Live Auction 8008Old Master & British Paintings (Day Sale)
Attributed to John de Critz I (Antwerp 1551/2-1642 London) and Studio
Lot 184

Attributed to John de Critz I (Antwerp 1551/2-1642 London) and Studio

Portrait of King James I of England and VI of Scotland (1566-1625), three-quarter-length, in a white doublet with a lace collar, jewelled hose and a fur cloak, wearing the Greater George, a black hat with a jewel, holding a pair of gloves in his right hand, his left hand resting on the hilt of his sword

Closed7 December 2011

Price Realised

GBP 39,650

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Attributed to John de Critz I (Antwerp 1551/2-1642 London) and Studio
Portrait of King James I of England and VI of Scotland (1566-1625), three-quarter-length, in a white doublet with a lace collar, jewelled hose and a fur cloak, wearing the Greater George, a black hat with a jewel, holding a pair of gloves in his right hand, his left hand resting on the hilt of his sword
oil on panel
45 x 32 5/8 in. (114.3 x 82.8 cm.)

Presented by King James VI and I, to his Secretary of State, Sir Thomas Haddington, 1st Earl of Haddington (1563-1637) and by descent to
The 13th Earl of Haddington, Tyninghame; Sotheby's, London, 25-27 September 1987, lot 532, as 'John de Critz' (£96,000).
Anonymous sale [The Property of a Gentleman]; Christie's, London, 15 December 1993, lot 6, as 'John de Critz, the Elder' (£34,500).

Specialist note

This portrait relates to the full-length pattern for which payments are recorded in 1606 and 1607. There are autograph versions of the full-length type at Loseley Park, Guildford, and in the Dulwich College Picture Gallery, London. John de Critz was granted for life the office of Serjeant Painter to the King in May 1605, jointly with Leonard Fryer, an otherwise unknown decorative painter who died later that year. De Critz produced several three-quarter-length versions of the full-length type, including the 'Tyninghame' picture, and others in the Portland and Roseberry Collections. The de Critz portrait set the standard iconographical type and face pattern employed during the first half of James I's reign, until being superseded by Paul van Somer's full-length portrait of the King in Coronation robes, signed and dated 1618 (London, The Royal Collection).