British Art at Yale, Apollo, v.105, April 1977, pp. 239-40, fig. 4, N1 .A54 + OVERSIZE (YCBA)Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 140-141, N590.2 A83 (YCBA)Ian Tyers, The tree-ring analysis of 23 panel paintings from the Yale Center for British Art , New Haven : dendrochronological consultancy report 470, , Yale Center for British Art, New Haven, 2011, p. 78, fig. 46, CC78.3 .T94 2011 (YCBA)Ellis Waterhouse, An Impressive Panorama of British Portraiture, Apollo, v. 105, no. 182, April 1977, pp. 239-40, fig. 4, N1 A54 + (YCBA) Another copy of this article may be found in a separately bound and catalogued copy of this issue located on the Mellon Shelf [call number : N5220 M552 A7 1977 + (YCBA)]
Gallery Label:
William Larkin was the most fashionable painter at the court of James I by the mid-1610s. The son of a London baker, Larkin grew up in the parish of St. Sepulchre without Newgate, an area popular among artists and other artisans. By 1612 he had established a workshop in the parish of St. Anne Blackfriars, near the banks of the river Thames. The identity of this sitter is not known, but to judge from Larkin’s other patrons he must have been an important figure within the Jacobean court. It is also likely that this individual was a friend or relation of Gray Brydges, fifth Baron Chandos, whose companion portrait hangs nearby. Gallery label for installation of YCBA collection, 2016