Thomas Howard, 2nd Earl Of Arundel (1585-1646)
Represented work of art
Artist
Anthony van Dyck
Dimensions1.13 x 0.80 (44 x 31 1/2 inches)
Subject
Provenance
- Collection of the sitter; Phillipe Duc d'orleans (Phillipe Egalite) by whom sold 1792; Citoyen Robit, Paris; sale 11 May 1801 (36), Francis 3 & last Duke of Bridgewater (1736-1803), Cleveland House, (later Bridgewater House), London, by whom acquired 1801; Lord Gower, later 2 Marquess of Stafford & 1 Duke of Sutherland (1758-1833), nephew of the above; sold from the Sutherland collection before 1913; With Frits Gans, Frankfurt; Bachstitz Collection; Mrs David Guggenheim. New York; Mr And Mrs Francis Lenyon; Rebecca Pollard Logan, her sale, Christie's, 8 July 1983 (92)
Exhibition history
- British Institution 1820 (64) London, National Portrait Gallery, Van Dyck in England 1982- 3 (2) and introduction to catalogue p 11)
Publication history
- F. Heumer Portraits, Corpus Rubenianum Ludwig Burchard 1974 fig 37; E. Larsen L'Opera completa di Van Dyck 1613-1626 1980 (280); C. Brown Van Dyck 1982 pp 52-6 pl 44
Photographic source
Object FormatPhotographic Print
Photograph Source
A.C. Cooper Studio
Negative Number4629
Archival context
Object numberPA-F02987-0013
Archival context
- Fonds:Paul Mellon Centre Photographic Archive
- Series:Artists, A–Z
- Folder:Portraits, Male, Identified, A-K
- Item:Thomas Howard, 2nd Earl Of Arundel (1585-1646)
ClassificationsArchival Document
Scope and content This series comprises images of works by artists who were British by birth, foreign artists who worked in Britain or foreign artists who painted British sitters abroad. The works featured date from c.1500 to c.1900. The images in this series form by far the largest part of the Photographic Archive. Images remain in their original order: organised A–Z by artist name. Significant artists, or those for which there is a wealth of material, have multiple folders of images. In these cases, images are further subdivided by genre or type, depending on the artist. They may also be organised in ‘catalogue raisonné order’. The images predominantly depict oil paintings but prints and other works on paper are also included.
Acquisition information The collection has always been in the possession of the Paul Mellon Centre for Studies in British Art (or its predecessor institution, the Paul Mellon Foundation).
ArrangementThe archive has been arranged in its original order.
Conditions governing use The images in the Photographic Archive are derived from a variety of sources, so copyright in the collection is varied. The copyright status of each image is detailed at item level in the catalogue.
Accruals It is anticipated that new images may be added to the Centre’s Photographic Archive in future. These may be generated via the Centre’s everyday activities (such as the publishing programme). They may also come from external sources (such as donations by scholars or institutions).
Rights and reproductions
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Rights Statementhttps://rightsstatements.org/vocab/NoC-CR/1.0/
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