Portrait of a Man in a Wide-Brimmed Hat

Flemish 17th Century (Possibly Jan Cossiers)early 1630s

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States


  • Title: Portrait of a Man in a Wide-Brimmed Hat
  • Creator: Flemish 17th Century (Possibly Jan Cossiers)
  • Date Created: early 1630s
  • Physical Dimensions: overall: 105.5 x 73.5 cm (41 9/16 x 28 15/16 in.) framed: 132.1 x 101 cm (52 x 39 3/4 in.)
  • Provenance: Possibly Louis Philippe Joseph, duc d'Orléans [1723-1793], Paris; possibly George Kinnaird, 7th baron Kinnaird [d. 1805], Rossie Priory, Inchture, Perthshire, Scotland;[1] his son, Charles Kinnaird, 8th baron Kinnaird [1780-1826], Rossie Priory, by 1809; (his sale, Phillips, London, February-March 1813, no. 85, as _Portrait of a Spanish Nobleman_ by Velázquez, bought in);[2] by inheritance to his son, George William Fox Kinnaird, 9th baron Kinnaird [1807-1878], Rossie Priory; by inheritance to his brother, Arthur Fitzgerald Kinnaird, 10th baron Kinnaird [1814-1887], Rossie Priory; by inheritance to his son, Arthur J. Fitzgerald Kinnaird, 11th baron Kinnaird [1847-1923], Rossie Priory; by inheritance to his son, Kenneth Fitzgerald Kinnaird, 12th baron Kinnaird [1880-1972], Rossie Priory; by gift or inheritance to his eldest son, Graham Charles Kinnaird, Master of Kinnaird [later 13th baron Kinnaird, 1912-1997], Rossie Priory; purchased 13 May 1969 through (P. & D. Colnaghi & Co., London) by NGA. [1] An inscription on the verso of the painting reads "Gen.L [General] Velasquez by Rubens bought from the Orléans Gallery by Lord Kinniard [_sic_]." The 7th baron Kinnaird did play an important role in the English syndicate that was involved in the dispersal of the Orléans collection in the 1790s (see Denys Sutton, "Aspects of British Collecting, Part III: XIII The Orléans Collection," _Apollo_ 119 (May 1984): 357-372). However, it has not been possible to identify the painting in descriptions of the Orléans collection, and the painting does not appear to be listed in the catalogue of that collection's Dutch and Flemish paintings when they were exhibited for sale by private contract in London from April to June 1793. Burton Fredericksen has kindly searched his records related to the Orléans and Kinnaird collections, and, despite the inscription, does not believe the painting was in the Orléans collection (correspondence of 11 November 2004, in NGA curatorial files). The identification in the inscription is that given the painting in the 1879 exhibition at the Royal Academy, so perhaps the inscription dates from that time. [2] While it is not yet known when or from what source the painting entered the Kinnaird collection, it was there by 1809. Henry Bone (1755-1834) copied the painting as an enamel miniature (sale, Bonhams, London, 22 May 2003, no. 127). The inscription on the verso reads, in part: "London / Decr 1809 ... after the original / by Valesquez [_sic_] in the Collection of the Rt Honble / Lord Kinnaird." A preparatory pencil drawing for the miniature is in an album of Bone drawings in the library of the National Portrait Gallery, London (see: Richard Walker, "Henry Bone's Pencil Drawings," _The Walpole Society_ LXI [1999]: 360, no. 686, fig. 180). The painting was engraved c. 1813 by James Fittler (1758-1835), by which time the designation had changed from Velázquez to Rubens. Gustav-Friedrich Waagen (_Galleries and Cabinets of Art in Great Britain: Being an Account of more than Forty Collections of Paintings, Drawings, Sculptures, Mss., &c.&c.._ [Forming a supplemental volume to _Treasures of Art in Great Britain_, 3 vols.], London, 1857: 447) saw the painting at Rossie Priory and also attributed it to Rubens, an attribution that was maintained, although the painting was given various titles, until Michael Jaffé reattributed it to Jordaens in 1968 (_Jacob Jordaens 1593-1678_, exh. cat., National Gallery of Canada, Ottawa, 1968: no. 36).
  • Medium: oil on panel

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