PROPERTY FROM A PRIVATE COLLECTION
Anonymous sale ('The Property of a Gentleman'), London, Sotheby's, 11 December 1974, lots 58A–D, where acquired by the present owner.
Intact sets of paintings such as these are extremely rare. No other such sets by Vrancx depicting the story of the Prodigal Son are known, but he did paint a good number of sets depicting the Four Seasons, such as those sold London, Christie’s, 9 July 2015, lot 29 (£1,650,500).1 In those, as here, Vrancx reveals a predilection for light-hearted and often comical detail. This may be connected with his membership of the Antwerp rhetoricians chamber ‘de Violeren’ for whom he wrote and illustrated several farces and comedies.
One of the panels is dated 1632, a time in Vrancx’s career when he was in high demand. It seems likely that he employed assistants to help in the execution of the large number of commissions he received at this time, even though Jan Brueghel the Younger’s letter from 1634 says otherwise: ‘Vrancx has plenty to do but refuses to employ studio assistants, which means that work takes a long time. He does not allow copies to be put into circulation’.2
A high quality preparatory drawing for the first scene, the Departure of the Prodigal Son, is in the Museo del Prado, Madrid. Signed in the same place above the gateway, there are however numerous differences to the palace architecture in particular. Another high quality drawing for the second scene is in the Herzog Anton Ulrich Museum, Braunschweig.3
We are grateful to Joost van der Auwera for endorsing the attribution to Sebastian Vrancx and for pointing us to the drawings in Madrid and Braunschweig.
1 Diaz Padron notes a copy of the first scene signed by Coignet, though the architecture follows that of the drawing rather than that of the painting; Diaz Padron 1980, p.157.
2 See H. Gerson and E.H. ter Kuile, Art and Architecture in Belgium, 1600–1800, Harmondsworth 1960, p. 63, note 33.
3 Diaz Padron 1980, p. 158, fig. 4.
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