Painter/Artist: Sir Anthony Van Dyck

Flemish School. He was painting portraits in England between 1633 and 1641.

LONDON, NATIONAL GALLERY

CORNELIUS VAN DER GEEST Bust length, nearly full face, in a black silk doublet. The head is slightly tilted forward, the grey bearded chin resting on a pleated falling ruff. Painted c. 1620.

Purchased with the Angerstein Collection in 1824.

EQUESTRIAN PORTRAIT OF CHARLES I The King, bareheaded, in body armour, with buff boots, is seen nearly in profile mounted on a great fawn-coloured horse advancing to the left. He has a baton in his right hand. Closely following-under a large tree on the right, is the King’s equerry, Sir Thomas Morton, carrying his master’s helmet. To the left is a distant landscape. Inscribed on a tablet hanging from the tree trunk: Carolus I. rex Magnae Britanie.

Painted c. 1636 for the King, from whose collection it was sold to the Elector of Bavaria, and purchased at Munich by the great Duke of Marlborough.

Purchased from his descendant in 1885.

LONDON, WALLACE COLLECTION

A YOUNG ITALIAN NOBLEMAN Whole length, standing full face, the left elbow resting on a pedestal, the right hand holding his gloves, the left hand hanging down. In black clothes, with broad flat linen collar and cuffs.

Painted in Genoa, perhaps from one of the Lomellini family (see Edinburgh, below).

PHILIPPE LE ROY AND HIS WIFE ” A full-length portrait of the Chevalier Roy, Counsellor to Prince Ferdinand. He appears to be about forty years of age, and his fine expressive countenance is seen in a three-quarter view, with dark hair, a tuft of beard, and mustachios; his dress is composed of a black silk vest with slashed sleeves and pendcnt frills and ruffles, and a full mantle over his left shoulder; he is represented standing erect, with the left hand on the hilt of his sword, and caressing a greyhound with the other. Signed A. V. Dyck.” (Smith.)

“A full length of the Chevalier’s wife, a lady about twenty-seven (sic) years of age, fair complexion, and round face, seen in a three-quarter view; light hair dressed in bushy curls and decked with a feather; she is attired in a black striped silk robe with full sleeve, girt round the arms with white ribands; a double lace frill covers the neck and shoulders, and a triple collar of pearls and a plated brooch adorn her bosom; the left hand holds a fan of feathers, and the right is placed on the waist; a little dog is playing at her feet.” (Smith.)

These portraits are ” among the masterpieces of Van Dyck’s second Flemish period.” They are inscribed: (94) Aetatis suae 34 a 163o, and (79) AEt. Suae. 16 A I631.

EDINBURGH, NATIONAL GALLERY

THE LOBELLINI FAMILY A group of five whole-length figures against a trophy of brown and blue flags hung upon the walls of a hall which has an archway opening on a blue dark sky towards the left. Near the centre a lady in a black robe, with grey ruff and cuffs, is seated in a red chair; beside her, to the left, stands a man also in black, his right hand on his sword hilt; and still farther to the left another man in black armour damascened with gold carrying the broken shaft of a lance in his right hand, his left resting on his sword hilt. On the right of the lady stand two children, a boy in crimson embroidered with gold, who stands next her and holds her hand, and a girl in deep yellow with her hands in front of her. At the lady’s feet is a small dog.

Painted in Genoa 1623-27.

Purchased from the Marchese Lomellini in 1830.

PARIS, LOUVRE

PORTRAIT OF CHARLES I A superb group composed of the King (standing in profile to left, but with his head turned toward us), the Marquis of Hamilton holding the King’s horse, and an esquire. The King is in a white jacket, red breeches, and buff riding boots, and his hair falls over his neck from beneath a broad-brimmed felt hat with a feather. His left arm is akimbo, his right extended, the hand resting on a long cane. His left leg is slightly advanced. Beyond him the landscape is open, but on the right a large tree overshadows the Marquis and the horse, of which only the head and forequarters come into the picture.

Painted in 1635.

LA VIERGE AUX DONATEURS To the left, under an overhanging rock, the Virgin is seated with the Child on her knees, who with His right hand is stroking the cheek of the donor, who kneels in profile towards Him, his wife also kneeling at his left side in the foreground. The Virgin wears a red dress, and violet mantle, and grey veil. The donor and his wife are both in the con ventional costume of black, with white ruffs and cuffs. In the sky are two cherubim bringing crowns of flowers.

THE MARQUIS OF AYTONA This is considered one of Vandyck’s finest equestrian portraits. The Marquis is in full armour, but bareheaded, and with a large white collar. He is mounted on a white charger, and faces us as he turns a corner on the road, Plain landscape background.

MUNICH

THE PAINTER’S WIFE Three-quarter length, seated, in profile to left, but her head turned towards us. In a plain silk gown with very full sleeves. With her left hand she holds the top of a violoncello, while the right is crossed over her left arm holding the bow diagonally across her sleeve and skirt: Loose curly hair on either side of the face.

SUSANNA AND THE ELDERS Susanna is seated facing us, her left hand clasping a cloak to her breast, her right extended in the act of preventing it being snatched from her by one of the elders who stands in profile at her side. Between the two is the other elder with his finger on her bare shoulder. Behind on the right is a stone fountain with a Cupid.

FLORENCE, PITTI

CARDINAL BENTIVOGLIO Whole length, seated nearly full face in a large armchair beside a table, on which is a vase of flowers. A man of middle age; with moustache and pointed beard. He is dressed in Cardinal’s robes with a white embroidered roccetto. Background a curtain. Painted at Rome in 1623.

VIENNA

SAMSON AND DELILAH On the left is Delilah reclining on a couch, an old woman standing behind her. She stretches out her left hand towards Samson in the centre, who struggles to his feet as he is seized and bound by four or five armed Philistines-one behind him, and the others on the right. In the left foreground is a small dog.