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American School Colonial portrait of Antony Duane (b. ca. 1679-d. ca. 1740) of New York, possibly by Evert Duyckinck III (1677-1747), Pieter Vanderlyn (1687-1778), or Nehemiah Partridge (1683-c. 1737). The three quarter length portrait depicts the subject wearing a long dark wig, burgundy velvet coat and white cravat. He is seated with his arm on a windowsill that overlooks a body of water with a ship sailing by. He holds a letter in his hand addressed to “M –Antoni –ain.” Housed in a later giltwood molded frame with arched top having raised, Rococo style ornaments to the spandrels. An old Cleveland Museum of Art label is affixed to the frame. Stretcher: 46 1/4 in. H x 36 in. W. Frame: 53 1/2 in. H x 43 1/2 in. W. Circa 1730. Note: Anthony Duane, aka Antony Duain, was born in Ireland c. 1679 and came to New York as a Naval officer among the British Fleet in 1698. He became a wealthy merchant and landowner, acquiring land around Schenectady which would become known as Duanesburg. He had four children including a prominent son, James Duane, who was a member of the Revolutionary Committee of New York, the Continental Congress, and one of the signers of the Articles of Confederation at Philadelphia in 1777. (James Duane was also a New York state senator, Mayor of New York, and Judge). This painting bears a distinct similarity to photographic images of a portrait of Anthony Duane in the collection of the New York Historical Society. According to the NYHS, that portrait was added to the collection in 1951 from an unknown source and is not on public display for comparison. The painting in our auction has descended directly in the family of the sitter.
PROVENANCE: By descent in the family of the sitter, Anthony Duane, to Henry Pell Junod, Jr., to present consignor. Some family genealogical information found with this painting is available to the winning bidder.
CONDITION: Canvas has been lined to edge of the stretcher and the stretcher is not original. Lower right quadrant has a 22 in. x 7 in. area of delamination including a few small areas of paint loss up to 3/4 in. to subject’s sleeve and coat. Examination of this area under UV light shows spots of previous inpainting to this area. Also visible under UV light inspection are several other scattered spots of retouch to paint, and two repaired tears up to 1 1/4 in. L in the upper left quadrant (sky area within window). 1″ area of repair with touchup to subject’s forehead. Additional touch up to inner eyelids and chin area (see UV photograph). Stretcher line at top of canvas just above subject’s head. Later frame with some minor wear, overall good condition.
