Modern Evening Auction

Modern Evening Auction

View full screen - View 1 of Lot 133. Portrait of a Man as Mars.

Property from the Fisch Davidson Collection

Sir Peter Paul Rubens

Portrait of a Man as Mars

Auction Closed

May 17, 12:56 AM GMT


20,000,000 - 30,000,000 USD

Lot Details


Property from the Fisch Davidson Collection


1577 - 1640

Portrait of a Man as Mars

oil on Baltic oak panel

33 ⅝ by 26 ¾ in. 85.4 by 67.9 cm.

Executed circa 1620.

Louis-Bernard Coclers, Paris and Holland

Van der Schley, Amsterdam, 7 August 1811, lot 68 (consigned by the above)

Gerrit Muller, Amsterdam

De Vries/Brondgeest/Praetorius/Engelberts/Roos, Amsterdam, 2 April 1827, lot 58 (consigned by the estate of the above)

Charles J. Nieuwenhuys, Brussels and London (acquired at the above sale)

Edward Gray, Harringay House, Hornsey (acquired by 1830)

James Morrison, London and Basildon Park, Berkshire, in partnership with William Buchanan, Glasgow (acquired from the estate of the above in February 1839)

Sir Anthony de Rothschild, 1st Baronet, London (acquired by 1854)

Annie Henrietta, the Honorable Mrs. Eliot Constantine Yorke, London and Hamble Cliff, Netley, Southampton (acquired by descent from the above)

Christie’s, London, 6 May 1927, lot 37 (consigned by the estate of the above)

A.H. Buttery, London (acquired at the above sale)

Count Alessandro Contini Bonacossi (acquired from the above)

Samuel H. Kress, New York (acquired from the above in May 1929)

Rush H. Kress, New York (acquired by descent from the above)

Virginia Holmes Watkins Kress, New York (acquired by descent from the above)

David Paul, Miami (acquired from the above in 1988)

Verner Åmell, Stockholm (acquired from the above with six other works circa 1989)

Sotheby’s, New York, 28 January 2000, lot 51 (consigned by the above)

Private Collection, Los Angeles (acquired at the above sale)

Sotheby’s, London, 10 July 2002, lot 52 (consigned by the above)

Johnny van Haeften, Otto Nauman, and Colnaghi, London (acquired at the above sale)

Acquired from the above in 2002 by the present owners

John Smith, A Catalogue Raisonné of the Works of the most eminent Dutch, Flemish, and French Painters, vol. II, London, 1830, no. 899, p. 266

André van Hasselt, Histoire de P.P. Rubens, Brussels, 1840, no. 1241, p. 354

Gustav Waagen, Treasures of Art in Great Britain, vol. II, London, 1854, p. 281

Max Rooses, L’oeuvre de P.P. Rubens, vol. IV, Antwerp, 1890, no. 1100, p. 297

Alan Burroughs, Art Criticism from a Laboratory, Boston, 1938, p. 137 (as attributed to Gaspard de Crayer, a proposed attribution rejected by all subsequent scholars)

Alfred M. Frankfurter, “Revising Rubens,” Art News, vol. 41, no. 14, December 1942, p. 33

Wilhelm R. Valentiner, “Rubens’ Paintings in America,” Art Quarterly, vol. 9, no. 2, Spring 1946, no. 66, p. 160

Jan-Albert Goris and Julius S. Held, eds., Rubens in America, New York, 1947, no. 21, pl. 3, pp. 29-30, illustrated

Antonio Fornari, “De Chirico e Rubens,” Paragone, vol. 1, no. 1, January 1950, fig. 19a, pp. 46-7, illustrated

Erik Larsen, P.P. Rubens with a Complete Catalogue of His Works in America, Antwerp, 1952, no. 47, p. 216

Colin Eisler, Paintings from the Samuel H. Kress Collection, European Schools Excluding Italian, Oxford, 1977, no. KX-5, fig. 97, pp. 109-10, illustrated (as Rubens, with commentary speculating on some minor studio assistance)

Michael Jaffé, Rubens, Catalogo completo, Milan, 1989, no. 415, p. 225

Exh. Cat., Milan, Galleria Farsetti, De Chirico, Il Barocco, Dipinti degli anni ’30-50, 1991, pp. 20-1, note 4, and p. 29

Marjon van der Meulen, Corpus Rubenianum Ludwig Burchard, XXIII: Copies After the Antique, vol. I, London, 1994, p. 126, note 139; vol. III, fig. 79, p. 258, illustrated in color

A.R., “Maître anciens, sur un nuage,” Connaissance des Arts, vol. 571, April 2000, p. 122, illustrated in color

Walter J. Karcheski, “Rubens’s lost Negroli helmet painted by Bartholomeus Breenbergh and others,” Apollo, vol. 153, no. 467, January 2001, fig. 3, pp. 29-31, illustrated in color

Jeremy Howard, ed., Colnaghi, The History, London, 2010, fig. 6, p. 56, illustrated in color

Jeremy Wood, Corpus Rubenianum Ludwig Burchard, XXVI: Copies and Adaptations from Renaissance and Later Artists, Italian Masters, III: Artists Working in Central Italy and France, vol. I, London, 2011, p. 400; vol. II, fig. 236, p. 206, illustrated in color

Ellinoor Bergvelt and Michiel Jonker, RKD Studies: Catalogue of Dulwich Picture Gallery, Dutch, Flemish and German Schools, with Addenda to the British School (II): O-Z, online publication 2021, no. DPG19, no. 14c

San Francisco, Golden Gate International Exposition, Masterworks of Five Centuries, 1939, no. 96, n.p., illustrated

San Francisco, California Palace of the Legion of Honor and M.H. de Young Memorial Museum, Seven Centuries of Painting, A Loan Exhibition of Old and Modern Masters, 1939-40, no. L-46, p. 35, illustrated

New York, World’s Fair, Masterpieces of Art, 1940, no. 67, pp. 49, 52-3, illustrated

Art Gallery of Toronto, An Exhibition of Great Paintings in Aid of the Canadian Red Cross, 1940, no. 24, p. 9

New York, Schaeffer & Brandt, Peter Paul Rubens, Loan Exhibition for the Benefit of the United Hospital Fund of New York, 1942, no. 8, n.p., illustrated

New York, Wildenstein, A Loan Exhibition of Rubens, 1951, no. 11, pp. 16 and 35, illustrated

Boston, Museum of Fine Arts and Toledo Museum of Art, The Age of Rubens, 1993-94, no. 26, pp. 287-90, illustrated in color

New York, Gagosian Gallery, Peter Paul Rubens, Oil Paintings and Oil Sketches, 1995, n.n., pp. 26-9, illustrated in color

New York, The Metropolitan Museum of Art, Heroic Armor of the Italian Renaissance, Filippo Negroli and His Contemporaries, 1998-99, no. 28a, pp. 152-54, illustrated in color

New York, The Metropolitan Museum of Art (on long-term loan, 2003-05 and 2010-14)