Sir Anthony van Dyck

Sir John Charles Robinson, London, by whom sold in 1868 to

Sir Francis Cook, 1st Baronet, Visconde de Monserrate (1817–1901), Doughty House, Richmond;

His eldest son, Sir Frederick Cook, 2nd Bt, Visconde de Monserrate, (1844–1920), Doughty House, Richmond;

His only son, Sir Herbert Cook, 3rd Bt, Visconde de Monserrate, (1868–1939), Doughty House, Richmond;

Sold by his Trustees late in 1939 or early in 1940, one of the first 6 of an eventual 43 other paintings from the Cook Collection acquired with the assistance of Agnews by Nathan Katz of Kunsthandel D. Katz, Dieren;

Forced sale from the above through Cornelis de Kempenaer to Hermann Goering in 1941;

Recovered by the Monuments Men (MFAA) and taken to the Munich Central Collecting Point on 25 July 1945 (inv. no. 5177);

From where released to the Dutch Government on 4 December 1945, and sent to the Stichting Nederlands Kunstbezit, Amsterdam, 4 June 1946, inv. no. 301 (bears their label on the reverse);

Restituted by the above to the Katz family on 3 January 1948 (according to the SNK inventory card);

With Katz Gallery, Basel, 1949–50;

Sold to Emil Georg Bührle (d. 1956), Zurich, by 1951;

Bührle family, Zurich;

From whom acquired by Somerville & Simpson, London, 1978;

Private collection, Jersey.

H. Cook, ‘La Collection de Sir Frederick Cook Visconde de Monserrate à Richmond’, in Les Arts [Paris], vol. 4, no. 44, August 1905, p. 26;

W. von Bode, ‘Anton van Dyck als Mitarbeiter des Peter Paul Rubens’, in Rembrandt und seine Zeitgenossen, Leipzig, 1906, p. 266;

Abridged Catalogue of the Pictures at Doughty House, Richmond, London 1907 (& 1914), p. 28, no. 173, as hanging in The Lobby;

E. Schaeffer, Van Dyck: des Meisters Gemälde. Klassiker der Kunst, Stuttgart and Leipzig 1909, p. 157;

J.O. Kronig (H. Cook ed.), A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt., Visconde de Monserrate, vol. II, Dutch and Flemish Schools, London 1914, p. 34, no. 254 (as Jacob Jordaens);

W. Drost, Barockmalerei in den Germanischen Länden, Potsdam 1926, p. 64;

H. Rosenbaum, Der junge Van Dyck (1615–1621), Ph.D. Diss., Munich 1928, p. 33;

G. Glück, Van Dyck, des Meisters Gemälde. Klassiker der Kunst, no. 13, 2nd revised ed., Stuttgart, New York and London 1931, p. 112;

M.W. Brockwell (ed.), Abridged Catalogue of the Pictures at Doughty House Richmond Surrey in the collection of Sir Herbert Cook, Bart, London 1932, p. 29, no. 254 (173), as on an unprimed canvas, in Room V, The Lobby, at Doughty House (and as Van Dyck);

H. Vlieghe, ‘Het portret van Jan Breughel en zijn gezin door P.P. Rubens’, in Bulletin Koninklijke Musea voor Schone Kunsten van België, 1966, p. 186;

U.R. Köhler-Lutterbeck, P.P. Rubens und das Familienportrait. Kommentare zum Thema der Familie im Werk des Malers, Diss., Kiel 1975, no. 84;

E. Waterhouse, Suffer the Little Children to come unto Me, Ottawa 1978, p. 22, reproduced fig. 12;

E. Larsen, L'opera completa di Van Dyck 1613–1636, Milan 1980, pp. 89–90,no. 75, reproduced p. 91 (as circa 1616–17);

A. McNairn, The Young Van Dyck, exh. cat., Ottawa 1980, pp. 158–60, no. 73, reproduced p. 256, without suggested dating;

H. Vlieghe, Corpus Rubenianum Ludwig Burchard, Part XIX, Portraits, II Antwerp – Identified Sitters, London 1987, p. 62, under no. 79;

E. Larsen, The Paintings of Anthony van Dyck, Freren 1988, vol. 2, p. 47, no. 84, reproduced (as circa 1616–17);

C. Brown, E. Haverkamp Begemann and S.S. Dickey, Anthony van Dyck, exh. cat., 1990, p. 144, no. 3, reproduced (as painted circa 1616–17);

D.L. Lurie, Van Dyck and his Age, exh. cat., Tel Aviv 1995, pp. 38–39, no. 7, reproduced (as painted by Van Dyck circa 1616–17, or slightly later);

F. Baudouin in Van Dyck 1599–1641, C. Brown and H. Vlieghe (eds), exh. cat., Antwerp and London, p. 102, reproduced (as around 1617–18); 

N. De Poorter, in S.J. Barnes, N. De Poorter, O. Millar and H. Vey, Van Dyck. A Complete Catalogue of the Paintings, New Haven and London 2004, p. 102, no. I.108, reproduced (as datable to the middle of 1620); also p. 107, under no. I.113;

R.M. Edsel, Rescuing Da Vinci, Dallas 2006, p. 216, reproduced.