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Circle of Sir Peter Paul Rubens (Siegen 1577-1640 Antwerp)
Circle of Sir Peter Paul Rubens (Siegen 1577-1640 Antwerp)

A wooded landscape with a peasant on a cart-horse; and A wooded landscape with a peasant woman on a cart-horse

Details
Circle of Sir Peter Paul Rubens (Siegen 1577-1640 Antwerp)
A wooded landscape with a peasant on a cart-horse; and A wooded landscape with a peasant woman on a cart-horse
oil on panel
9 x 13 in. (24.2 x 34.3 cm.)
a pair (2)
Provenance
The former: william, 10th Viscount Barrington (1873-1960); Christie's, London, 9 March 1934, part of lot 2, as 'A landscape, with a horseman by L. van Uden', (13 gns. to Collings).
The latter: Probably John Hunter; (+) Christie's, London, 29 January 1794, lot 35, as 'Rubens A small landscape' (to Woodburn).
Samuel Woodburn; (+) Christie's, London, 17 May 1854 (=3rd day), lot 287, as 'Rubens A small woody landscape, with a female peasant driving a cart through a pool of water' (2 gns. to Ripp).
Purchased from W. Duits by Ludwig Burchard in 1927.
Literature
G. Glck, Die Landschaften des Peter Paul Rubens, Vienna, 1945, pp. 35-37 and 40, and nos. 26 and 25.
W. Adler, Corpus Rubenianum Ludwig Burchard, Part XVIII, Landscapes and Hunting Scenes, I, Landscapes, 1982, nos. 32- 33.
C. Brown, catalogue of the exhibition, Rubens's Landscapes, National Gallery, London, 1996-1997, nos. 37-38.
Exhibited
The former: Bordeaux, Muse des Beaux-Arts, La Dcouverte de la lumire, 1959, no. 112.
The latter: Vienna, Secession, Drei Jahrhundert flmischer Kunst, 1930, no. 104.
Both: Rotterdam, Boymans-van Beuningen Museum, Oliervefschetsen van Rubens, 1953-1954, nos. 56 and 55.
London, National Gallery, Rubens's Landscapes, 1996-1997, nos. 37 and 38.

Lot Essay

These two small renderings of the same view are offered as pendants pace Glck; so far as can be traced, they had different provenances until they were brought together in Burchard's collection. On the reverse of each are typed labels inscribed 'L'aprs midi' and 'Le soir', which may be Burchard's modification of Glck's notion that they are both depictions of evening and painted during one session. Alder dated them to between 1625-28. Christopher Brown, loc. cit., was the first publicly to doubt their authenticity, by only attributing them to Rubens. Indeed in our present state of knowledge their handling seems too weak to justify a full attribution to the artist.

Dr. John Hunter (1728-1793), the probable owner of the latter picture, was the brother of Robert Hunter, whose collection passed to Glasgow University and is the core of the Hunterian Gallery.
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