Studio of Sir Anthony van Dyck

Thomas Humphrey Ward (1845-1926), 61 Russell Square, London, by 1886;
Otto and Mathilda Wesendonck, Berlin, by 1888;
By descent to their grandson Frederick von Bissing;
Thence by descent to the present owner.

London, Grosvenor Gallery, Exhibition of the works of Sir Anthony Van Dyck by Grosvenor Gallery, 1886-1887, no. 78 (as 'van Dyck', lent by T. H. Ward);
Munich, VI Internationale Kunstausstellung, 1 June - 31 October, 1892, no. 3126.

Gemalde-Sammlung van Otto Wesendonck, Berlin 1888, no. 193½, p. 62 (as 'Sir John, first Lord Byron' by Sir Peter Lely)

The canvas has been lined. The picture appears to be in good country house condition. The surface of the painting has not been abraded but has been slightly pressed into the canvas. There is one very minor, small dent in the surface on the sitter's jaw line, visible in the catalogue illustration, and there are a small number of scatter minor scuffs to the surface. the catalogue illustration is representative and there is an old, very dirty and discoloured varnish overall. Examination under ultraviolet light confirms the opacity and discolouration of the varnish, and shows no signs of significant restoration. There is a small area of minor retouching to the background in the extreme upper left corner, which appears to be painted on top of the old varnish. This also applies to five small spots in the background, three on the left and two on the right of the sitter's head. There is an area of craquelure in the lower centre with ingrained dirt which also fluoresces under UV. The picture therefore appears to be in very good, largely untouched condition. Held ina gilded wooded frame. To speak to a specialist about this lot please call Julian Gascoigne on +44 (0)207 293 5482.
"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."

Though traditionally identified as a portrait of John, 1^st Lord Byron, comparison with the portrait of Byron by Dobson in the Tabley Collection at the University of Manchester suggests that this identification is incorrect. The pose is taken from van Dyck’s full length Portrait of Robert Rich, 2^nd Earl of Warwick (The Wadsworth Atheneum, Hartford).¹ Close comparisons can also been seen in van Dyck’s portraits of Charles I (Private Collection), Kenelm Digby (National Portrait Gallery, London) and Edmund Verney (Private Collection), the prototype for all of which is Titian’s portrait of the Roman Emperor Silvius Otho (English Heritage, Bolsover Castle), which in van Dyck’s lifetime was in the King’s collection at St. James’s Palace, London. Thomas Humphrey Ward, who owned this picture in 1886, was principal art critic at The Times from 1882, and husband of the novelist Mary Ward (1851-1920).

1. See O. Millar et al., Van Dyck, A complete catalogue of the paintings, New Haven and London 2004, p. 611, no. IV.235.