Portrait of King Charles I (1630-1685), wearing the Blue Garter Ribbon, unsigned, an early copy, possibly one of the pendant pairs that were early copies of the prime which is not located (IV.A8)(1632), oil on canvas, 45 x 33-1/8 in. (114.3 x 83.82 cm.); fine gilt wood frame, 62-1/2 x 52-1/2 in.
Provenance: New York Estate, purchased Circa 1950s
Note: The original portrait was painted as a pendant to the portrait of Queen Henrietta Maria. Oliver Millar states, "A three quarter length of the king was produced by Van Dyck as a pendant to the portrait of the Queen (IV.115) now in the Loyd Collection. It is recorded with the pendant in early references cited under IV.115 and is probably the portrait of the queen in David Teniers of the Archduke's picture gallery, also cited under IV.115. It was in the 8th Duke of Marlborough's sale, Christie's, London, 31 July 1886 (233); see also Blenheim 1862, part I, pg.25. The whereabouts of the portrait is not apparently known, but the composition is recorded in the copy in the pair of copies formerly in a private collection, Scotland (illus.; canvas: 125.7 x 101.6 cm)." This portrait resembles the work of Remee van Leemput (Flemish, 1607-1675) who was an early copyist and associate of Van Dyck. The RKD states there is not enough work on which to judge this painting as that of Leemput. They have stated that it is a worthy copy most importantly in the sensitivity of the artist in the face of the portrait which seems better than the known Scottish copy. The clothing, however, seems less careful than the Scottish copy (see correspondence which accompanies the lot). This portrait will be included in the RKD-Netherlands Institute for Art History database. References: https://www.sammlung.pinakothek.de/de/artwork/02LAQl7Lyk/david-teniers-d-j/ansicht-der-galerie-des-erzherzogs-leopold-in-bruessel-ii) The pendant of Queen Henrietta Maria: https://upload.wikimedia.org/wikipedia/commons/1/1f/Anthony_van_Dyck_%281599-1641%29_-_Queen_Henrietta_Maria_%281609-69%29_-_RCIN_404430_-_Royal_Collection.jpg Literature: O. Millar in S. Barnes et al., Van Dyck, a Complete Catalogue of the Paintings, New Haven and London, 2004, p. 631, no. IV.A8 and pp. 520-521, no. IV115. John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters: Anthony van Dyck, and David Teniers, pg. 78, no. 256
19th century paste and linen lining, restretched on 19th century stretcher, tacking edge on original course linen trimmed, craquelure, five patches verso, retouch, crackle, some spots of overcleaning, two periods of retouch, ; frame resurfaced, reduced