View full screen - View 1 of Lot 14. Family portrait of the painter Cornelis de Vos and his wife Suzanna Cock and their two eldest children, Magdalena and Jan-Baptist | 《畫家科尼利厄斯・德・沃斯、其妻蘇珊娜・考克與長子女馬格達萊納和揚・巴普蒂斯的全家福》.

Sir Anthony van Dyck

Family portrait of the painter Cornelis de Vos and his wife Suzanna Cock and their two eldest children, Magdalena and Jan-Baptist | 《畫家科尼利厄斯・德・沃斯、其妻蘇珊娜・考克與長子女馬格達萊納和揚・巴普蒂斯的全家福》

UK: Greenford Park Warehouse


1,000,000 - 1,500,000 GBP

Sir Anthony van Dyck

Sir Anthony van Dyck

Family portrait of the painter Cornelis de Vos and his wife Suzanna Cock and their two eldest children, Magdalena and Jan-Baptist | 《畫家科尼利厄斯・德・沃斯、其妻蘇珊娜・考克與長子女馬格達萊納和揚・巴普蒂斯的全家福》

Family portrait of the painter Cornelis de Vos and his wife Suzanna Cock and their two eldest children, Magdalena and Jan-Baptist | 《畫家科尼利厄斯・德・沃斯、其妻蘇珊娜・考克與長子女馬格達萊納和揚・巴普蒂斯的全家福》


1,000,000 - 1,500,000 GBP

Lot sold:



Sir Anthony van Dyck

Antwerp 1599 - 1641 London

Family portrait of the painter Cornelis de Vos and his wife Suzanna Cock and their two eldest children, Magdalena and Jan-Baptist

oil on canvas

117 x 111 cm.; 46 x 43¾ in.





117 x 111 公分;46 x 43¾ 英寸

 The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:

Sir Anthony van Dyck

Family portrait of Cornelis de Vos and his family

Oil on canvas, 46" x 43.1/2"

The painting is lined and there is good adhesion between the original canvas and the lining fabric. There is good tension across the picture plane.

Cusping at the edges of the canvas is visible, an indication that the original canvas has not been reduced.

Slight unevenness across the very top edge has been latterly corrected.

The canvas is of a coarse nature and the canvas weave is visible under raking light with a dominant vertical warp.

The paint layer is stable and secure and the vigorous and energetic method of paint application is apparent.

Paint texture is very well preserved and impasted highlights are in original condition.

Some of the darker passages have been applied swiftly but more thinly; as a result, over the passage of time, the paint in these areas has become a little more transparent revealing pale ground and canvas texture.

Under u-v light these darker passages show a scattering of restoration to mitigate slight pin prick paint loss. Further fine restoration can be detected to the children's and Suzanna's faces, particularly to Suzanna's jaw line where subtle modelling has been slightly compromised.

Some areas of the ground layer have been intentionally left exposed by the artist to act as a mid tone; these areas include the white dress of Jan-Baptiste and the upper right of the composition in the sky.

There are the remains of a discoloured and degraded varnish in the darker passages; its removal would significantly improve the tonality and reveal subtleties within the composition hitherto obscured.

The chromatic integrity of the composition has not been compromised and the colours remain strong and saturate well.

The painting presents well.

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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Please note this lot will be taken to our Greenford Park Warehouse after the sale and not as stated in the printed catalogue.

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.

Schaffhausen, Museum zu Allerheiligen, Meisterwerke flämischer Malerei, Hundert Gamälde aus der Blütezeit der Malerei in Flandern von Van Eyck bis Rubens, 1955, no. 23;

Zürich, Kunsthaus, Sammlung Emil Georg Bührle, 1958, no. 66;

Cologne, Kunsthalle, Weltkunst aus Privatbesitz, 1968, no. F5;

Ottawa, National Gallery of Canada, The Young Van Dyck, 19 September – 9 November 1980, no. 73;

Yokohama, Sogo Museum of Art, 15 August – 30 September 1990; Shizuoka, Shizuoka Prefectural Museum of Art, 6 October – 7 November 1990; Osaka, Museum of Art Kintetsu, 16 November – 3 December 1990, Anthony Van Dyck, no. 3;

Tel Aviv, Tel Aviv Museum of Art, Van Dyck and his Age, 29 October 1995 – 28 January 1996, no. 7.