Sir Peter Paul Rubens

Sir John Charles Robinson (1824–1913), London, late 19^th century;

With Galerie Sedelmeyer, Paris, 1894;

Rodman Wanamaker (1863–1928), Philadelphia, by 1904;

Anonymous sale, New York, American Art Association-Anderson Galleries, 5 February 1931, lot 171;

Carlberg, New York, circa 1933;

Mrs William Fox;

Her sale, New York, Kende Galleries at Gimbel Brothers, 1 December 1942, lot 40, to L. Kessing;

With Ira Spanierman, New York, 1968;

Anonymous sale, London, Christie’s, 28 June 1974, lot 58, for 38,000 guineas to Robertson;

With Siegfried Adler, Montagnola, Switzerland;

From whom acquired in 1978 by the Sarah Campbell Blaffer Foundation, Houston, Texas;

From whom acquired by the present owner.

C. Sedelmeyer, Illustrated catalogue of 100 paintings of Old Masters... belonging to the Sedelmeyer Gallery, Paris 1894, p. 48, no. 38;

M. Rooses, ‘Œuvres de Rubens, Addenda’, in Bulletin-Rubens, vol. V, Antwerp 1897–1910, pp. 70–71, and 336, no. 401;

E.C. Siter, Catalogue of the Collection of Pictures by the Old Masters, Philadelphia 1904, no. 33, reproduced pl. 7;

A. Rosenberg (ed.), P.P. Rubens. Des Meisters Gemälde. Klassiker der Kunst, vol. V, Stuttgart and Leipzig 1905, pp. 463 and 488, reproduced p. 2 (as Rubens, with incorrect provenance, datable to circa 1601/1604);

W. von Bode, ‘Kritik und Chronologie der Gemälde von Peter Paul Rubens’, in Zeitschrift für bildende Kunst, vol. XVI, 1905, p. 201 (as Rubens, painted in Venice or shortly after, in Mantua, i.e. circa 1600/1601);

W.R. Valentiner, ‘Gemälde des Rubens in Amerika’, in Zeitschrift für bildende Kunst, vol. XXIII, 1912, p. 182 (as Rubens, datable to circa 1604);

R. Oldenbourg (ed.), P.P. Rubens. Des Meisters Gemälde. Klassiker der Kunst, 4^th ed., Berlin and Leipzig 1921, pp. 440 and 472, reproduced (as studio, neither executed nor designed by Rubens, datable to 1615);

G. Glück, Rubens, Van Dyck und ihr Kreis, Vienna 1933, p. 156, no. 2 (as Rubens, datable to circa 1612);

L. Burchard, ‘Nachträge’, in Rubens, Van Dyck und ihr Kreis, G. Glück (ed.), Vienna 1933, pp. 376 and 391 (citing Oldenbourg’s opinion);

H. Vlieghe, Corpus Rubenianum Ludwig Burchard. Part VIII: Saints, vol. I, London and New York 1972, pp. 118–119, no. 76, reproduced fig. 131 (as ‘for the most part executed by Rubens’s studio’); vol. II, London and New York 1973, under ‘Addenda and Corrigenda to Part VIII, Volume I’, p. 179, no. 76 (as ‘entirely by Rubens’s own hand’);

D.W. Steadman, in Rubens before 1620, J.R. Martin (ed.), exh. cat. Princeton 1972, p. 154, under no. 5;

W. Stechow, Catalogue of Drawings and Watercolors in the Allen Memorial Art Museum, Oberlin College, Oberlin 1976, p. 61, under no. 290 (as most probably by Rubens);

J.S. Held, The Oil Sketches of Peter Paul Rubens: A Critical Catalogue, Princeton 1980, vol. I, p. 506, under no. 369 (as a studio version);

C. Wright, A Golden Age of Painting: Dutch, Flemish, German Paintings, Sixteenth-Seventeenth Centuries, from the Collection of the Sarah Campbell Blaffer Foundation, San Antonio 1981, p. 64, no. 31, reproduced in colour p. 65 (as Rubens);

D. Bodart, Rubens, Milan 1985, p. 163, no. 252 (as Rubens);

M. Jaffé, Rubens: Catalogo Completo, Milan 1989, p. 181, no. 177, reproduced (as by Rubens, datable to 1612–13);

E. McGrath, Subjects from history, in Corpus Rubenianum Ludwig Burchard, Part XIII, 1, London 1997, vol. II, p. 162, under no. 33 (as Rubens).

New York, New York Cultural Centre, and Houston, Rice University, Antwerp's Golden Age: the Metropolis of the West in the 16^th and 17^th centuries, 8 February – 23 March 1975;

A Golden Age of Painting: Dutch, Flemish, German Paintings, Sixteenth-Seventeenth Centuries, from the Collection of the Sarah Campbell Blaffer Foundation, a touring exhibition in the United States between 1980 and 1993.