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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jul 6, 2018 | Christie's | London | Old Masters Evening Sale | 7 | $****** - ****** | Portrait of Clara Serena, the artist's daughter |
paintings
36.2 x 26.4 cm (14.25 x 10.38 in)
oil on panel
(Presumably) In the estate of Jan Brant (1559-1639), the artist’s father-in-law and the sitter’s grandfather, listed ‘In de groote camer aan den hoff’, ‘Twee stucxkens schilderije respective, op panneel, olieverve, in lijste, d'een van Jan Brant, des afflijvigens soontken was, ende d'ander van Clara Serena Rubens, dochterken was des voors. Hr. Rubbens’.
(Probably) Guillaume-Jean Constantin (1755-1816), Curator of the painting collection of Empress Josephine at Château de Malmaison; his sale (†), Rue Saint-Lazare no. 52, Paris, 18 November 1816 (=1st day), lot 285, as ‘School of Rubens’, ‘Un portrait de jeune fille bien touché et d'une grande vérité. H. 13 p., l. 10. B. [sur bois]’, sold for 22 francs to,
Louis-Antoine (Athanase) Lavallée (1768-1818), Secretary General of the ‘Musée Napoléon’ (Musée du Louvre) and its temporary director.
(Possibly) M. Camille Groult (1837-1908), Paris.
Sir Robert Henry Edward Abdy, 5th Bt. (1896-1976), Paris.
Mrs. Peter Cooper Hewitt (1842-1934), New York; her sale (†), American Art Association-Anderson Galleries, New York, 6 April 1935, lot 613.
Frederick R. Bay, New York, by 1936, until at least 1939.
Charles Ulrick Bay (1888-1955), New York, by 1942, and by inheritance to his widow,
Josephine Bay Paul, New York, 1955, by whom gifted as ‘Rubens’ to,
The Metropolitan Museum of Art (inv. no. 60.169), in 1960, catalogued as ‘a copy after Rubens, probably 17th century’, and deaccessioned in 2013; Sotheby’s, New York, 31 January 2013 (=1st day), lot 107, as ‘Follower of Peter Paul Rubens’ ($626,500), when acquired by the present owner.
Detroit, Detroit Institute of Arts, An exhibition of sixty paintings and some drawings by Peter Paul Rubens, 13 February-15 March 1936, no. 29, as ‘Rubens’.
Oslo, Nasjonalgalleriet, 13 February-15 March 1937, no. 29.
Brussels, Musées Royaux des Beaux-Arts de Belgique, Esquisses de Rubens, August-September 1937, no. 51, as ‘Rubens’.
New York, World's Fair, Masterpieces of Art: European Paintings and Sculpture from 1300-1800, May-October 1939, no. 333, as ‘Rubens’.
New York, Schaeffer and Brandt Galleries, Peter Paul Rubens, 23 November-19 December 1942, no. 16a, as ‘Rubens’.
New York, Wildenstein & Co. Inc., The Child Through Four Centuries, 1-28 March 1945, no. 2, as ‘Rubens’.
Rotterdam, Museum Boijmans-van Beuningen, Olieverfschetsen van Rubens, 15 December 1953- 28 February 1954, no. 43, as ‘Rubens’.
New York, Wildenstein & Co., Inc., Paintings from St. James' Collectors, 1955, no. 2, as ‘Rubens’.
Jacksonville, Florida, The Cummer Gallery, The DeEtte Holden Cummer Museum Foundation, January 1962 (on loan from the Metropolitan Museum of Art).
Vienna, The Princely Collections, Liechtenstein, March 2014-April 2015 (on loan), as ‘Rubens’.
Antwerp, Rubenshuis, Rubens in Private: the Master Portrays, 28 March-28 June 2015, no. 23, as ‘Rubens’ (the entry written by Katlijne Van der Stighelen).
Edinburgh, Scottish National Gallery, Rubens’ Daughter: An Intimate Family Portrait, 17 November 2017- 28 January 2018, as ‘Rubens’.
(Possibly) Listed in the 1639 inventory of the estate of Jan Brant (1559-1639), the original held in the archives at Gaasbeek Castle, Lennik, Belgium.
(Possibly) M. Rooses, ‘L'oeuvre de Rubens (Addenda)’, Bulletin-Rubens, Antwerp, 1896, IV, pp. 215 and 229, no. 1036bis, as ‘il est a' peine permis de douter qu'ils soient de la main de Rubens’.
(Possibly) P. Génard, ‘Het testament van Jan Brant en Clara de Moy, Rubens’ Schoonouders‘, Bulletin-Rubens, Antwerp, 1896, IV, pp. 229-230, as listed in the inventory of Jan Brant.
E. Michel, Rubens: His life, his work, and his time, London and New York, 1899, II, p. 81, as ‘now lost’.
(Possibly) M. Rooses and C. Ruelens, eds., Correspondance de Rubens et documents e´pistolaires concernant sa vie et ses oeuvres, Antwerp, 1900, III, p. 279, under ‘Commentaire’.
(Possibly) J. Denucé, De Antwerpsche 'Konstkamers', Antwerp, 1932, p. 54, quoting Jan Brant's inventory as above.
W.R. Valentiner, Sixty Paintings and Some Drawings by Peter Paul Rubens, exhibition catalogue, Detroit, 1936, no. 29, as ‘Rubens’, illustrated.
L. van Puyvelde, Les Esquisses de Rubens, Basel, 1940, pp. 17, 49, 79–80, no. 49, fig. 49, as ‘Rubens’.
M. Vaughan, ‘Old Masters at the Fair’, Parnassus, XI, no. 5, May 1939, pp. 10-11, as ‘Rubens’, illustrated.
L. van Puyvelde, The Sketches of Rubens, London, 1947, pp. 18, 51 and 81, no. 49, fig. 49, as ‘Rubens’, ‘in all probability, the portrait of Clara-Serena by Rubens mentioned in the inventory of the effects of Jean Brant’.
L. van Puyvelde, Les esquisses de Rubens, Basel, 1948, pp. 17, 49 and 79–80, no. 49, fig. 49, as ‘Rubens’.
W.R. Valentiner, ‘Rubens' Paintings in America’, The Art Quarterly, IX, Spring 1946, p. 163, no. 8, as ‘Rubens’.
J.- A. Goris and J.S. Held, Rubens in America, New York, 1947, p. 46, no. A11, pl. 7, under Appendix, as ‘not by Rubens’.
E. Haverkamp-Begemann, Olieverfschetsen van Rubens, exhibition catalogue, Rotterdam, 1953, pp. 64–5, no. 43, fig. 45, as ‘Rubens’.
O. Benesch, ‘Review of Ref. Goris and Held 1947’, Kunstchronik, VII, March 1954, p. 77, as ‘Rubens’.
J.S. Held, Rubens: Selected Drawings, London, 1959, I, p. 138, under no. 106, as ‘not by Rubens’.
M. Varshavskaya, Rubens' Paintings in the Hermitage Museum, Leningrad, 1975, p. 176, under no. 28, as ‘Studio of Rubens’, illustrated.
E. Mitsch, Die Rubenszeichnungen der Albertina, exhibition catalogue, Vienna, 1977, p. 92, under no. 38.
K. Baetjer, European Paintings in the Metropolitan Museum of Art, by artists born in or before 1865, A Summary Catalogue, New York ,1980, I, p. 161; III, p. 373, illustrated, as ‘a copy after Rubens, probably 17th century’.
W.A. Liedtke, Flemish Paintings in The Metropolitan Museum of Art, New York, 1984, I, pp. 231–3; II, pl. 88, as ‘a copy after Rubens, probably 17th century’.
R. Baumstark, Liechtenstein: the Princely Collections, exhibition catalogue, New York, 1985, p. 324, under no. 204, as ‘Follower of Rubens’.
H. Vlieghe, ‘Reviewed Work(s): Flemish paintings in the Metropolitan Museum of Art by Walter A. Liedtke’, Oud Holland, C, no. 3/4, 1986, pp. 202-3, as ‘a copy after Rubens’.
J.S. Held, Rubens: Selected Drawings, London, 1986, p. 133, under no. 162, as ‘not by Rubens’.
K. Baetjer, European Paintings in the Metropolitan Museum of Art, by artists born in or before 1865, A Summary Catalogue, New York, 1995, p. 282, illustrated, as ‘a copy after Rubens, probably 17th century’.
A.-M.S. Logan and M.C. Plomp, Peter Paul Rubens, exhibition catalogue, Vienna, 2004, p. 357, as ‘school of Rubens’.
A.-M.S. Logan and M.C. Plomp, Peter Paul Rubens: The Drawings, New Haven and London, 2005, pp. 244 and 246, under no. 84, as ‘school of Rubens’.
E. Crichton-Miller, 'Collector's Focus: Rubens and his Circle', Apollo, CLXXX, no. 625, November 2014, p. 98, as ‘Rubens’.
B. Grosvenor, 'As connoisseurship becomes easier, it has never been less fashionable', The Art Newspaper (online), 24 March 2015, as ‘Rubens’.
B. van Beneden, 'First Look: Rubens in Private', Apollo (online), 31 March 2015, as ‘Rubens’.
B. van Beneden, 'Some important new acquisitions for the Rubenshuis', The Rubenianum Quarterly, no. 4, 2015, p. 3, fig. 1, as ‘Rubens’.
K. Van der Stighelen, Corpus Rubenianum Ludwig Burchard: Portraits of Unidentified Sitters, XIX, forthcoming, as 'Rubens'.
oil on panel
14 ¼ x 10 3/8 in. (36.2 x 26.4 cm.)
