- Cornelius Johnson 1593–1661
- Oil paint on oak
- Support: 435 x 318 mm
frame: 565 x 470 x 60 mm
- Purchased 1965
Cornelius Johnson 1593–1661
T00744 Portrait of an Unknown Gentleman 1629
Inscr. ‘C. J. fec [. . ?] 1629’ b.r.
Panel, 17 1/16 x 12½ (43.5 x 31.5).
Purchased from the Executors of Captain E. G. Spencer- Churchill (Grant-in-Aid) 1965.
Coll: Thomas Lloyd by 1811; George, 3rd Lord Northwick by 1864; his widow 1887; her grandson, Capt. Spencer-Churchill, 1912; listed in catalogue, Christie’s, 29 October 1965 (31, with no. T00745), but previously sold to the Tate Gallery.
Lit: A Catalogue of the Pictures, Works of Art, etc. at Northwick Park, 1864, reprinted 1908, p. 15, no. 85; T. Borenius and L. Cust, Catalogue of the Collection of Pictures at Northwick Park, 1921, p. 124, no. 314, as of Henry Cary, 1st. Viscount Falkland; A. J. Finberg, ‘A Chronological List of Portraits by Cornelius Johnson, or Jonson’ in Walpole Society, X, 1922, p. 17, no. 39, as ‘Called Lord Falkland’.
Engr: Charles Turner, published by S. Woodburn 1811.
Although traditionally known as a portrait of Lucius Cary, 2nd Viscount Falkland (1610?–1643), and engraved as such in 1811, the figure is shown wearing the crimson sash of the Order of the Bath, of which the 2nd Viscount, unlike his father, was never a member; otherwise both the age and the appearance of the sitter are reconcilable with portraits of Falkland. The sash has been painted over the costume but appears to be original; in any case it is difficult to see why anyone would add the Order of the Bath to a genuine portrait of Falkland. In addition, Falkland did not marry until 1631, and there seems to be no reason to reject the probability that Nos. T00744 and T00745 are companion pictures, showing man and wife. It has been impossible to identify the true sitter among the various members of the Order of the Bath under Charles I; the 1st Viscount Falkland (c.1576–1633) would have been far too old to be the young man portrayed.
Published in The Tate Gallery Report 1965–1966, London 1967.
Read technical information about this painting resulting from examination and scientific analysis by conservators and conservation scientists at Tate