London, South Kensington
30 October 2014
PROPERTY OF THE 10TH DUKE OF LEEDS WILL TRUST (LOTS 102-112)
After Sir Anthony van Dyck
Portrait of King Charles I (1600-1649), half-length, with the ribbon and star of the Order of the Garter
oil on canvas
30 x 25 in. (76.2 X 63.5 cm.)
in an 18th century Maratta frame
By descent through the Dukes of Leeds, Hornby Castle, Yorkshire, to the present owner.
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Hornby Castle, Catalogue of Pictures, London, 1898, p. 27, no. 329, in the First Drawing Room.
Historical and descriptive catalogue of pictures belonging to His Grace The Duke of Leeds, London, 1902, p. 94, no. 329.
After the picture of 1637 in the Gemäldegalerie Alte Meister, Dresden.
Offered in our Old Masters sale on 30 October, this portrait is the legacy of the artist’s affection for the child he brought under his roof when she was just 13
This intimate masterpiece was for many years unattributed, until an art historian’s powers of recall solved its mystery in the late 1970s
Andrew Graham-Dixon on how full-length portraits have been used in history to boost the status of nobles, kings and statesmen
Artists, patrons and critics have argued for centuries over the right way to frame a painting. Ultimately, it’s a matter of personal taste, says Andrew Graham-Dixon
Offered to benefit a new scholarship initiative from Bennington College, this work distils the unique form of abstraction for which the artist would become famous
Ahead of the sale of portraits of four different muses, we focus on the women the artist came to depend on so passionately