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Workshop of Sir Peter Paul Rubens Flight of Lot and his Family from Sodom
作品估价：USD 80,000 - 120,000
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图录号：
105
拍品名称：
Workshop of Sir Peter Paul Rubens Flight of Lot and his Family from Sodom
拍品描述：
Property of The Bass, Miami Beach to Benefit the John and Johanna Bass Art Acquisition Fund
Workshop of Sir Peter Paul Rubens
Siegen 1577 - 1640 Antwerp
Flight of Lot and his Family from Sodom
oil on canvas
canvas: 68 by 90 in.; 172.7 by 228.6 cm
framed: 82 by 105 in.; 208.3 by 266.7 cm
Property of The Bass, Miami Beach to Benefit the John and Johanna Bass Art Acquisition Fund
Workshop of Sir Peter Paul Rubens
Siegen 1577 - 1640 Antwerp
Flight of Lot and his Family from Sodom
oil on canvas
canvas: 68 by 90 in.; 172.7 by 228.6 cm
framed: 82 by 105 in.; 208.3 by 266.7 cm
Siméon del Monte (1878-1930), Brussels, by 1928;
Thence by descent to his daughter and son-in-law, Mrs. W. Hooykaas-Del Monte and Dr. J.C. Hooykaas, The Hague;
By whom sold ("The Property of the Late Mr. S. Del Monte, Sold by Order of His Heirs"), London, Sotheby's, 24 June 1959, lot 53 (as School of Rubens);
Where acquired by "G. de Pyro";
John and Johanna Bass, New York;
By whom donated to the Bass Museum of Art, Miami Beach, in 1963 (inv. no. 1963.008).
G. Glück,La Collection Del Monte,Vienna 1928, pp. 8-9, cat. no. VI, reproduced (as Rubens);
P. Bautier, "La Collection Del Monte à Bruxelles," in Gazette des Beaux Arts 18 (1928), pp. 326-327 (as Rubens);
A.L. Mayer, "The Del Monte Collection in Brussels," inPantheon4 (October 1929), p. 442 (as Rubens);
Catalogues der Rubens-Tentoonstelling, exhibition catalogue, Amsterdam 1933, n.p., cat. no. 1 (as Rubens);
C. Norris, "The Rubens Exhibition at Amsterdam," in Burlington Magazine 63, no. 368 (November 1933), p. 229 note 4 (as not by Rubens);
J.A. Goris and J.S. Held,Rubens in America,New York 1947, p. 31, under cat. no. 36;
R.A. d'Hulst, "Drie vroege schilderijen van Jakob Jordaens," inGentse bijdragen tot de kunstgeschiedenis en de oudheidkunde20(1967), p. 71;
The John and Johanna Bass Collection at Miami Beach, Florida, Miami 1973, p. 8, cat. no. 8 (as Rubens);
F.W. Robinson and W.H. Wilson,Catalogue of the Flemish and Dutch Paintings 1400-1900, Sarasota 1980, n.p., under cat. no. 41, reproduced fig. 41b (as Rubens and Workshop);
D.H. Steel, Jr.,Baroque Paintings from the Bob Jones University Collection, Raleigh 1984, p. 130, under cat. no. 40 (as Workshop of Rubens);
R.A. D'Hulst and M. Vandenven, Corpus Rubenianum Ludwig Burchard Part III: The Old Testament, London 1989, pp. 40-44, cat. no. 5 copy (I), reproduced fig. 10 (as an anonymous copy of the painting in the Ringling Museum);
M. Russell, in Paintings and Textiles of the Bass Museum of Art:Selections from the Collection,M. Russell (ed.), Miami 1990, p. 76, reproduced (as Workshop of Rubens);
Rubens and his Workshop: The Flight of Lot and his Family from Sodom, T. Nakamura (ed.), Tokyo 1994, pp. 25, 33-42, 50-51, cat. no. 2, reproduced pls. 3, 4, figs. 9, 12, 14, 16 (as Workshop of Rubens).
ENGRAVED
By Lucas Vorsterman, 1620.
Budapest,Exhibition of Belgian Art, May - June 1927, no. 10;
The Hague, Koninklijke Kunstzaal Kleykamp, Tentoonstelling van schilderijen door oud-hollandsche en vlaamsche meesters, 1932, no. 6 (exhibition of the Del Monte collection);
Amsterdam, Kunsthandel Jacques Goudstikker, Rubens-Tentoonstelling, August - September 1933, no. 1;
City of Perth Art Gallery, long-term loan, June 1939 - July 1950 (with the Del Monte collection);
Art Exhibitions Bureau, Touring Exhibition to the Municipal Galleries of the North of England, Pictures from the Del Monte Collection, July 1950 - October 1951;
Gouda, Stedelijk Museum, long-term loan, 1951 - 1959 (with the Del Monte collection);
Miami, Bass Museum of Art,Highlights of the John and Johanna Bass Collection,3 November - 9 December 1990;
Tokyo, National Museum of Western Art, The Flight of Lot and his Family from Sodom:Rubens and his Workshop,13 July - 29 August 1993;
Miami, Bass Museum of Art,The Sacred and Sublime:Renaissance and Baroque,4 December 2008 - 16 April 2009;
Miami, Bass Museum of Art,The Endless Renaissance,17 April - 16 August 2009;
Miami, Bass Museum of Art,Dutch and Flemish Masters: Selections from the Collection,1 April - 28 October 2011;
Miami, Bass Museum of Art,Dürer to Rubens:Northern European Art from the Bass Museum of Art,8 October 2015 - 17 July 2016;
Miami, Bass Museum of Art,Pascale Marthine Tayou: Beautiful,29 October 2017 - 21 May 2018.
This grand and dynamic painting, executed in the mid-1610s by the workshop of Sir Peter Paul Rubens, depicts the dramatic episode from Genesis in which angels lead Lot, his wife, and their two daughters away from the doomed city of Sodom.1 Rendered with Rubensian dynamism and expressive theatricality, the composition features two angels in brilliant red robes, one of whom gestures urgently to hasten the family's escape. The six life-sized figures move across the canvas in a frieze-like procession, their motion mirrored by a small dog that darts ahead. Lot, portrayed with flowing grey hair and a furrowed brow, is accompanied by his sorrowful wife, who pauses before an architectural column—an allusion to her imminent transformation into a pillar of salt. The animated gestures, vivid colors, and expressive gestures exemplify the emotional intensity of the Baroque, while Lot’s anguished expression recalls antique models such as the Laocoön.
The composition is one of three known versions. The first, in the Ringling Museum, Sarasota, is believed to have been executed between 1613 and 1615 by Rubens and his workshop. The present canvas, slightly more elongated horizontally, is a high-quality and faithful workshop version, likely produced shortly thereafter while the Sarasota painting remained in Rubens’ studio. A third version, now in the National Museum of Western Art, Tokyo, is thought to be a subsequent iteration, possibly painted by a very young Jacob Jordaens while working in Rubens' studio. In 1993, all three works were brought together in an exhibition in Tokyo, where technical imaging confirmed this chronological sequence.
The present work exemplifies the collaborative nature of Rubens’ prolific Antwerp studio, where assistants and pupils carried out paintings under the master's direct supervision, often working from his preparatory drawings and oil sketches. The work reflects the grandeur, chromatic richness, and narrative power that characterize Rubens’ approach to biblical history painting.
1 “When morning dawned the angels urged Lot to hurry saying: ‘Arise, take your wife and your two daughters lest you be consumed in the punishment of the city.’ But he lingered; so the men seized him and his wife and his two daughters by the hand, and they brought him forth and the Lord being merciful to him set him outside the city.” Genesis, 19:15-16.
Workshop of Sir Peter Paul Rubens
Siegen 1577 - 1640 Antwerp
Flight of Lot and his Family from Sodom
oil on canvas
canvas: 68 by 90 in.; 172.7 by 228.6 cm
framed: 82 by 105 in.; 208.3 by 266.7 cm
Property of The Bass, Miami Beach to Benefit the John and Johanna Bass Art Acquisition Fund
Workshop of Sir Peter Paul Rubens
Siegen 1577 - 1640 Antwerp
Flight of Lot and his Family from Sodom
oil on canvas
canvas: 68 by 90 in.; 172.7 by 228.6 cm
framed: 82 by 105 in.; 208.3 by 266.7 cm
Siméon del Monte (1878-1930), Brussels, by 1928;
Thence by descent to his daughter and son-in-law, Mrs. W. Hooykaas-Del Monte and Dr. J.C. Hooykaas, The Hague;
By whom sold ("The Property of the Late Mr. S. Del Monte, Sold by Order of His Heirs"), London, Sotheby's, 24 June 1959, lot 53 (as School of Rubens);
Where acquired by "G. de Pyro";
John and Johanna Bass, New York;
By whom donated to the Bass Museum of Art, Miami Beach, in 1963 (inv. no. 1963.008).
G. Glück,La Collection Del Monte,Vienna 1928, pp. 8-9, cat. no. VI, reproduced (as Rubens);
P. Bautier, "La Collection Del Monte à Bruxelles," in Gazette des Beaux Arts 18 (1928), pp. 326-327 (as Rubens);
A.L. Mayer, "The Del Monte Collection in Brussels," inPantheon4 (October 1929), p. 442 (as Rubens);
Catalogues der Rubens-Tentoonstelling, exhibition catalogue, Amsterdam 1933, n.p., cat. no. 1 (as Rubens);
C. Norris, "The Rubens Exhibition at Amsterdam," in Burlington Magazine 63, no. 368 (November 1933), p. 229 note 4 (as not by Rubens);
J.A. Goris and J.S. Held,Rubens in America,New York 1947, p. 31, under cat. no. 36;
R.A. d'Hulst, "Drie vroege schilderijen van Jakob Jordaens," inGentse bijdragen tot de kunstgeschiedenis en de oudheidkunde20(1967), p. 71;
The John and Johanna Bass Collection at Miami Beach, Florida, Miami 1973, p. 8, cat. no. 8 (as Rubens);
F.W. Robinson and W.H. Wilson,Catalogue of the Flemish and Dutch Paintings 1400-1900, Sarasota 1980, n.p., under cat. no. 41, reproduced fig. 41b (as Rubens and Workshop);
D.H. Steel, Jr.,Baroque Paintings from the Bob Jones University Collection, Raleigh 1984, p. 130, under cat. no. 40 (as Workshop of Rubens);
R.A. D'Hulst and M. Vandenven, Corpus Rubenianum Ludwig Burchard Part III: The Old Testament, London 1989, pp. 40-44, cat. no. 5 copy (I), reproduced fig. 10 (as an anonymous copy of the painting in the Ringling Museum);
M. Russell, in Paintings and Textiles of the Bass Museum of Art:Selections from the Collection,M. Russell (ed.), Miami 1990, p. 76, reproduced (as Workshop of Rubens);
Rubens and his Workshop: The Flight of Lot and his Family from Sodom, T. Nakamura (ed.), Tokyo 1994, pp. 25, 33-42, 50-51, cat. no. 2, reproduced pls. 3, 4, figs. 9, 12, 14, 16 (as Workshop of Rubens).
ENGRAVED
By Lucas Vorsterman, 1620.
Budapest,Exhibition of Belgian Art, May - June 1927, no. 10;
The Hague, Koninklijke Kunstzaal Kleykamp, Tentoonstelling van schilderijen door oud-hollandsche en vlaamsche meesters, 1932, no. 6 (exhibition of the Del Monte collection);
Amsterdam, Kunsthandel Jacques Goudstikker, Rubens-Tentoonstelling, August - September 1933, no. 1;
City of Perth Art Gallery, long-term loan, June 1939 - July 1950 (with the Del Monte collection);
Art Exhibitions Bureau, Touring Exhibition to the Municipal Galleries of the North of England, Pictures from the Del Monte Collection, July 1950 - October 1951;
Gouda, Stedelijk Museum, long-term loan, 1951 - 1959 (with the Del Monte collection);
Miami, Bass Museum of Art,Highlights of the John and Johanna Bass Collection,3 November - 9 December 1990;
Tokyo, National Museum of Western Art, The Flight of Lot and his Family from Sodom:Rubens and his Workshop,13 July - 29 August 1993;
Miami, Bass Museum of Art,The Sacred and Sublime:Renaissance and Baroque,4 December 2008 - 16 April 2009;
Miami, Bass Museum of Art,The Endless Renaissance,17 April - 16 August 2009;
Miami, Bass Museum of Art,Dutch and Flemish Masters: Selections from the Collection,1 April - 28 October 2011;
Miami, Bass Museum of Art,Dürer to Rubens:Northern European Art from the Bass Museum of Art,8 October 2015 - 17 July 2016;
Miami, Bass Museum of Art,Pascale Marthine Tayou: Beautiful,29 October 2017 - 21 May 2018.
This grand and dynamic painting, executed in the mid-1610s by the workshop of Sir Peter Paul Rubens, depicts the dramatic episode from Genesis in which angels lead Lot, his wife, and their two daughters away from the doomed city of Sodom.1 Rendered with Rubensian dynamism and expressive theatricality, the composition features two angels in brilliant red robes, one of whom gestures urgently to hasten the family's escape. The six life-sized figures move across the canvas in a frieze-like procession, their motion mirrored by a small dog that darts ahead. Lot, portrayed with flowing grey hair and a furrowed brow, is accompanied by his sorrowful wife, who pauses before an architectural column—an allusion to her imminent transformation into a pillar of salt. The animated gestures, vivid colors, and expressive gestures exemplify the emotional intensity of the Baroque, while Lot’s anguished expression recalls antique models such as the Laocoön.
The composition is one of three known versions. The first, in the Ringling Museum, Sarasota, is believed to have been executed between 1613 and 1615 by Rubens and his workshop. The present canvas, slightly more elongated horizontally, is a high-quality and faithful workshop version, likely produced shortly thereafter while the Sarasota painting remained in Rubens’ studio. A third version, now in the National Museum of Western Art, Tokyo, is thought to be a subsequent iteration, possibly painted by a very young Jacob Jordaens while working in Rubens' studio. In 1993, all three works were brought together in an exhibition in Tokyo, where technical imaging confirmed this chronological sequence.
The present work exemplifies the collaborative nature of Rubens’ prolific Antwerp studio, where assistants and pupils carried out paintings under the master's direct supervision, often working from his preparatory drawings and oil sketches. The work reflects the grandeur, chromatic richness, and narrative power that characterize Rubens’ approach to biblical history painting.
1 “When morning dawned the angels urged Lot to hurry saying: ‘Arise, take your wife and your two daughters lest you be consumed in the punishment of the city.’ But he lingered; so the men seized him and his wife and his two daughters by the hand, and they brought him forth and the Lord being merciful to him set him outside the city.” Genesis, 19:15-16.