STEVEN VAN DER MEULEN | PORTRAIT OF GEORGE DACRES OF CHESHUNT (1533-1580), THREE-QUARTER LENGTH, IN A DARK GREEN DOUBLET, FUR CLOAK, HAT, AND SWORD
STEVEN VAN DER MEULEN | PORTRAIT OF GEORGE DACRES OF CHESHUNT (1533-1580), THREE-QUARTER LENGTH, IN A DARK GREEN DOUBLET, FUR CLOAK, HAT, AND SWORD
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Property from an American Private Collection

STEVEN VAN DER MEULEN | PORTRAIT OF GEORGE DACRES OF CHESHUNT (1533-1580), THREE-QUARTER LENGTH, IN A DARK GREEN DOUBLET, FUR CLOAK, HAT, AND SWORD

Estimate: 25,000 - 35,000 USD

Property from an American Private Collection

STEVEN VAN DER MEULEN | PORTRAIT OF GEORGE DACRES OF CHESHUNT (1533-1580), THREE-QUARTER LENGTH, IN A DARK GREEN DOUBLET, FUR CLOAK, HAT, AND SWORD

Estimate: 25,000 - 35,000 USD

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Lot Details

Description

Property from an American Private Collection

STEVEN VAN DER MEULEN

Active in Antwerp and London 1543 - 1563/4

PORTRAIT OF GEORGE DACRES OF CHESHUNT (1533-1580), THREE-QUARTER LENGTH, IN A DARK GREEN DOUBLET, FUR CLOAK, HAT, AND SWORD


oil on oak panel

36 by 28 in,; 91.4 by 71.1 cm.

Condition Report

The panel consists of three planks joined vertically that are flat, stable, and beveled on all 4 sides. A portrait image reads well beneath a clear varnish with textures in the costume retained. Join lines are visible as thin cracks to the paint layer but are not distracting. Further cracking to the paint layer has started at the top and bottom edges, about 2 inches long each, and a thin crack to the paint layer running from sitter's proper right shoulder to waist is also visible, but none are distracting. Under UV inspection, the reinforcement along these cracks is visible as well as 2 campaigns of retouching, consisting of lines following the wood grain throughout the background, small strokes in the shadows concentrated at lower left, at lower right, across the chest, and scattered spots on the forehead and hat. Only very finely applied dots of retouching visible in the face of the sitter. Offered in a simply carved ebonized wood frame with gilt inner border. 


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. 

Cataloguing

Provenance

In the family of the sitter;

Thence by descent to the sitter's great grandson, Thomas;

Anonymous sale, London, Sotheby's, 13 July 1994, lot 15 (as Portrait of a gentleman said to be Thomas Dacres of Cheshunt);

With Lane Fine Art, London;

From whom acquired 22 April 2003.

Catalogue Note

George Dacres was the son of Robert and Elizabeth Dacres, from whom he inherited the manor of Cheshunt and lands in Hertfordshire, Bedfordshire, Cambridgeshire, Kent, Middlesex and Warwickshire; he also maintained a house in London. Through his mother's side of the family, which included the 4th Duke of Norfolk, he was brought into Parliament for Castle Rising, although his only recorded activity in Parliament concerns a bill for the river Lea in 1571. He and his wife, also named Elizabeth, had two daughters and four sons, the eldest of whom predeceased George, who died at Poleworth, Warwickshire in 1580. Steven van der Meulen was born in Antwerp and became a member of the Guild of St. Luke there in 1552. He relocated to London in 1560 and stayed until 1563, where he had a successful career as a Tudor court portraitist. He is known for the "Barrington Park" full-length portrait type of Elizabeth I, which was likely developed in response to a court campaign to eradicate unflattering images of the Queen. He also specialized in three-quarter length portraits of courtiers, the format of which inspired the present painting. Van der Meulen most likely painted Dacres' portrait during his three years in England, when George would have been in his early 30s. This painting was previously described as depicting Sir Thomas Dacres, the oldest surviving son and heir of George Dacres' estate, but the dating makes this impossible.

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