Lot 169
  • 169

Studio of Sir Anthony van Dyck

40,000 - 60,000 GBP
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  • Anthony van Dyck
  • Portrait of a man with a gloved hand
  • inventory number 24 etched into the reverse
  • oil on canvas
  • 40 in by 33 in
Three-quarter length, wearing a black cloak, his gloved left hand resting on the hilt of his sword


George Greville, 2nd Earl of Warwick (1746–1816), by 1800;
Thence by descent.


Leeds, National Exhibition of Works of Art, 1868;
London, Grosvenor Gallery, Exhibition of the Works of Sir Anthony van Dyck, 1887, no.116;
London, Guildhall, Loan Exhibition, 1892, no.111;
New York, Metropolitan Museum of Art, on long term loan.


Anon., 'Pictures and Articles of Curiosity', in Inventory of the Contents of Warwick Castle,(Warwickshire Record Office CR1886/466), ms., circa 1800, n.p., hanging in the Little Dining Parlour;
Anon., Inventory of the Contents of Warwick Castle, ms., 1806, in the Little Dining Room;
W. Field, An Historical and Descriptive Account of Leamington Spa, Warwick 1815, pp. 210, 214 ('Count Gondomar - by Valasquez de Silva [sic]'), in the Breakfast room, opposite the fireplace - right side;
S. Woodburne, Notes on the Paintings at Warwick Castle, 1832, no. 35 (‘not Gondomar but a true Van Dyck – of a Fleming I think’), in the First Drawing Room;
H. T. Cooke, An Historical and Descriptive Guide to Warwick Castle…, Warwick 1847, p. 77 (‘A very fine Flemish portrait, by VanDyck;.. This painting has by many been supposed to have been painted by Velasques (sic)’), in the Breakfast Room;
Cooper’s, History of Warwick and Guide to the Castle, illustrated, 1850, p.107;
G. Waagen, Treasures of Art in Great Britain, vol. III, London 1854, vol. III, p. 212;
F. E. Warwick, ‘Warwick Castle’, in The Pall Mall Magazine, vol. XI, January – April 1897, p. 40 (‘Diego Sarmineto de Acuna, Conde di Gondomar (Spanish Ambassador at the Court of James I) by Van Dyck’), in the Chapel Passage;
Anon., mss. 1900, in the Billiard Room Passage (mentioned as being described at the castle as by Velazquez);
Anon., Inventory of the contents of Warwick Castle, 1959, p. 35, in the Red Drawing Room;
E. Larsen, The Paintings of Anthony van Dyck, Freren 1988, p.131, no.319 (as Van Dyck);
S. J Barnes et al., Van Dyck, A Complete Catalogue of the Paintings, London 2004, p. 218, under no.II.84 (as a good copy).


The paint surface has been a little pressed by a heavy old relining. The fleshtones and the glove are reasonably well-preserved but there have been extensive earlier retouchings carried out in the dark areas which have visibly discoloured, such as the hair, the cloak, and the background. This lot is offered in an elaborate carved giltwood 19th century Louis XIV regence- 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.

Catalogue Note

Barnes (see Literature) records the prime version of this composition as the canvas of oval format in a Swiss private collection. Following inspection of the Warwick version in April 2014 Rev. Barnes noted its quality, such that she would not rule out its being partly or all by Van Dyck himself. 

The sitter has been previously identified as 1st Count of Gondomar (1567-1626), Spanish Ambassador to James I. This identification, however, has no merit as the sitter bears no resemblance to known portraits of Gondomar, nor indeed does he appear a man of over fifty years of age. He has also been identified as the Principe d'Angri, the title held at this time by Marcantonio Doria (b. 1572) and whose known portraits likewise do not resemble the present sitter in the slightest (see, for example, P. Boccardo, Van Dyck a Genova, exhibition catalogue, Genoa 1997, figs. 22 & 23).