Property from the SØR Rusche Collection
DAVID TENIERS THE YOUNGER, AFTER GUIDO RENI
Antwerp 1610 - 1690 Brussels
SUSANNAH AND THE ELDER
oil on oak panel
unframed: 17.5 x 23 cm.; 6⅞ x 9 in.
framed: 45.5 x 49 cm.; 18 x 19¼ in.
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The panel is uncradled, flat and stable. The paint surface is clean and the varnish is clear. Inspection under ultraviolet light reveals a few spot retouchings: scattered in Susannah, along the upper edge, and in the background, and in the water, lower right. In overall good condition.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Charles Spencer, 3rd Duke of Marlborough (1706–1758), Blenheim Palace, by 1740;
Thence by descent to George Spencer-Churchill, 8th Duke of Marlborough (1844–1892);
His sale, London, Christie's, 24 July 1886, lot 185, for 6 Guineas to Murray;
Count Antoine Seilern (1901–78), Vienna and London;
Anonymous sale, London, Sotheby's, 5 July 1995, lot 255, when acquired.
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 114.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
O. Kurz, 'Guido Reni', in Jahrbuch der Kunsthistorischen Sammlungen in Wien, no. 11, 1937, p. 217;
A. Seilern, Catalouge of Paintings and drawings at 56 Princes Gate, London SW7, London 1961, cat. no. 311, reproduced pl. XXIII;
S. Pepper, Guido Reni, a complete catalouge of his works, Oxford 1984, p. 241, under cat. no. 72, note 1;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 4, Historien und Allegorien, Münster/Hamburg/London 2010, p. 388–392, reproduced in colour p. 389;
W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 114, reproduced fig. 118.
T. van Kessel, Theatrum Pictorium, no. 227. 
A copy by Teniers after a painting by Reni originally in the Imperial Collection, Vienna, which has been lost since the late 18th century.
This little copper was produced as part of Teniers' Theatrum Pictorum, the first catalogue of a picture collection ever to be illustrated and printed, which Teniers produced with a view to acquaint the educated public with works of art from the princely collection of Archduke Leopold Wilhelm, governor of the Spanish Netherlands from 1646–56. With one exception, Teniers painted small copies of the 243 original paintings selected for the catalogue, which served as modelli for the engravings of the same dimensions.
Please note that this painting has been requested by the Wallraf-Richartz Museum, Cologne, for an exhibition taking place in 2020.
1 See T. van Kessel et al., David Teniers [...] Theatrum Pictorium [...], Antwerp 1683, p. 582, reproduced p. 48