Born in Delft, Mijtens, or Mytens, had settled in London by 1618. He became court painter to James I in 1621 and also held the title under Charles I (1600-1649), until 1634, by which time Anthony van Dyck was reestablished in England. This is the prime, 1629 version of a standard full-length royal portrait type, with fine, detailed drapery painting and minor adjustments to various contours made by the artist.
Inscription: Signed, dated, and inscribed: (lower right) Pinxit Daniel Mytens; (right, on column base) CAROLVS D[EI]G[RATIA] MAG[NI] / BRITANNIÆ FRANCIÆ / ET HIBERNIÆ REX / FIDEI DEFENSOR. / ÆTAT. 29. / ANNO 1629 (Charles, by the Grace of almighty God, king of Britain, France, and Ireland. Defender of the Faith. Aged 29. In the year 1629)
George A. Hearn, New York (until 1906)
Tokyo National Museum. "Treasured Masterpieces of The Metropolitan Museum of Art," August 10–October 1, 1972, no. 76.
Kyoto Municipal Museum of Art. "Treasured Masterpieces of The Metropolitan Museum of Art," October 8–November 26, 1972, no. 76.
New York. The Metropolitan Museum of Art. "AngloMania: Tradition and Transgression in British Fashion," May 3–September 4, 2006, unnumbered cat. (p. 153).
Charlotte C. Stopes. "Daniel Mytens in England." Burlington Magazine 17 (June 1910), p. 162, publishes three documents from the royal accounts that may relate to this picture: "£60 for his Majesty's picture at large with a prospect, and the Crown and the Sceptre, in a scarlet embroidered suit, and for charges in making that picture at Greenwich. . . . Signed Aprill 2nd 1630"; "£50 for his Majesty's picture at large, with a prospect and the Crown and Sceptre, in a scarlet embroidered suit, delivered by special command unto the Lord Bishop of London in April, 1631; £50 more for ye like picture delivered to ye Earl of Pembroke in May, 1631; £5 for making ye said pictures and attendance at Greenwich, Signed June 29th 1631"; noting that the third picture described is at Wilton [Earl of Pembroke].
C. H. Collins Baker. Lely & the Stuart Portrait Painters: A Study of English Portraiture before & after Van Dyck. London, 1912, vol. 1, pp. 42–43 n. 1; vol. 2, p. 110, lists documents in the royal accounts that refer to fifteen Mijtens portraits of Charles I; observes that of the four he has seen, the examples at Coombe Abbey [Earl of Craven, later Royal Collection] and Chatsworth show the king full length in red; points out that in only three cases is the color of the king's dress—red—described; assumes that the replicas were done in batches and therefore dates the Coombe Abbey and Chatsworth pictures to the same years as the documents, that is 1630–31; mentions this portrait, tentatively dating it 1630.
F. M. Kelly. "Mytens and His Portraits of Charles I." Burlington Magazine 37 (August 1920), pp. 84, 89, pl. II, D, notes that this portrait is signed and dated 1629 but that, as payments seem not to have been prompt, it may well be one of those mentioned in the 1630–31 accounts as showing Charles I in "a scarlet embroidered suit," with the crown and sceptre and "a prospect"; finds it more sympathetic than the 1631 portrait of the king in a dark gray suit at the National Portrait Gallery.
Oliver Millar. "An Attribution to Cornelius Johnson Reinstated." Burlington Magazine 90 (November 1948), p. 322, in connection with the Chatsworth picture, which he points out is signed and dated 1631 by Cornelis Jonson and includes a "prospect" of Windsor Castle in the background, attributes this portrait to Mijtens despite the fact that it lacks the "prospect" referred to in the documents; mentions a version of 1631 in the National Maritime Museum at Greenwich and a version which he believes to be in the Craven collection.
Millia Davenport. The Book of Costume. New York, 1948, vol. 2, p. 572, no. 1505, ill.
Ellis Waterhouse. Painting in Britain, 1530 to 1790. London, 1953, p. 37, describes it as an original of 1629, representative of the earliest of three principal types of Mijtens portraits of the king; mentions a rather hard studio copy of 1631 at Greenwich and Cornelis Jonson's copy of 1631 at Chatsworth, observing that Jonson must have been working with Mijtens at the time.
Julius S. Held. "'Le Roi à la Ciasse'." Art Bulletin 40 (March 1958), p. 148.
David Piper. Catalogue of Seventeenth-Century Portraits in the National Portrait Gallery, 1625–1714. Cambridge, 1963, p. 61, in connection with the National Portrait Gallery picture, which he calls probably a version from Mijtens's studio of a portrait which was popular between 1629 and 1631, mentions this one as a signed and dated version of 1629; suggests that it is not quite certain that the design was Mijtens's in the first place, as the portrait that most closely resembles the description in the documents is that signed and dated 1631 by Cornelis Jonson, which is at Chatsworth.
O[nno]. ter Kuile. "Daniel Mijtens: 'His Majesties Picture-Drawer'." Nederlands Kunsthistorisch Jaarboek 20 (1969), pp. 11, 14, 58–59, no. 28, fig. 23 [figs. 22 and 23 transposed], describes this picture as the prototype, listing additional versions: sale, Christie's, London, June 25, 1965, no. 68 (Mijtens atelier, dated 1629); National Maritime Museum, Greenwich (Mijtens atelier, 1631); Duke of Devonshire, Chatsworth (by Cornelis Jonson, 1631); sale, Christie's, London, June 22, 1928, no. 73 (copy); sale, Sotheby's, London, May 8, 1946, no. 76 (copy); also National Portrait Gallery, London (Mijtens atelier, 1631); sale, Christie's, London, December 10, 1948, no. 108 (Mijtens atelier).
Torbjörn Fulton inThe Dictionary of Art. Ed. Jane Turner. Vol. 21, New York, 1996, p. 509, as "the original portrait painted and signed by Mijtens himself in 1629," of which the portrait signed and dated by Cornelis Jonson van Ceulen is a close replica.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. x, 380, 484–88, no. 124, colorpl. 124, fig. 114 (color detail).