Circle of Sir Peter Paul Rubens

Probably Lord Methuen, Corsham Court, Wiltshire;
Anonymous sale, Cologne, Frederik Muller & Cie, "Rudolf Peltzer and Other Provenances," 26-27 May 1914, lot 343 (as by Rubens, "Portrait of a Young Man");
The Hon. Claude A.C. Ponsonby (1859-1935), England;
His sale ("by the order of Messrs. Elkins & Henriques, Attorneys, London"), New York, American Art Galleries, 16-17 April 1917, lot 155 (as by Rubens, "Portrait of a Gentleman");
Where purchased by Bourgeois Galleries, New York, for $2,000;
With F. Kleinberger, New York;
His sale, New York, American Art Association/Anderson Galleries, Inc., 18 November 1932, lot 52 (as by Rubens, "Portrait of Breughel the Younger," sold with a MS authentication by Dr. Hofstede de Groot, dated The Hague, July, 1922);
Where acquired by J. W. Bentley for $3,600;
With A. Seligmann, Rey & Co.,
From whom purchased by William Randolph Hearst, New York and Chicago, 1933;
By whom sold, Parish-Watson & Co., New York, 1939;
From whom purchased by the Grandfather of the present owner, 16 January 1939;
Thence by descent to the present owner's aunt and purchased by him from her estate.

New York, American Art Association/Anderson Galleries, Exhibition of Old and Modern Masters in the New York Art Market, 15 March - 4 April 1931, no. 62.

Likely G.F. Waagen, Works of Art and Artists in England, London 1838, v. III, p. 92;
T. Linn, "Hearst to Disperse Vast Art Holdings," in The New York Times, 2 March 1938, reproduced;
T. Coffman, ed., The William Randolph Hearst Collection:  Photographs and Acquisition Records, New York 1987, book 20, card 92, reproduced.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This panel has not been restored for some time; the reverse has been cradled. In the past, the left side portion of the panel has shown some instability which is visible on the surface in the background to the left of the head and to the left side of the tunic. The paint layer is extremely dirty yet except for the area of instability mentioned above, the face, the ruff and the hands are beautifully preserved. When the picture is cleaned, it is anticipated that only this area of instability will show any significant restorations. On the left it seems that a section of the panel measuring approximately one by six inches has been replaced but elsewhere this seems to be a very healthy painting. This picture is clearly very dirty and in need of stabilization however, once it has been properly restored, it will be seen to be in lovely condition.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Traditionally given to Rubens, this handsome portrait of a young nobleman has a distinguished provenance, having once belonged to both Wiliam Randolph Hearst and, most likely, the Lords Methuen.  This portrait seems to be the work that Waagen describes in his 1838 Works of Art and Artists in England as "Rubens.--Portrait of a man in a white ruff appears to me to be a choice Mierevelt" (see lit.).   Waagen's suggestion of Mierevelt's authorship is suggestive; however, it has not been taken up by subsequent scholars. 

Dated 1610, this work does demonstrate a strong Rubensian quality, especially in the handling of the sitter's left hand, which is draped so casually over the back of the chair.  The ease with which the artist has captured the highlights playing over knuckles, veins and fingernails is quite masterful, and overall the portrait is reminiscent of other works from this period in Rubens' career.   Of particular interest in comparison with the present work is Rubens' Portrait of a Young Gentleman with a Dog of circa 1610 (Zurich, Private Collection).  Of almost exact dimensions to the present picture, the Zurich portrait also features a young man, shown three-quarters length, turned slightly to the right.  The slick handling of the paint and hard highlight and shadow lines along the noses and sides of the faces are quite similar between the two pictures, and are characteristic of Rubens' style immediately following his return from Italy.