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After Sir Anthony van Dyck (Flanders/England, 1599-1641) oil on canvas three-quarter length portrait of Sir Francis Crane (1579-1636) with left arm akimbo. He wears a red, fur-lined coat, white waistcoat, and around his neck hangs the badge of the Chancellor of the Order of the Garter. The purse or bag of offices sits beside him at right. Housed in a molded and giltwood frame with "Jamison" nameplate (in reference to George Jamesone / Jameson, sometimes called the Scottish Van Dyck). 18th century or earlier. Sight: 45 1/2" H x 37 3/4" W. Canvas: 46 1/2" H x 38 1/4" W. Framed: 55" H x 47" W. Note: This painting and another copy are mentioned in Susan J. Barnes, et. al., VAN DYCK: A COMPLETE CATALOGUE OF THE PAINTINGS: "An important version (present whereabouts unknown) was formerly at Finborough Hall, Suffolk (Collins Baker 1912, vol. I, pp.128-9; with a tentative attribution to Isaac Fuller). A copy is in a private collection in Tennessee." While the present painting is the Tennessee copy referred to in that catalogue, it is possible that it is also the same painting once at Finborough Hall and attributed by Collins Baker to Isaac Fuller. Two other portraits of Crane are also mentioned in the 2004 catalogue raisonne: "A slightly earlier portrait of Crane, three-quarters-length in a Van Dyckian pose, is recorded in a Mortlake tapestry at Ingatestone. Vertue recorded (1930-55, vol. V, p. 18) a half-length of Crane by Van Dyck in the possession of 'Mrs Morgan.'" Biographical note: Sir Francis Crane was appointed Clerk of the Parliament in 1606 and Clerk of the Council of Henry, Prince of Wales, in 1611. He served as Secretary to Charles I while Charles was Prince of Wales and was twice elected Member of Parliament for the borough of Penryn in 1614 and 1631 and once for Launceston in 1624. In 1628, he was made Chancellor of the Order of the Garter, and from its foundation in 1619 he was controller of the tapestry factory at Mortlake. Van Dyck's portrait of Crane was begun before the sitter's departure from London for Paris in 1636 and possibly completed after his death in Paris later that year. (Source: Susan J. Barnes, et. al. VAN DYCK: A COMPLETE CATALOGUE OF THE PAINTINGS. New Haven and London: Yale University Press, 2004) Literature: C.H. Collins Baker. LELY AND THE STUART PORTRAIT PAINTERS: A STUDY OF ENGLISH PORTRAITURE BEFORE AND AFTER VAN DYCK. London: P. L. Warner, 1912, Vol. 1, pp 128-129, illus. opposite p. 124; S. J. Barnes, N. de Poorter, O. Millar, and H. Vey. VAN DYCK: A COMPLETE CATALOGUE OF THE PAINTINGS. New Haven and London: Yale University Press, 2004), no. IV. 80.
PROVENANCE: The collection of Jon E. Jones, Cookeville, TN, by descent from Robert "Bob" Jones, Jr., former President and Chancellor of Bob Jones University.
CONDITION: Canvas has been lined. Scattered retouching throughout, especially to face, white waistcoat, and left side of body; largest areas to red coat at immediate left of left hand, 5" x 2," to fur at left of and above left hand, 5 1/2" x 1/2," to forehead, 3" x 2 1/4," and to waistcoat at left of badge, 2" x 1 1/4." Repaired tear with minor retouching to fur to left of badge, 1 1/2." See U/V photography. Frame has some abrasions and losses.
