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7

Hugo van der Goes

The descent from the cross

Hugo van der Goes

Hugo van der Goes

The descent from the cross

The descent from the cross

Hugo van der Goes

Ghent circa 1440 - 1482 Brussels

The descent from the cross


distemper on a finely woven canvas

21 by 15 in.; 53.1 by 38 cm.

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Landry collection;
From whom acquired by a private collection, New York, 1951. 

M.J. Friedländer, "Hugo van der Goes. Eine Nachlese," in Jahrbuch der Königlich Preussischen Kunstsammlungen, 25, no. 2, 1904, pp. 111-12;

W.H.J. Weale, "A Picture by Hugh van der Goes," in The Burlington Magazine for Connoisseurs, vol. XII, no. 57, December 1907, p. 163 (the Berlin canvas only);

M.H. Bernath, "Further Notes on Justus van Ghent," in American Journal of Archaeology, 2nd Series, XIV, 1910, pp. 450-453 (citing a panel in Altenburg, he attributes the present composition to Joos van Ghent);

G. Ring, "Ein Diptychon des Hugo van der Goes," in Zeitschrift fur bildenden Kunst, Neue Folge, vol. 48, 1913, pp. 85-88 (hypothesized of the present works' existence based on copies);

J. Destrée, Hugo van der Goes, Paris and Brussels 1914, pp. 43-44;

K. Pfister, Hugo van der Goes, Basel 1923, p. 14;

M.J. Friedländer, Die altniederländische Malerei, IV, Leyden 1924, pp. 39-40 and 124-125 (the Berlin canvas only);

F. Winkler, Die altniederländische Malerei: die Malerei in Belgien und Holland von 1400-1600, Berlin 1924, p. 112;

M.J. Friedländer, "Van Der Goes und Memling," in Oud-Holland, LXV, 1950, part V, pp. 167-171, reproduced p. 168, fig. 1;

E. Panofsky, Early Netherlandish Painting, vol. 1, Cambridge, Massachusetts 1953, pp. 338, note 2, and p. 502;

P.M. Bardi, ed., Dipinti del Museo d'arte di San Paolo del Brasile, exhibition catalogue, Milan 1954, p. 25, under cat. no. 4;

F. Winkler, "Das Berliner 'Tuchlein' des Hugo van der Goes und sein Gegenstück," in Berliner Museen, vol. 1-2, 1955, pp. 2-8, reproduced figs. 1, 3, and 4;

F. Winkler, "Dieric Bouts and Joos van Ghent," in Kunstchronik, XI, January 1958, p. 10;

M.J. Friedländer, From Van Eyck to Bruegel, London 1956, p. 45, note 2, reproduced plate 96;

Juste de Gand, Berruguete et la cour d'Urbino, exhibition catalogue, Ghent 1957, p. 118, under cat. no. 56;

L'art flamand dans les collections espagnoles, Musée Communal des Beaux-Arts, exhbition catalogue, Bruges 1958, p. 30, under cat. no. 6;

G. Marlier, "Das Jahrhundert der Flämischen Primitiven," in Weltkunst, 15 July 1960, p. 12, reproduced;

J. Folie, ed., Flanders in the fifteenth century: art and civilization, exhibition catalogue, Detroit 1960, pp. 122-124, cat. no. 23, reproduced;

G. Isarlo, "L'Exposition de Bruges révèle les primitifs flamands des musées americains," in Combat, 1 August 1960, p. 9, reproduced;

R. Van Schoute, La Chapelle Royale de Grenade, Brussels 1963, pp. 67, 70, 71, cited under cat. nos. 98D, 98F and 98G;

H. Pauwels, Musée Groeninge: Catalogue, Bruges 1963, p. 86;

Catálogo das pinturas, esculturas e tapeçarias: Museu de Arte de São Paulo, Sao Paulo 1963, p. 206, cited under cat. no. 178;

F. Winkler, Das Werk des Hugo van der Goes, Berlin 1964, pp. 45-47, 50- 51 and 133, reproduced p. 48, fig. 28;

K. Arndt, "Zum Werk des Hugo van der Goes," in Münchner Jahrbuch der bildenden Kunst, 3rd series, XV, 1964, pp. 69-70;

S. Ringbom, Icon to Narrative: The Rise of the Dramatic Close-Up in fifteenth-Century Devotional Painting, Abo 1965, pp. 99, 127-132, 135, 137, 141 and 155, reproduced fig. 83;

E. Panofsky, Early Netherlandish Painting, Cambridge 1966, p. 338, n. 2;

C.T. Eisler, "Rubens' Uses of the Northern Past: The Michiels Triptych and Its Sources," in Bulletin des Musées Royaux des Beaux-Arts de Belgique, 1967, pp. 64-65, reproduced p. 62, fig. 9;

H.Th. Musper, Altniederländische Malerei von Van Eyck bis Bosch, Cologne 1968, p. 33, 36, 41, reproduced fig. 36;

O. Pacht, "Typenwandel in Werk des Hugo van der Goes," in Wiener Jahrbuch, XXII, 1969, pp. 50, 52-53;

M.J. Friedländer, Early Netherlandish Painting: Hugo Van der Goes, vol. IV, New York 1969, pp. 26, 40, 69 and 87, cat. no. 7, addenda 136, reproduced plate 9;

M. Corti and G.T. Faggin, L'Opera completa di Memling, Milan 1969, p. 98, under cat. nos. 26A and 27A;

C. Cuttler, Northern Painting, New York 1973, pp. 176-77;

Gent: duizend jaar kunst en cultuur, exhibition catalogue, Museum of Fine Arts, Ghent 1975, p. 179, cited under cat. no. 19;

R. Grosshans, in Katalog der ausgestellten Gemälde des 13, Jahrhunderts, Gemaldegalerie, Staatliche Museen, Berlin 1975, pp. 176-177;

P.H. Dectoeau, "Studies of the Permanent Collection: Lamentation Triptych by Colin de Coter," in Elvehjem Museum of Art Bulletin, 1977-78, p. 18, reproduced fig. 4;

E.B. Martinez, La Pintura de los primitivos flamencos en España, vol. I, Madrid 1980, p. 192, under cat. no. 3, vol. II, 1982, p. 73, under cat. no. 8D;

H.T. Musper, Netherlandish Painting from Van Eyck to Bosch, translation by R. Allan, New York 1981, p. 36;

P. Vandenbroeck, "Laatmiddeleeuwse doekschilderkunst in de Zuidelijke Nederlanden Repertorium der nog bewaarde werken," in Jaarboek Koninklijk Museum voor Schone Kunsten Antwerpen, 1982, p. 51, cat. no. 49;

Hugo van der Goes, Centre d'Art de Rouge-Cloître, exhibition catalogue, Auderghem 1982, pp. 14, 44, reproduced fig. 4;

D. De Vos, Bruges, Musées Communaux: catalogue des tableaux du 15et du 16e siècles, Bruges 1982, p. 166;

J.H. Marrow, "Symbol and Meaning in Northern European Art of the Middle Ages and the Early Renaissance," in Simiolus, XVI, No. 2/3, 1986, pp. 157, 169, reproduced fig. 5;

R. Grosshans, in Masterworks of the Gemäldegalerie, Berlin, with a History of the Collection, New York 1986, p. 142, reproduced;

D. Wolfthal, "The Technique of Early Netherlandish Canvases," Le Dessin sousjacent dans la peinture, Colloque VI. 12-14 Septembre 1985: Infrarouge et autres techniques d'examen, Louvain-la-Neuve, H. Verougstraete-Marcq and R. Van Schoute, eds., 1987, pp. 81-91;

E. Camesasca, ed., De Raphael à Corot: trésors du Musée d'art de São Paulo, exhibition catalogue, Milan 1988, p. 40;

D. Wolfthal, The Beginnings of Netherlandish Canvas Painting, 1400-1530, New York and Cambridge 1989, pp. 27, 33-36, 47-48, cat. no. 13, reproduced figs. 46, 51, 73;

L. Collobi Ragghianti, Dipinti fiamminghi in Italia, 1420-1570: Catalogo, Bologna 1990, pp. 33 and 73, under cat. nos. 66 and 126 (incorrectly stating that the present canvas as part of a diptych was originally ordered for the Panciatichi family);

J. Sander, Hugo van der Goes: Stilentwicklung und Chronologie, Mainz 1992, pp. 141-155, reproduced fig. 58 and color plate 26;

D. De Vos, Hans Memling, Groeningemuseum, exhibition catalogue, Bruges 1994, p. 154, reproduced p. 332, fig. 92a (as attributed to Hugo van der Goes);

D. De Vos, Hans Memling: The Complete Works, Ghent 1994, p. 332, reproduced fig. 92a (as attributed to Hugo Van der Goes);

M.L. Evans, "Book Reviews: Hugo van der Goes: Stilentwicklung und Chronologie... by Jochen Sander," in Burlington Magazine, CXXXVI, September 1994, no. 1098, p. 624;

P. Eeckhout, "La deuxième génération: Hugo van der Goes," in R. Van Schoute, et al., Les Primitifs flamands et leur temps, Louvain-la-Neuve 1994, p. 418, reproduced in color in reverse p. 420;

O. Pächt, Early Netherlandish Painting from Rogier van der Weyden to Gerard David, Munich 1994, pp. 205-206, 208, reproduced fig. 151;

M. Natale, in Il Palazzo Durazzo Pallavicini, Bologna 1995, p. 162;

C.T. Eisler, Masterworks in Berlin, A City's Paintings Reunited, Boston 1996, p. 79;

C. Reynolds, "Goes, Hugo van der," in The Dictionary of Art, London 1996, vol. XII, p. 849;

G. Wilmers, Cornelis Schut (1597-1655): A Flemish Painter of the High Baroque, Turnhout 1996, p. 142, under cat. no. A76;

E. Dhanens, Hugo van der Goes, Antwerp 1998, pp. 183-184, 375, reproduced in color p. 183 (as attributed to Hugo van der Goes);

H. Mund and C. Stroo, Early Netherlandish Painting 1400- 1500: A Bibliography (1984-1998), Brussels 1998, p. 183;

C. Quermann, Der Marientod von Hugo van der Goes: Distanzen als Gegenstand der Bildanalyse, Weimar 2006, p. 19, 52, 53, reproduced p. 174, plate 7;

B. Ridderbos, "Hugo van der Goes's 'Death of the Virgin' and the Modern Devotion: an analysis of a creative process," in Oud Holland, vol. 120, no. 1/2, 2007, p. 22, note 72;

E. de Zutter, "'The Descent from the Cross' in the Bilbao Fine Arts Museum: a small manifesto of Brussels School Painting," in Buletina: Bilbao, Museo de Belles Artes de Bilbao, 10, 2016, reproduced fig. 5 (as attributed to Hugo van der Goes".  

Bruges, Musée Communal des Beaux-Arts, Le Siècle des primitifs flamands, 26 June - 11 September 1960, no. 28;
Detroit, Institute of Arts, Flanders in the Fifteenth Century: Art and Civilization, October - December 1960, no. 23;
London, Wildenstein, Religious Themes in Painting from the 14th Century Onwards, 16 March - 5 May 1962, no. 8.