View full screen - View 1 of Lot 5. The Abduction of Ganymede 《強擄蓋尼米德》.
5

Sir Peter Paul Rubens

The Abduction of Ganymede 《強擄蓋尼米德》

VAT reduced rate

Estimate:

300,000 - 400,000 GBP

Property from the Collection of Sir Peter Jonas

Sir Peter Paul Rubens

Sir Peter Paul Rubens

The Abduction of Ganymede 《強擄蓋尼米德》

The Abduction of Ganymede 《強擄蓋尼米德》

Estimate:

300,000 - 400,000 GBP

Lot sold:

716,800

GBP

Property from the Collection of Sir Peter Jonas

Sir Peter Paul Rubens

Siegen 1577 - 1640 Antwerp

The Abduction of Ganymede


inscribed at the upper edge: 3 1/2 

oil on oak panel

33.5 x 24.5 cm.; 13 x 9¾ in. (including extensions of approximately 6 cm. along both vertical sides)


彼得・喬納斯爵士故藏

彼得・保羅・魯本斯爵士

1577年生於錫根,1640年卒於安特衛普

《強擄蓋尼米德》

款識:藝術家題款3 1/2(畫面上緣)

油彩橡木畫板

33.5 x 24.5 公分;13 x 9 ¾ 英寸(包括左右兩邊大約6公分寬的延伸結構)

The following condition report is provided by Hamish Dewar who is an external specialist and not an employee of Sotheby's:

 

Structural Condition

The panel has been cradled and the two vertical extensions, which are approximately 6 cm in width, are secure and stable. There is an historic horizontal crack running across the legs of Ganymede. This is approximately 11 cm above the lower horizontal framing edge and could be filled and minimally retouched if required.

 

Paint Surface

The paint surface has an even varnish layer.

Inspection under ultraviolet light shows very small spots of inpainting on the figure of Ganymede, including a small retouching on his right elbow and also a fine line infilling the horizontal crack mentioned above. There are also small retouchings along the upper horizontal framing edge and other very small spots of minimal inpainting. It should be stressed that all these retouchings are very small.

 

Summary

The painting would therefore appear to be in very good and stable condition.


In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Count Charles-André-Melchior de Proli, Antwerp (1723–1786);

His sale, Antwerp, Grange, 23 July 1785 ff., lot 6 (sold together with lot 5, an oil sketch for Saturn devouring his children) for 61 florins to De Roose, Brussels (mistaken for ‘De Loose’ in Rooses, see Literature, below);

François Pauwels (d. 1803), Aachen and Brussels; 

His posthumous sale, Brussels, De Marneffe, 22 August 1803, lot 67 (as pendant to lot 66, oil sketch for Saturn devouring his children), for 140 florins (unsold according to McGrath, 2016);

Pauwels (perhaps the son of the above, as speculated by McGrath; see McGrath 2016) sale, Brussels, 25 August 1814, lot 14;

Count F. de Robiano, Brussels;

His sale on the premises, 1 May 1837 ff., lot 560;

With Frederick Mont, New York, by 1980;

Private collection, Lugano (whence offered anonymously, London, Sotheby's, 6 July 1994, lot 43, unsold);

By whom sold (‘Property from a Private Collection’), London, Sotheby's, 5 December 2007, lot 18, for £210,000;

Where acquired by Sir Peter Jonas (1946–2020).

M. Rooses, L'œuvre de P.P. Rubens, vol. III, Antwerp 1890, p. 19 under no. 523 and pp. 32–33 under no. 550;

S. Alpers, The Decoration of the Torre de la ParadaCorpus Rubenianum, Ludwig Burchard, Brussels, London and New York 1971, vol. IX, pp. 211–12, no. 24a (as whereabouts unknown, presumably lost);

K. Braun and F. Dony, Alle tot nu toe bekende schilderijen van Rubens: II: Het werk vanaf 1620, Rotterdam 1980, p. 170, no. 1085;

M. Jaffé, ‘The Oil Sketches of Rubens’, Apollo, vol. CXV, no. 239, January 1982, pp. 64–65, reproduced p. 63, fig. 1 and in colour pl. VIII;

Pierre-Paul Rubens, exh. cat., Gallery Takashimaya, Tokyo; Prefectoral Museum, Yamaguchi; Prefectoral Museum, Tsu; and Gallery Takashimaya, Kyoto, 8 August 1985–20 January 1986, no. 59, reproduced in colour p. 144;

J. Held, ‘New oil sketches by Peter Paul Rubens’, The Burlington Magazine, 129, September 1987, pp. 575 and 577, reproduced in colour p. 576, fig. 7; 

M. Jaffé, Rubens: Catalogo completo, Milan 1989, p. 357, no. 1271, reproduced;

D. Bodart (ed.), Rubens: Pietro Paolo Rubens (1577–1640), exh. cat., Rome 1990, p. 142, under no. 51;

M. Díaz Padrón, El siglo de Rubens en el Museo del Prado: catálogo razonado, Barcelona 1995, vol. II, pp. 944, reproduced in colour;

S. Lloyd, Richard and Maria Cosway, Regency artists of taste and fashion, exh. cat., Scottish National Portrait Gallery, Edinburgh and National Portrait Gallery, London, 1995–96, p. 130, no. 191, reproduced in colour pl. 79;

L. Silver, ‘Rubens's Myths for the Rey Planeta at the Torre de la Parada’, in The Age of Rubens: Diplomacy, Dynastic Politics and the Visual Arts in Early Seventeenth-Century Europe, Turnhout 2016, pp. 239 and 252, n. 38 (as lost);

E. McGrath, in E. McGrath, G. Martin, F. Healy, B. Schepers, C. van de Velde and K. de Clippel, Rubens, Mythological Subjects. Achilles to the Graces, Corpus Rubenianum Ludwig Burchard, London and Turnout 2016, part XI, vol. I, pp. 445–47, no. 43a, reproduced in colour vol. II, fig. 385;

E. Bergvelt and M. Jonker, Catalogue of Dulwich Picture Gallery. Dutch, Flemish and German Schools, with addenda to the British School, RKD Studies online 2021 https://rkdstudies.nl/all-rkd-studies/ (an expanded digital version of M. Jonker and E. Bergvelt, Dutch and Flemish Paintings, Dulwich Picture Gallery, London 2016), under DPG19, ‘Related works’, no. 15a, n. 44 (as present whereabouts unknown).

Tokyo, Gallery Takashimaya; Yamaguchi, Prefectoral Museum; Tsu, Prefectoral Museum; and Kyoto, Gallery Takashimaya, Pierre-Paul Rubens, 8 August 1985 – 20 January 1986, no. 59, reproduced in colour;

Edinburgh, Scottish National Portrait Gallery and London, National Portrait Gallery, Richard and Maria Cosway, Regency artists of taste and fashion, 11 August – 22 October 1995 and 17 November 1995 – 18 February 1996, no. 191, reproduced in colour.