Attributed to Sir Anthony van Dyck

The colours are a little stronger and reder than the catalogue illustration suggests. The support consists of paper which has been folded or cut in the past into four parts. A distinct horizontal join runs across at the level of the models bare shoulder and is intersected by a vertical join or fold running down just to the right of his head. Some traces of orginal handwriting on the paper are visible in one corner of the lower left section. There are traces of drawn lines in the principal (upper left) section which suggests that the drawing may have been squared for transfer at some stage. These do not appear in the other sections. There are a number of old lacunae: a small repaired tear approximately 1 cm long on the right side of the beard and another of similiar length on the margin between this and the ajoining or adjacent paper. There are three more old tears are visible to the right of this and another on the upper margin together with a scattering of smaller damages in the lower right hand corner amongst the folds of the cloak, and another in the flesh lower left. Inspection under ultra voilet light reveals restoration to each of these damages and along the joins or folds. There has been a small strengthening to the sitters right temple and left cheekbone. The red cloak on both sides of the picture has been substantially over painted. In general however, given the nature of the work, the vast majority of the paint surface is well preserved and the crispness of the original brush strokes remain clearly defined. The varnish layer is now yellowed and a little uneven. This lot is offered with a later giltwood plasterd frame with oak, acanthus and lambs tongue carving in good condition, some minor chips.
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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 man depicted is the same model used by Van Dyck in a number of other studies, including the single-figure sketches in Bayonne, Musée Bonnat, and sold London, Sotheby's, 6 July 2011, lot 20, and the double head studies in Lyon, Musée des-Beaux-Arts and sold New York, Sotheby's, 28 January 2010, lot 176.¹  Van Dyck used various of these studies for completed paintings, and they can be dated circa 1616-17. As with the similar Bayonne sketch, no use for the present study has been found in any completed work.

The Lyon sketch, and others done at around the same time, were executed on paper, while others are on canvas.  Although he was working in Rubens' studio at the time, Van Dyck had already developed a divergent working method  from that of his master, whose oil sketches were usually done on panel, or fragments of panel.  

The paper that Van Dyck used here appears to be from an account book.  The coarsely handled drapery in the lower right may have been added later, to perhaps when the paper support was glued to canvas to prepare it for sale.

1.  See  S.J. Barnes, N. De Poorter, O. Millar, H. Vey, Van Dyck.  A Complete Catalogue of the Paintings, New Haven & London 2004, pp. 88-90, nos. I. 89-91, all reproduced.