View full screen - View 1 of Lot 65. AFTER SIR ANTHONY VAN DYCK | Portrait of Algernon Percy, 10th Earl of Northumberland (1602-68), Lord High Admiral of England.
65

AFTER SIR ANTHONY VAN DYCK | Portrait of Algernon Percy, 10th Earl of Northumberland (1602-68), Lord High Admiral of England

UK: Greenford Park Warehouse

Estimate:

20,000 - 30,000 GBP

AFTER SIR ANTHONY VAN DYCK | Portrait of Algernon Percy, 10th Earl of Northumberland (1602-68), Lord High Admiral of England

AFTER SIR ANTHONY VAN DYCK | Portrait of Algernon Percy, 10th Earl of Northumberland (1602-68), Lord High Admiral of England

Estimate:

20,000 - 30,000 GBP

Lot sold:

68,750

GBP

The Property of the Earl of Clarendon

AFTER SIR ANTHONY VAN DYCK

PORTRAIT OF ALGERNON PERCY, 10TH EARL OF NORTHUMBERLAND (1602-68), LORD HIGH ADMIRAL OF ENGLAND


inscribed lower left: EARL OF NORTHUMBERLAND

oil on canvas

unframed: 219 x 133 cm.; 86¼ x 52¼ in.

framed: 244 x 156 cm.; 96 x 61 1/2 in.


ARTICLE:

The Clarendon Gallery: The famous collection of Lord Chancellor Clarendon


Please note, Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot. 


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Very good overall condition. Some diagonal stretcher support marks at each corner. Very little restoration or retouching to speak of. canvas a little loose upper right. In a fine mid-eighteenth-century carved wood frame.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.  

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 INCLUDED IN THE CATALOGUE.

Commissioned by Edward Hyde, 1st Earl of Clarendon (1609-74), for his gallery at Clarendon House, London;

By descent to his son, Henry Hyde, 2nd Earl of Clarendon (1638-1709), at Cornbury Park, Oxfordshire; 

Purchased by his brother, Laurence Hyde, 1st Earl of Rochester (1642-1711), together with Cornbury Park and all its contents, in 1697;

By descent at Cornbury, and later The Grove, Hertfordshire, to his son, Henry Hyde, 2nd Earl of Rochester and later 4th Earl of Clarendon (1672-1753);

By transfer to his son, Henry, Viscount Cornbury (1710-53) in 1749, who died without issue;

By inheritance to his niece, Lady Charlotte Capel (1721-90), who married Thomas Villiers, 1st Earl of Clarendon of the second creation (1709-86), and transferred to The Grove, Hertfordshire;

Thence by direct descent to the present owner.

Clarendon State Papers, Bodleian Library, Oxford, Bodleian MS Clarendon 92, ff. 253-54, no. 16;

G.P. Harding, List of Portraits, Pictures in Various Mansions in the United Kingdom, London 1804, vol. 2, p. 209;

Lady T. Lewis, Lives of the friends and contemporaries of Lord Chancellor Clarendon: Illustrative of portraits in his Gallery, London 1852, vol. III, pp. 250, 255, and 313-16;

G.F. Waagen, Treasures of Art in Great Britain, London 1854, vol. II, p. 456;

'Vertue Note Books, volume II', in The Walpole Society, vol. XX, Oxford 1932, p. 65 (where Vertue records the picture hanging at Cornbury House in 1725);

O. Millar, 'Notes on British Painting from Archives: III', in The Burlington Magazine, vol. XCVII, 1955, p. 256;

R.J.B. Walker, Catalogue of Paintings, Drawings, Sculpture and Engraving in the Palace of Westminster, London 1960, vol. II, p. 81;

R. Gibson, Catalogue of the Portraits in the collection of the Earl of Clarendon, privately published 1977, no. 108 (where an attribution to Simon Stone is suggested);

O. Millar et al.Van Dyck. A Complete Catalogue of his Paintings, New Haven and London 2004, p. 567 (as a copy).

On long term loan to the Palace of Westminster until 2019. 

A copy of the painting by Van Dyck at Alnwick Castle in the collection of the Duke of Northumberland.1 The sitter is depicted in his role as Lord High Admiral of England. At the outbreak of the English Civil War in 1642, Northumberland sided with Parliament, bringing with him control of the Navy which proved to be a crucial factor in securing a parliamentarian victory.


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