In a twist of art history, Philip Herbert (1584–1650), 4th Earl of Pembroke is a portrait attributed to Anthony van Dyck but dated to 1700—half a century after both sitter and artist had died. This chronological puzzle has sparked ongoing debate among scholars: is the date a later addition, a copy after a lost original, or simply a cataloguing error? The confusion is heightened by the Earl’s prominence at the Stuart court, where portraits by van Dyck were highly prized and widely imitated. The painting stands as a testament to the enduring fascination with both sitter and artist, blurring the line between original and homage. The work captures Philip Herbert at the height of his influence, perhaps during his tenure as Lord Chamberlain under Charles I.

He stands, draped in rich fabrics, his hand resting confidently on his hip—a pose signaling both authority and ease. The dark background throws his pale face and ornate attire into sharp relief, a hallmark of van Dyck’s style, which lent his sitters an air of noble gravity. The Earl’s direct gaze and the subtle play of light across his features invite comparison with van Dyck’s earlier portrait of Charles I, where similar techniques confer an almost theatrical dignity.

The chain of office around his neck, heavy with gold, speaks to his status and the trust placed in him by the king. Though the precise origins of this painting are uncertain, its style and subject place it firmly within the tradition of English aristocratic portraiture that van Dyck helped define after his arrival in London in 1632. Whether original or copy, the portrait reflects the ongoing demand for images of the Earl, whose political fortunes rose and fell with the turbulence of the English Civil War. Today, the painting’s journey—through collections, catalogues, and scholarly debate—mirrors the shifting fortunes of its subject.

It remains an object of study not only for its artistry but for the mysteries that still surround its creation and attribution.