Follower of Peter Paul Rubens (Flemish, 1577-1640)
Follower of Peter Paul Rubens (Flemish, 1577-1640)
Mid-17th Century
Christ Praying on the Mount of Olives
oil on copper
32 x 30 inches.
Provenance:
Likely commissioned by Jacob Roose, Provost of St. Bavo's Cathedral, Ghent in the late 1640s
Possibly Theodorus Bruinenberg, Amsterdam; 25 May 1708, pg. 2, inventory no. 47
George Hummiston, Los Angeles, California (purchased in Antwerp, 20th century)
Private Collection, Denver, Colorado
Note:
During the late 16th and 17th centuries, the city of Antwerp became a center of international trade and provided an important port of access to the New World. Jesuit missionaries departed Antwerp for Latin America in a concerted campaign to convert the native populations to Christianity, and often brought illustrative religious paintings with them to aid in their proselytization. Like the present lot, these works were often painted on copper panels to ensure that they would survive the months-long trans-Atlantic voyage.
The present lot's initial commission is ascribed to the Cathedral of St. Bavo in Ghent based on its purported connection to a Rubens painting possibly once housed therein but lost by the time of Rubens' death in 1640.[1] A known rendering of this original work exists in the form of an engraving by Pieter de Bailliu (Flemish, 1613-1660), executed during or after the year 1642 in dedication to Jacob Roose, Provost of the Chapter of the Cathedral in Ghent. de Bailliu's engraving likely served as a model for the present composition.
The significant material cost of copper in the 17th century and the fact that this work was commissioned as a re-creation of a Rubens painting after the artist's death by St. Bavo's Cathedral, which housed other significant works such as the Ghent Altarpiece by brothers Hubert and Jan van Eyck, suggests the present lot's illustrious provenance. Art historian Theodore Johns' research attributes the work to two possible artists: Prosper Henricus Lankrink (Flemish, 1628-1692), who worked in Rubens' workshop early in his career, and Simon de Vos (Flemish, 1603-1676), a member of Rubens' workshop whose paintings consistently emulated the Master's style and who was known to have primarily painted on copper panels.
Literature:
[1] Judson, J. Richard. "Part VI: The Passion of Christ." In Corpus Rubenianum Ludwig Burchard: An Illustrated Catalogue Raisonne of the Work of Peter Paul Rubens Based on the Material Assembled by the Late Dr. Ludwig Burchard in Twenty-Seven Parts, 57, no. 9. Turnhout: Harvey Miller Publishers, 2000.
The above provenance, literature and research is based on the findings of Theodore Johns, art historian and appraiser on behalf of the current owner.
Condition Report: From condition report obtained by current owner, dated February 12, 2020 (copy of report available): The copper sheet has some localized planar deformation but is intact with exception of three small holes in the lower right corner, reportedly incurred for cross-sectional analysis by the Getty Museum circa 1985. Several layers of varnish present, with old restorations (likely grime) in between. One old retouched loss in the angel's yellow drape, visible in normal light. All areas of repair relatively small.
Estimate
Time, Location
Auction House
Follower of Peter Paul Rubens (Flemish, 1577-1640)
Mid-17th Century
Christ Praying on the Mount of Olives
oil on copper
32 x 30 inches.
Provenance:
Likely commissioned by Jacob Roose, Provost of St. Bavo's Cathedral, Ghent in the late 1640s
Possibly Theodorus Bruinenberg, Amsterdam; 25 May 1708, pg. 2, inventory no. 47
George Hummiston, Los Angeles, California (purchased in Antwerp, 20th century)
Private Collection, Denver, Colorado
Note:
During the late 16th and 17th centuries, the city of Antwerp became a center of international trade and provided an important port of access to the New World. Jesuit missionaries departed Antwerp for Latin America in a concerted campaign to convert the native populations to Christianity, and often brought illustrative religious paintings with them to aid in their proselytization. Like the present lot, these works were often painted on copper panels to ensure that they would survive the months-long trans-Atlantic voyage.
The present lot's initial commission is ascribed to the Cathedral of St. Bavo in Ghent based on its purported connection to a Rubens painting possibly once housed therein but lost by the time of Rubens' death in 1640.[1] A known rendering of this original work exists in the form of an engraving by Pieter de Bailliu (Flemish, 1613-1660), executed during or after the year 1642 in dedication to Jacob Roose, Provost of the Chapter of the Cathedral in Ghent. de Bailliu's engraving likely served as a model for the present composition.
The significant material cost of copper in the 17th century and the fact that this work was commissioned as a re-creation of a Rubens painting after the artist's death by St. Bavo's Cathedral, which housed other significant works such as the Ghent Altarpiece by brothers Hubert and Jan van Eyck, suggests the present lot's illustrious provenance. Art historian Theodore Johns' research attributes the work to two possible artists: Prosper Henricus Lankrink (Flemish, 1628-1692), who worked in Rubens' workshop early in his career, and Simon de Vos (Flemish, 1603-1676), a member of Rubens' workshop whose paintings consistently emulated the Master's style and who was known to have primarily painted on copper panels.
Literature:
[1] Judson, J. Richard. "Part VI: The Passion of Christ." In Corpus Rubenianum Ludwig Burchard: An Illustrated Catalogue Raisonne of the Work of Peter Paul Rubens Based on the Material Assembled by the Late Dr. Ludwig Burchard in Twenty-Seven Parts, 57, no. 9. Turnhout: Harvey Miller Publishers, 2000.
The above provenance, literature and research is based on the findings of Theodore Johns, art historian and appraiser on behalf of the current owner.
Condition Report: From condition report obtained by current owner, dated February 12, 2020 (copy of report available): The copper sheet has some localized planar deformation but is intact with exception of three small holes in the lower right corner, reportedly incurred for cross-sectional analysis by the Getty Museum circa 1985. Several layers of varnish present, with old restorations (likely grime) in between. One old retouched loss in the angel's yellow drape, visible in normal light. All areas of repair relatively small.
Estimate
Time, Location
Auction House
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