Probably Robert Carey, 1st Earl of Monmouth (1560-1639);
thence by descent to his granddaughter, Lady Martha Carey, who married Charles, 2nd Earl of Middleton;
by descent to her daughter, Lady Elizabeth Middleton, wife of William Spelman (the picture is mentioned in her will dated 2nd November 1745);
thence by descent until offered for sale, London, Sotheby's, 9th June 1998, lot 1

K. Gibson, Best Belov'd Kings, The Iconography of Charles II, unpublished ph.D.Thesis, 1997, no. 2

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in good condition. The paint is quite dry, and there is a correspondent fine craquelure throughout. there is no apparent damage or loss of paint. ULTRAVIOLET Examination under ultraviolet light reveals extensive infilling to fine craquelure in the face and body of the child. There is scattered minor retouching to the background, especially along the lower edge, the result of previous flaking, and to one area in the upper left. FRAME Held in a wooden period style frame. To speak to a specialist please contact Julian Gascoigne on +44 (0)207 293 5482, or at julian.gascoigne@laitexier.com.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Charles was born at St. James's Palace on 29th May, 1630, shortly before midday. On hearing that his wife, Queen Henrietta Maria, had given birth to a fine healthy son, the King mounted his horse and rode into the City to give thanks to God. Being given all the attention worthy of a future King, the baby flourished, leading the Queen to comment in a letter to her old governess, Madame St. George in Spetember 1630: 'He is so fat and so tall that heꦰ is taken for a year old and he is only four months; his teeth are already beginning to come'. She added: 'I will send you his portrait as soon as he is a little fairer, for at present he is so dark that I am ashamed of him'. Charles was, however, never to lose his dark complexion, earning himself the sobriquet 'the black boy'.

Sir Robert Carey, from whom this painting probably descended, was closely involved with the Royal household. At the Court of James I his wife was appointed mistress of the Robes to the Queen and they both had the charge of the young Duke of York, later King Charles I, who was consequently brought up together with the Carey children. Upon the future Charles I becoming Prince of Wales Sir Robert was appointed his Chamberlain, and remained attached to him until his death in 1639. This sensitive portrait was painted in Octoberꦯ when the you𓃲ng Prince was four months old. As with a similar version now in the National Portrait Gallery, the Prince is shown propped up on a cushion as if on his Chair of State.