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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Dec 6, 2018 | Christie's | London | The Eric Albada Jelgersma Collection: Important Old Master Pictures Evening sale | 7 | $****** - ****** | Double portrait of George Villiers, Marquess and later 1st Duke of Buckingham (1592-1628) and his wife, Katherine Manners (1603-1649), as Venus and Adonis |
paintings
222.9 x 163 cm (87.76 x 64.17 in)
oil on canvas
Frederick Hall Standish (1799-1840), Duxbury Hall, Lancashire, as ‘Rubens and his wife’, by whom bequeathed to the following,
Louis-Philippe, King of the French (1773-1850); his sale (†), Christie’s, London, 28 May 1853, lot 37, as 'Rubens and his wife' (20 gns. to Arthur[?]).
T.A. Houghton, Armsworth House, Hampshire; Christie’s, London, 28 June 1918, lot 79, as 'Rubens and his wife' (7 gns. to Van Slochem[?]).
Private European collection.
with Harari & Johns Ltd., London, by 1990.
with Derek Johns, London, 10 December 1999, from whom acquired.
Washington D.C., National Gallery of Art, Anthony van Dyck, 11 November 1990- 24 February 1991, no. 17.
Mexico City, Museo Nacional de San Carlos; and Ferrara, Palazzo dei Diamanti, Rubens e il suo secolo, 5 November 1998-27 June 1999, no. 64.
‘Musée Standish’, Le cabinet de l'amateur et de l'antiquaire, Paris, 1842, I, p. 211, as 'Rubens et sa femme'.
Catalogue des tableaux, dessins et gravures de la collection Standish, Paris, 1842, p. 13, no. 37, as ‘Rubens et sa femme’.
L. Lalanne, et al., Biographie Portative Universelle suivie d’une Table Chronologique et Alphabétique, Paris, 1853, p. 506, as ‘Rubens et sa Femme’.
J.B. Gelis, Précis de Biographie Belge, Paris, 1853, p. 51, as ‘Rubens et sa Femme’.
M. Jaffe, ‘Van Dyck’s “Venus and Adonis”’, The Burlington Magazine, CXXXII, 1990, pp. 697-703, fig. 26.
J. Wood, ‘Van Dyck’s pictures for the Duke of Buckingham’, Apollo, XXXVI, 1992, pp. 38, 42-44, fig. 15.
S.J. Barnes, ‘Van Dyck and George Gage’, in D. Howarth, ed., Art and Patronage in the Caroline Court: Essays in Honour of Sir Oliver Miller, Cambridge, 1993, p. 9, footnote 4.
D. Kunzle, ‘Van Dyck’s Continence of Scipio as a metaphor of stagecraft at the early Stuart court’, in J. Onians, ed., Sight and Insight: Essays on Art and Culture in Honour of E.H. Gombrich at 85, London, 1994, pp. 171 & 180, pl. 72.
S.J. Barnes and A.K. Wheelock, Van Dyck 350, Washington D.C., 1994, p. 369.
C. White, Anthony van Dyck: Thomas Howard the Earl of Arundel, Malibu, 1995, pp. 59-62, fig. 47.
D. Howarth, Images of Rule: Art and Politics in the English Renaissance, 1485-1569, London, 1997, pp. 224-6, illustrated.
D. Brême, ‘Portrait historié et morale du Grand Siècle’, in Visages du Grand Siècle: Le portrait français sous le règne de Louis XIV 1660-1715, exhibition catalogue, Nantes, 1997, p. 99.
D. Brême, François de Troy 1645-1730, exhibition catalogue, Toulouse, 1997, p. 92.
J. Szczepinska-Tramer, ‘Manet et “Le Déjeuner sur l’herbe”’, Artibus et Historiae, XIX, no. 38, 1998, p. 185, fig. 5 and p. 189, footnote 41.
S.G. Tasch, Studien zum weiblichen Rollenporträt in England von Anthonis van Dyck bis Joshua Reynolds, Weimar, 1999, pp. 23-4.
E.S. Gordenker, Anthony van Dyck and the Representation of Dress in sixteenth-century portraiture, Turnhout, 2001, p. 43.
J. Brown and J. Elliot, eds., The Sale of the Century: Artistic Relations between Spain and Great Britain, 1604–1655, New Haven and London, pp. 168-171, no. 14, illustrated.
O. Millar, in S.J. Barnes, et. al., Van Dyck: A Complete Catalogue of the Paintings, New Haven and London, 2004, p. 137, no. I.158, illustrated, as ‘Venus and Adonis?’.
C. Hille, Visions of the Courtly Body: The Patronage of George Villiers, First Duke of Buckingham and the Triumph of Painting at the Stuart Court, Berlin, 2012, pp. 145-174, fig. 25.
oil on canvas
87 ¾ x 64 1/8 (222.9 x 163 cm.)
