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PROPERTY FROM THE GROSVENOR FAMILY COLLECTION
SIR PETER PAUL RUBENS (SIEGEN 1577-1640 ANTWERP)
Aeneas helping Dido from her horse - a sketch
Details
SIR PETER PAUL RUBENS (SIEGEN 1577-1640 ANTWERP)
Aeneas helping Dido from her horse - a sketch
oil on panel, laid down on panel
17 7⁄8 x 23 ¾ in. (45.4 x 60.3 cm.)
Aeneas helping Dido from her horse - a sketch
oil on panel, laid down on panel
17 7⁄8 x 23 ¾ in. (45.4 x 60.3 cm.)
Provenance
Claude Potier (d. 1757), ruë Gilles-Coeur, Paris; Hellé, Paris, December 1755, not lotted, p. 11, where unsold, and reoffered at his posthumous sale, Hellé & Glomy, Paris, 28 February 1757 (=1st day), lot 702 (102 livres to Pierre Remy).
Charles Leviez (1708-1778), London; his sale, Langford's, London, 29 April 1762 (=2nd day), lot 66.
Anonymous sale; Prestage, London, 28 February 1766 (=2nd day), lot 52.
with Thomas Moore Slade, London, by whom offered anonymously; Christie's, London, 30 May 1795 (=2nd day), lot 31, where unsold.
John Campbell, 4th Duke of Argyll, KT (c.1693-1770), Coombe Bank, Kent; his sale (†), Philipe, Warwick Street, Golden Square, London, 23 May 1798 (=3rd day), lot 319, where acquired for 210 gns. by,
Lord Frederick Campbell (1729-1816), Ardencaple, Dunbarton, and Coombe Bank, Kent.
George Hibbert (1757-1837), London, by 1819; his sale, Christie's, London, 13 June 1829, lot 26, as 'V. Dyck', where unsold.
Anonymous sale [The Property of a Gentleman]; Christie's, London, 16 December 1911, lot 95, where acquired for 850 gns. by the following,
with Thomas Agnew & Sons, London, by whom sold on 21 October 1920 to the following,
with Galerie Caspari, Munich.
Private collection, Germany (offered to Gallery K W Bachstitz, The Hague, according to RKD Research Files).
Private collection, Sweden.
Anonymous sale; Uppsala Auktionskammare, Uppsala, 5 December 2006 (=1st day), lot 94, as Manner of Rubens, where acquired by the following,
with Hazlitt, Gooden & Fox, London, where acquired.
Charles Leviez (1708-1778), London; his sale, Langford's, London, 29 April 1762 (=2nd day), lot 66.
Anonymous sale; Prestage, London, 28 February 1766 (=2nd day), lot 52.
with Thomas Moore Slade, London, by whom offered anonymously; Christie's, London, 30 May 1795 (=2nd day), lot 31, where unsold.
John Campbell, 4th Duke of Argyll, KT (c.1693-1770), Coombe Bank, Kent; his sale (†), Philipe, Warwick Street, Golden Square, London, 23 May 1798 (=3rd day), lot 319, where acquired for 210 gns. by,
Lord Frederick Campbell (1729-1816), Ardencaple, Dunbarton, and Coombe Bank, Kent.
George Hibbert (1757-1837), London, by 1819; his sale, Christie's, London, 13 June 1829, lot 26, as 'V. Dyck', where unsold.
Anonymous sale [The Property of a Gentleman]; Christie's, London, 16 December 1911, lot 95, where acquired for 850 gns. by the following,
with Thomas Agnew & Sons, London, by whom sold on 21 October 1920 to the following,
with Galerie Caspari, Munich.
Private collection, Germany (offered to Gallery K W Bachstitz, The Hague, according to RKD Research Files).
Private collection, Sweden.
Anonymous sale; Uppsala Auktionskammare, Uppsala, 5 December 2006 (=1st day), lot 94, as Manner of Rubens, where acquired by the following,
with Hazlitt, Gooden & Fox, London, where acquired.
Literature
An Account of All the Pictures Exhibited in the Rooms of the British Institution, from 1813 to 1823, London, 1824, pp. 146-7, no. 40.
J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch and Flemish and French Painters, III, London, 1831, p. 121, no. 436, as Sir Anthony van Dyck.
L. van Puyvelde, Les Esquisses de Rubens, Basel, 1940, p. 40; 2nd ed., 1948, p. 41.
L. van Puyvelde, The Sketches of Rubens, London, 1947, p. 42.
M. Stuffmann, 'Peter Paul Rubens: Dido und Aeneas', Städel-Jahrbuch, I, 1967, pp. 196-8.
S. Alpers, Corpus Rubenianum Ludwig Burchard, IX, The Decoration of the Torre de la Parada, London and New York, 1971, pp. 272-3.
M. Díaz Padrón, Museo del Prado: Catálogo de Pinturas, I, Escuela Flamenca, Siglo XVII, Madrid, 1975, p. 334, under no. 1744-P.
J.S. Held, The Oil Sketches of Peter Paul Rubens: A Critical Catalogue, I, Princeton, 1980, p. 316, no. 229; II, pl. 238.
A. Balis, Corpus Rubenianum Ludwig Burchard, XVIII, II, Hunting Scenes, London, 1986, pp. 197-8, 201-2, 205, under nos. 15 and 16, fig. 4.
M. Jaffé, 'Review: Landscape and Hunting Scenes, Corpus Rubenianum Ludwig Burchard', The Burlington Magazine, CXXX, no. 1027, October 1988, p. 776.
M. Jaffé, Rubens: Catalogo Completo, Milan, 1989, pp. 306-7, no. 920, illustrated.
E. Hubala, Peter Paul Rubens: Die Gemälde im Städel, Frankfurt am Main, 1990, pp. 56-8, fig. 46, as Attributed to Rubens.
O. von Simson, Peter Paul Rubens (1577-1640). Humanist, Maler und Diplomat, Mainz, 1996, p. 371.
F. Healy, Rubens and the Judgement of Paris: A Question of Choice, Turnhout, 1997, pp. 150 and 205, note 42.
J.-P. De Bruyn and C. Wright, Alexander's Lion Hunt: The Original Painting from the Alcázar, Hollywood, FL, 2007, pp. 26 and 28, fig. 27.
A. Tieze, Flämische Gemälde im Städel Museum 1550-1800, I, Frankfurt am Main, 2009, pp. 243-5 and 248, fig. 7, as 'Manner of Rubens or Jan van den Hoecke (?)'.
E. McGrath, et al., Corpus Rubenianum Ludwig Burchard, XI, I, Mythological Subjects, Achilles to the Graces, I, Turnhout, 2016, pp. 94-6, no. 3a; II, pl. 25.
J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch and Flemish and French Painters, III, London, 1831, p. 121, no. 436, as Sir Anthony van Dyck.
L. van Puyvelde, Les Esquisses de Rubens, Basel, 1940, p. 40; 2nd ed., 1948, p. 41.
L. van Puyvelde, The Sketches of Rubens, London, 1947, p. 42.
M. Stuffmann, 'Peter Paul Rubens: Dido und Aeneas', Städel-Jahrbuch, I, 1967, pp. 196-8.
S. Alpers, Corpus Rubenianum Ludwig Burchard, IX, The Decoration of the Torre de la Parada, London and New York, 1971, pp. 272-3.
M. Díaz Padrón, Museo del Prado: Catálogo de Pinturas, I, Escuela Flamenca, Siglo XVII, Madrid, 1975, p. 334, under no. 1744-P.
J.S. Held, The Oil Sketches of Peter Paul Rubens: A Critical Catalogue, I, Princeton, 1980, p. 316, no. 229; II, pl. 238.
A. Balis, Corpus Rubenianum Ludwig Burchard, XVIII, II, Hunting Scenes, London, 1986, pp. 197-8, 201-2, 205, under nos. 15 and 16, fig. 4.
M. Jaffé, 'Review: Landscape and Hunting Scenes, Corpus Rubenianum Ludwig Burchard', The Burlington Magazine, CXXX, no. 1027, October 1988, p. 776.
M. Jaffé, Rubens: Catalogo Completo, Milan, 1989, pp. 306-7, no. 920, illustrated.
E. Hubala, Peter Paul Rubens: Die Gemälde im Städel, Frankfurt am Main, 1990, pp. 56-8, fig. 46, as Attributed to Rubens.
O. von Simson, Peter Paul Rubens (1577-1640). Humanist, Maler und Diplomat, Mainz, 1996, p. 371.
F. Healy, Rubens and the Judgement of Paris: A Question of Choice, Turnhout, 1997, pp. 150 and 205, note 42.
J.-P. De Bruyn and C. Wright, Alexander's Lion Hunt: The Original Painting from the Alcázar, Hollywood, FL, 2007, pp. 26 and 28, fig. 27.
A. Tieze, Flämische Gemälde im Städel Museum 1550-1800, I, Frankfurt am Main, 2009, pp. 243-5 and 248, fig. 7, as 'Manner of Rubens or Jan van den Hoecke (?)'.
E. McGrath, et al., Corpus Rubenianum Ludwig Burchard, XI, I, Mythological Subjects, Achilles to the Graces, I, Turnhout, 2016, pp. 94-6, no. 3a; II, pl. 25.
Exhibited
London, British Institution, 1819, no. 40 (lent by George Hibbert).
Brought to you by
Maja Markovic
Director, Head of Evening Sale