- Museum number
Portrait of Thomas Howard, 2nd Earl of Arundel; whole-length, seated almost to right, looking to front, wearing a skull cap and a cloak, the Garter jewel and ribbon, a rod in his left hand and a paper in the other. c.1635-36
Black chalk heightened with white, on grey-brown laid paper (with clumps)
- Production date
- 1635-1636 (circa)
Height: 484 millimetres (chainlines 24-25 mm apart)
Width: 353 millimetres
- Curator's comments
- This study does not correspond with any known painting by Anthony van Dyck of the Earl of Arundel.
Lit.: 'British Portraits', exh.cat. Royal Academy of Arts (London), London, 1956, cat.no.546; Roger.-A. d'Hulst and Horst Vey, 'Antoon van Dyck: Tekeningen en olieverfschetsen', exh.cat. Rubenshuis (Antwerp) and Museum Boymans-Van Beuningen (Rotterdam), Antwerp, 1960, cat.no.112; L. Stainton and C. White, 'Drawing in England from Hilliard to Hogarth', 1987, p.84, no.45, fig.45 ; C. Brown, 'The Drawings of Anthony van Dyck', exhib.cat. The Pierpont Morgan Library (New York) and Kimbell Art Museum (Fort Worth), New York, 1991, cat.81; M. Jaffé, 'Review', in Burlington Magazine 133 (1991), p.344, no.81; Stijn Alsteens and Adam Eaker, Van Dyck: The Anatomy of Portraiture (New York: Frick Collection, 2016): cat. 78.
Stainton & White 1987
For the sitter, see Stainton & White 1987, cat. no. 28. In 1620, in a letter from his secretary, Francesco Vercellini, in Antwerp, Arundel was made aware of Van Dyck's rapid emergence as a rival to Rubens and was probably involved in persuading him to come to London. During his brief first visit there, Van Dyck painted the Earl's portrait, now in the J. Paul Getty Museum, Malibu (Millar (1982), 2, illus.). Arundel was also instrumental in obtaining royal permission for the artist to travel to Italy in 1621, and when Van Dyck returned in 1632 he carried out a number of widely differing portrait commissions for his patron. One, which was never realised but is possibly recorded in a watercolour of 1643 by Philip Fruytiers (Millar (1972) 134, illus.) and a drawing in the manner of Van Dyck, in the British Museum ('Burl. Mag.', lxxix (1941), p. 190), appears to have been for a family portrait with his grandchildren, for which this drawing may have been a preliminary study. For such a purpose the drawing is unusually fully realised and provides a powerful image of the sitter, seen from below as if raised on a dais like the Earl of Pembroke in the large family group at Wilton. As Millar (1982) observed, the head could have been based on the portrait of the Earl with his grandson Thomas, in the collection of the Duke of Norfolk, which must have been painted by 1636.
Had the dynastic image of the Earl and his descendants been executed, it would have ranked among the artist s most magnificent group portraits.
- Not on display
- Exhibition history
1956-57, London, Royal Academy, 'British portraits', no.546
1960 July-Nov Antwerp-Rotterdam, 'Antoon van Dyck', no.112
1974 July-Dec, BM, Portrait Drawings, no.101
1985/6 Nov-Jan, Oxford, Ashmolean Museum, 'The Earl of Arundel', no. 10
1987 Jun-Aug, BM, 'Hilliard to Hogarth'
1987 Sep-Nov, New Haven, 'Hilliard to Hogarth'
1991 Feb-Apr, New York, Pierpont Morgan Library, 'Van Dyck', no. 81
1991 June-Aug, Fort Worth, Kimbell Art Museum, 'Van Dyck', no. 81
2009 Feb-May, London, Tate Britain, Van Dyck and Britain
2016 March - June, New York, Frick Collection, 'Van Dyck Portraits'
- Acquisition date
- Prints and Drawings
- Registration number