Lot 143
  • 143

Jacob van Loo

Estimate
60,000 - 80,000 USD
bidding is closed

Description

  • Jacob van Loo
  • Venus and Adonis
  • signed with the artists monogram: J.V.L and false signature, on the rock lower left: Van der. Werff
  • oil on canvas

Provenance

Pieter Locquet, Amsterdam;
By whose Executors Sold, Amsterdam, September 22, 1783, lot 207, for 145 florins, to Coclers (as  by Jan van Loo);
Georges Aubry, Paris;
His deceased sale, Paris, Drouot, February 13, 1939, lot 116 (as by A. van der Werff);
Anonymous sale, Paris, Hôtel Drouot, Maîtres Ader-Picard-Tajan, April 24, 1972, lot 163 (as by A. van der Werff);
Private collection, Paris, until 2012;
By whom anonymously sold, Paris, Sotheby’s, June 21, 2012, lot 22;
Acquired from the above by the present owner.

Literature

Connaissance des Arts, no. 242, April 1972, p. 36 (as  by A. van der Werff);
E.J. Sluijter, De “hedensche fabulen” in de Noordnederlandse Schilderkunst, circa 1590-1600. Een proeve van beschrijving en interpretative van schilderijen met verhalende onderwerpen uit de klassieke mythologie, La Haye, 1986, pp. 121-127, 240-241, reproduced p. 455, no. 178;
E.J. Sluijter, De “heydensche fabulen” in de schilderkunst van de Gouden Eeuw. Schilderijen metverhalende onderwerpen uit de klassieke mythologie in de noordelijke Nederlanden, Leyde, 2000, p. 75-77, 141 and 253 (notes 74 and 76), reproduced p. 253, no. 244;
D. Mandrella, Jacob van Loo (1614-1670), Paris 2011, p. 186, no. P.115, reproduced p. 187.

Catalogue Note

When the present work sold at auction in 1939 and in 1972 it was thought to be by Adriaen van der Werff because of the false signature. Today this painting is an undisputed work by Jacob van Loo and can be compared to another attested work by the artist Scene with Bacchantes, now in the Rijksmuseum, Amsterdam (inv. no. SK-A-3483).

Jacob van Loo is known for his large scale history paintings. During his lifetime van Loo gained popularity with the exceptional quality of his female figures, particularly his nudes which were said to have rivaled Rembrandt’s. David Mandrella, the author of Jacob van Loo's catalog raisonné, dates the present picture to the late 1650s when van Loo shifts his focus to painting more precise works on a smaller scale.

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