulsho. He married his childhood sweetheart, Venetia (1600-1633) daughter of Sir Edward Stanley and his wife, Lady Lucy Percy, daughter of Thomas Percy, 7^th Earl of Northumberland.

Lord Clarendon called him a 'person very eminent and notorious throughout the course of his life... of a very extraordinary person and presence.. a flowing courtesy and civility, and such a volubility of language, as surprised and delighted.' He was also a man of many and varied interests which included; natural philosophy, medicine, cuisine and alchemy.

Van Dyck and Digby met in London and they were to form a lifelong friendship. Both men were intelligent, adept political opportunists and used their charm and learning to impress contemporaries at court. Later, while in Rome as Henrietta Maria's Resident, Digby gave Bellori information on Van Dyck's life which was subsequently published in his Vita of 1672. Bellori recalled the friendship between Digby and Van Dyck: 'with whom he had a mutual sympathy of mind and spirit.' 

Digby commissioned a range of works from Van Dyck which include; a family portrait, c. 1630 (Private Collection), individual portraits of Digby (Private Collection) and his wife Venetia, Lady Digby (Dulwich College) both c. 1633 and the portrait in armour from which this painting is derived c. 1638 (National Portrait Gallery, London). This portrait presents Digby as a man of action and his courage had been demonstrated during a privateering voyage to the Mediterranean. This audacious voyage, with its booty and success at the battle of Iskenderun had made Digby a hero at court, such courage would prove invaluable during the Civil War. Immortalised as the conquering commander by Van Dyck, this portrait is instantly recognisable and became highly influential. It was exploited by Van Dyck's successors and imitators including Robert Walker and Sir Peter Lely.