Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)
Property from an English Private Collection
Sir Anthony van Dyck

Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)

28 January 2021 • New York

Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)
Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)
Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)
Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)
Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)
Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)
35

Sir Anthony van Dyck

Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)

Estimate:

700,000 - 1,000,000 USD

Property from an English Private Collection

Sir Anthony van Dyck

Sir Anthony van Dyck

Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)

Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)

Estimate:

700,000 - 1,000,000 USD

Live auction begins in:

Live auction begins in:

1 day, 22 hours

1 day, 22 hours

Description

Property from an English Private Collection

Sir Anthony van Dyck

Antwerp 1599 - 1641 London

Portrait of Thomas Wentworth, 1st Earl of Strafford (1593-1641)


oil on canvas

49 ½ by 39 ½ in.; 125.7 by 101 cm.

Condition report

The original canvas is lined. The lining is in a good state of preservation and tension across the picture plane is retained.

 

The paint layer is in a stable and secure state with paint texture well preserved; some of the more highly impasted areas, such as the armour rivets and brightest highlights have been slightly compromised.

 

Under u-v light a scattering of restorations can be detected through the curtain and table cloth.

Strengthening of the figures of the sitter’s proper right hand and reduction of a small pitted area to the breastplate and proper left shoulder are also apparent.

 

The paint has been thinly applied and has become more transparent with the passage of time, this, coupled with areas of fine pale shrinkage craquelure has led to a slight loss in definition of the armour and augmentation to mitigate this has been undertaken.

 

The skin tones to the face and left hand are very well preserved and fine detail is retained.

 

Original bravura brushwork to the drapery is well preserved and subtleties of the composition and the chromatic nuance are preserved.

 

Some minor thinness to the background has been reduced.

 

The varnish saturates evenly and the painting presents well.


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.

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.

Provenance

Possibly Sir Roland Egerton, 1st Bt., of Oulton Park, M.P. (d.1646);
Recorded at Oulton Park, in Cheshire, seat of the Egerton family, by 1732;
Thence by descent at Oulton to Sir John Grey-Egerton, 15th Bt. (1920-2008);
By whom sold ('The Property of Sir John Grey-Egerton, Bt."), London, Christies, 11 November 1994, lot 3 (as 'Studio of Sir Anthony van Dyck’);
Anonymous sale ("Property from a Private Collection"), London, Sotheby’s, 30 June 2005, lot 16 (as ‘Follower of Sir Anthony van Dyck’);
Anonymous sale, London, Christie's South Kensington, 6 July 2012, lot 46 (as "Follower of Sir Anthony van Dyck");
There acquired by the present owner. 

Literature

J. Dallaway, An Account of all the Pictures exhibited in the Rooms of the British Institution from 1813 to 1823, London 1824, no. 45;

J. Smith, A catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, 9 vols., London 1831-1842, p. 170, no. 588.;

Descriptive catalogue of the Pictures and other Works of Art at Oulton Park, Cheshire, privately published 1864, pp. 20-22, no. 25;

E. Larsen, The Paintings of Anthony van Dyck, 2 vols., Freren 1988, vol. II, p. 393, no. 1004; 

O. Millar, et al., Van Dyck. A complete catalogue of the paintings, New Haven and London 2004, p. 597, under no. IV. 214; 


ENGRAVED

By O. Lacour (fl. circa 1886-1891). 

Exhibited

London, British Institution, 1820, no. 45;
London, British Institution, 1864, no. 31;
London, Grosvenor Gallery, Van Dyck Exhibition, 1886-87;
Leeds City Art Gallery, Works by the Old Masters, 1889.