Workshop of Sir Peter Paul Rubens

Possibly John Hoppner RA (1758–1810), 1810;

Dr James Aspell, New York, 1936;

John Wanamaker, New York, 1938;

George Calvert;

Schaeffer Brandt Inc., New York, 1942;

Colonel Paul, 1944;

Morris I. Kaplan, Chicago;

By whom posthumously sold, London, Sotheby’s, 12 June 1968, lot 84, reproduced (as Rubens), where purchased by ‘Coulton’;

Private collection, USA;

Anonymous sale (‘A Private Midwestern Collection’), New York, Christie’s, 11 January 1989, lot 180, reproduced (as Rubens);

Private collection, Spain;

Thence by descent.

M. Rooses, L’Oeuvre de P.P. Rubens, histoire et description de ses tableaux et dessins, 5 vols, Antwerp 1886-1892, vol IV, p. 213, no. 993;

T. Gibson, Letters of Dr Théodore de Mayerne to the Syndics and Executive Council of the Republic of Geneva, Annals of Medical History, vol. IX, 1937, p. 403, fig. 1 (as Rubens);

T. Gibson, The Iconography of Dr. Théodore Turquet de Mayerne, Annals of Medical History, 3^rd Series, vol. III, 1941, p. 293, fig. 5 (as Rubens);

W.R. Valentiner, ‘Rubens’ Paintings in America’, The Art Quarterly, vol IX, 2, Spring 1946, p. 164, no. 108;

J.A. Goris and J.S. Held, Rubens in America, Antwerp 1947, p. 29, no. 16, reproduced pl. 24 (as Rubens);

L. Burchard and R.A. d’Hulst, Rubens Drawings, 2 vols, Brussels 1963, vol. I, p. 265, under no. 171 (as a contemporary replica, of equal quality to the New York University painting);

D. Piper, Catalogue of Seventeenth-Century Portraits in the National Portrait Gallery, 1625–1714, Cambridge 1963, p. 229, under no. 1652;

C. Davis, Rubens and Mayerne, unpublished dissertation, University of North Carolina, Chapel Hill 1967, p. 25, no. 2;

F. Huemer, Corpus Rubenianum Ludwig Burchard. Part XIX (1). Portraits, London and Brussels 1977, pp. 176–77, under no. 46 (as a contemporary replica);

K. Van der Stighelen and H. Vlieghe, Corpus Rubenianum Ludwig Burchard. Part XIX (3). Portraits of unidentified and newly identified sitters painted in Antwerp, London and Turnhout 2021, pp. 35–36 (‘The problems of the attribution of the drawing and the various portraits is left out of consideration here’, n. 76).