Sir Anthony van Dyck

full-length, standing in a dark suit of clothes with a lace collar, his gloved hand at his side, a column to the left of him and a landscape beyond

Probably Henry, 3rd Viscount Brouncker who bequeathed his chattels to Sir Charles Lyttelton 3rd Bt. (1629-1716 );
by descent to the present owner

Manchester, City Art Gallery, Art Treasures, 1857, no. 120;
London, South Kensington Museum, National Portraits Exhibition, 1866, no. 538;
Leeds, City Art Gallery, Exhibition of Works of Art, 1868, no. 3002;
London, Grosvenor Gallery, Exhibition of the Works of Sir Anthony Van Dyck, 1887, no. 103;
Antwerp, Koninklijk Museum voor Schone Kunsten, Exposition Van Dyck à l'occasion du 300e anniversaire de la naissance du maître, 1899, no. 46;
London, Royal Academy, Winter Exhibition, 1900, no. 119; 
Birmingham, City Art Gallery, 1926, no. 26

Catalogue of Pictures at Hagley Hall, 1900, no. 36
George Vertue, 'Notebooks' , Walpole Socitety, Vol V, p. 42;
John Loveday of Cavesham 1711-1789, ed. S Markham, 1984;
A Description of Hagley Park by the author of Letters on the Beauty of Hagley, Envil and Leasowes, Birmingham, 1777, p.5;
W. Musgrave's 'Lists of Portraits', ed. A Meyer, Walpole Society, Vol 54, 1991;
J. Smith, A Catalogue Raisonne of the Works of the Most Eminent Dutch, Flemish and French Painters, 1831, no,491;
J. Guiffrey, Antoine Van Dyck: sa vie et son oeuvre, 1882, no. 434 A;
L. Cust, Anthony Van Dyck: A Historical Study of His Life and Works, 1900, p.271;
E.Schaeffer, Van Dyck: des Meisters Gemalde, Klassiker der Kunst, 1909, Vol 13, p.380;
G. Gluck, Van Dyck, des Masters Gemalde, Klassiker der Kunst, 1931, no. 13, p.470;
E. Larson, The Paintings of Anthony Van Dyck, 1988, no. 782;
S.J. Barnes, N. De Poorter, O. Millar, H Vey, Van Dyck, A Complete Catalogue of the Paintings, 2004, p. 619, IV. 245

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in good condition in the principal parts, especially around the face and glove of the sitter. There are a number of minor visible retouchings to the background and there is a layer of very opaque and discoloured varnish overall. There is also a very narrow fracture line in the paint approximately 6 inches long in the upper left of the canvas in the background of the painting. ULTRAVIOLET Examination under ultraviolet light reveals scattered areas of retouching predominantly in the background of the painting. There are also minor retouchings to the sitter's leggings and to one area in his left trouser leg as well as minor flecks around the above mentioned fracture line. There are some very small scattered retouchings on the sitter's costume and around his chin and mouth. Predominantly these retouchings appear to have been applied fairly crudely and possibly excessively, and the painting would not appear to be in as bad condition as preliminary assessment might suggest. The severe discolouration of the varnish prohibits further examination and it is possible there be further retouchings which are not visible under ultraviolet light. NOTE The painting would benefit hugely from a light surface clean and a re-varnish, without removing too much. This would have a dramatic effect on the costume of the sitter which is at present largely obscured by the opacity of the varnish. FRAME Held in a carved and gilded 'Carlo Maratta' frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This sensitive late portrait by Van Dyck has been dated stylistically to c. 1638. The sitter was the second son of James Hay 1st  Earl of Carlisle and his first wife, Honora daughter of the Earl of Norwich. He was Colonel of a Foot regiment in Germany in 1624 and soon after created Knight of the Bath. On 21st March 1632 he married Margaret third daughter of Francis Russell, 4th Earl of Bedford. On 4th October 1637 he suceeded the Earl of Norwich, his grandfather on his mothers' side,  to the title of Lord Derry of Waltham, and two years later he was able to confirm his hereditary rights to the Carlisle Islands (later called the island of Barbados). In the Civil War he was Royalist Colonel of a Regiment of Horse between 1642 and 1646, but lived chiefly in Barbados returning to England in 1652.