Catalogue raisonné
Jaffé 1989 329.1062
Provenance
- Peter Paul Rubens (*1577 Siegen, +1640 Antwerpen) (Künstler/-in)
- wohl, Charles Gruyn des BordesWerkverzeichnis Smith 1830, Bd. 2, S. 210, Nr. 756: "This capital picture is stated to have been painted for a M. Grouin, in whose family it continued until it was purchased for the Presle Collection, from where it was transferred to the present one.”; Werkverzeichnis Jaffé 1989, S. 329, Nr. 1062: «Dipinto per un M. Grouin (Smith, 1830, n. 756), rimase nella sua famiglia fin ché non fu acquistato per la collezione Presle. 'le cabinet de Presle' fu messo all'asta a Parigi il 16-24 aprile 1792 e il 30 aprile.”; Kat. Musée des Beaux-Arts d'Arras, Musée Départemental d'Art Ancien et Contemporain à Épinal 2004; Korrespondenz Clovis Whitefield an Christian Klemm, 12.03.1986: «Here is a copy of the pages in the Aranc de Presle sale catalogue. I have an idea that the 'sieur Grouin' may be identified with Charles Gruyn des Bordes, who built the Hotel de Lauzun on the Ile St. Louis in Paris in the 1650s. He was commissaire des guerres, and a relative who was 'garde du trésor royal' had a sale of pictures in 1723. The painter James Thornhill visited his house in 1717 (MS in the Victoria and Albert Museum) but does not refer to many pictures separately; there does not, according to Lugt, seem to be a copy of the sale catalogue in existence, although there are some notes on the sale, made by Baron Pichon, among the Rijksbureau catalogues at The Hague.”; Korrespondenz Clovis Whitefield an Felix Baumann, 03.03.1986: «I am enclosing the earliest sale reference to the painting, when it was in the Aranc de Presle collection, which I came across in the library of the Institut d'Art in Paris this week. It confirms that it was painted by Rubens for 'sieur Grouin' and remained in his family 'de pere en fils' until it was in the Aranc de Presle collection.”
- o.D. – 1723, Nachlass Charles Gruyn des Bordes (Sammlung), NachlassWie oben Fussnote 2.
- 1723, Unbekannt (Auktion), Versteigerung Sammlung Grouin, «garde du trésor royal» (Charles Gruyn des Bordes?)Werkdossier, Aufstellung von Clovis Whitefield 1986: «This Capital picture is said to have been painted for a M. Grouin, in whose family it continued until it was purchased for the Presle collection, from which it was transferred to the collections of M. Robit, M. Wouter, Valckenier, Mr Bryan, and G. Hibbert, Esq. See Smith's catalogue”; Kat. Musée des Beaux-Arts d'Arras 2004, wie oben Fussnote 2; Korrespondenz Cloovis Whitefield an Christian Klemm, 17.03.1986, Werkdokument.
- o.D. – 21.4.1792, François-Michel Harenc de Presles (*1710, +1802) (Sammler/-in), ParisWie oben Fussnote 2.
- 21.4.1792, Jean-Baptiste-Pierre Lebrun (*1748 Paris, +1813 Paris) (Auktion), Paris, Lot 30Werkdossier, wie oben Fussnote 4; Kat. Musée des Beaux-Arts d'Arras, wie oben Fussnote 2; Catalogue d'objets rares et précieux en tout genre, Lebrun, Paris, 16.-24.04.1792, bibliotheque-numerique.inha.fr/idviewer/19992/1 (19.06.2023), Lot 30.
- o.D. – 15.5.1801, François-Antoine Robit (*1752, +1815) (Sammler/-in), ParisWie oben Fussnote 2.
- 15.5.1801, Unbekannt (Auktion), Versteigerung François-Antoine Robit, Lot 106Werkdossier, wie oben Fussnote 4; Werkverzeichnis Smith 1830, wie oben Fussnote 2; Werkverzeichnis Jaffé 1989, wie oben Fussnote 2: “Nel maggio 1801 il quadro fu messo all'asta (106) di nuovo con la collezione di M. Robit e fu acquistato da Naudon.”; Kat. Musée des Beaux-Arts d'Arras 2004, wie oben Fussnote 2; The Getty Provenance Index, „Description of Sale Catalog F-6, Lugt 6259“.
- Naudon (Vermittler/-in)Wie oben Fussnote 8; The Getty Provenance Index, „Lot 0106 from Sale Catalog F-6".
- 15.5.1801 – o.D., Pierre-Victor Fournier, KaufWerkdossier, wie oben Fussnote 4; The Getty Provenance Index, „Description of Sale Catalog F-6, Lugt 6259“, wie oben Fussnote 8.
- Verbleib unbekannt
- spätestens ab 1830 – 9.5.1840, Sir Simon Clarke (Sammler/-in), BartWerkdossier; Werkverzeichnis Smith 1830, wie oben Fussnote 2; Werkverzeichnis Jaffé 1989, wie oben Fussnote 2: “Nel 1840 era presso sir Simon Clarke, Bart., Oakhill (Hertfordshire) dove fu valutato da Smith 1.200 ghinee, e per 900 ghinee fu messo all'asta di Christie's 1'8-9 maggio 1840 (106) con la sua collezione. Acquistato da Buchanan per James Morrison di Basildon Park, pervenne per eredità agli attuali proprietari.”; Kat. Musée des Beaux-Arts d'Arras 2004, wie oben Fussnote 2.
- 8.5.1840 – 9.5.1840, Christie's London (Auktion), London, Versteigerung Sir Simon Clarke, Oakhill (Hertfordshire), Lot 106Wie oben Fussnote 8.
- William Buchanan (*1777 Glasgow, +1864) (Kunsthändler/-in)Werkverzeichnis Jaffé 1989, wie oben Fussnote 2; Kat. Musée des Beaux-Arts d'Arras 2004, wie oben Fussnote 2.
- Robert Stayner Holford (*1808, +1892) (Vermittler/-in)Werkverzeichnis Jaffé 1989, wie oben Fussnote 2; Kat. Musée des Beaux-Arts d'Arras 2004, wie oben Fussnote 2.
- spätestens ab 1868, James Morrison (*1789, +1857), Basildon Park, KaufAusstellungsetikette auf der Werkrückseite; Werkdossier; Waagen 1857, S. 305; Werkverzeichnis Jaffé, 1989, wie oben Fussnote 2; Kat. Musée des Beaux-Arts d'Arras 2004, wie oben Fussnote 2: durch William Buchanan und Robert Holford an James Morrison.
- spätestens ab 1857, Mary Ann Dent-Brocklehurst ehemals Morrison, geb. Todd (*1902, +1988) (Sammler/-in), Basildon Park/Sudeley Castle, NachlassWerkrückseite; wie oben Fussnote 8; Korrespondenz Clovis Whitfield an Felix Baumann, 03.03.1986: “Thank you very much for your letter of February 24th. I am delighted to confirm that we will sell the Holy Family by Sir Peter Paul Rubens from the Morrison collection, now with Lady Ashcombe at Sudeley Castle, Gloucestershire, for the price of 5.4 million Swiss Francs, to the Ruzicka Foundation, the payments to be as follows: 1,5 million SF to be paid at the end of March, June and September, the rest by the end of October 1986; the first payment being due on delivery.”
Der Nachlass von James Morrison ist auch bekannt unter Walter Morrison Pictures Settlement. Die Sammlung wurde von James Morrisons Ehefrau, Mary Ann Todd, später Mary Dent-Brocklehurst verwaltet. Mary brachte die Sammlung nach Sudeley Castle. Der Sohn von Mary Dent-Brocklehurst und Major Jack Dent-Brocklehurst, Mark Dent-Brocklehurst, übernahm mit seiner Frau Elizabeth Dent-Brocklehurst Sudeley Castle. Nach Marks Tod 1972 übernahm Elizabeth Sudeley Castle und heiratete Lord Ashcombe: Sudeley Castle&Gardens, „Sudeley Castle celebrates the women of its past and present“, https://sudeleycastle.co.uk/news/sudeley-castle-celebrates-the-women-of-its-past-and-present (21.06.2023): "Major Jack Dent-Brocklehurst took over Sudeley with his wife Mary in 1932, with further restoration and improvements made to the castle. Mary inherited and brought to Sudeley the internationally renowned Walter Morrison fine picture collection, most of which still remains at the castle to this day. Mary lived at the castle until 1969 when Mark Dent-Brocklehurst inherited Sudeley with his American-born wife, Elizabeth, who still lives at the castle today. Sadly, Mark died in 1972 and Elizabeth began a 20th century renaissance of the property. Elizabeth later married Lord Ashcombe, becoming Lady Ashcombe, and in the early 1980s they carried out a further refurbishment of the castle. Today, Sudeley Castle remains the family home of Lady Ashcombe and her son, daughter and their families."
- Mark Dent-Brocklehurst (Sammler/-in), Sudeley Castle, NachlassWie oben Fussnote 17.
- o.D. – 1986, Elizabeth Lady Ashcombe, ehemals Dent-Brocklehurst, geb. Chipps (Sammler/-in), Sudeley Castle, NachlassWie oben Fussnote 17.
- Clovis Whitfield (Vermittler/-in), LondonKorrespondenz Clovis Whitefield an Felix Baumann, 03.03.1986, wie oben Fussnote 16; Kat. Musée des Beaux-Arts d'Arras 2004, wie oben Fussnote 2; Werkdossier, wie oben Fussnote 4.
- Ruzicka-Stiftung (Sammlung), Zürich, Kauf, erworben aus der Versicherungssumme der 1985 gestohlenen (und 1989 zurückgekehrten) Rubensskizze und des im selben Jahr zerstörten Porträts Philipps IV. von Spanien (Inv.-Nr. R 27 resp. R 28)Werkdossier, wie oben Fussnote 4; Kat. Musée des Beaux-Arts d'Arras 2004, wie oben Fussnote 2; Zürcher Kunstgesellschaft 1986 Jahresbericht, S. 95–97.
- ab 11.6.1986, Zürcher Kunstgesellschaft | Kunsthaus Zürich (Museum), Zürich, GeschenkWerkdossier; Kunsthaus Zürich 2007 (Sammlungskatalog), S. 94.
Provenance category (FOC)
A – The provenance for the period from 1933 to 1945 can be reconstructed. This is not a case of Nazi-looted art.
Literature (provenance)
- Rubens contre Poussin. La querelle du coloris dans la peinture française à la fin du XVIIe siècle, hrsg. von Cécile Krings, Ausst.-Kat. Musée des Beaux-Arts d'Arras, Musée Départemental d'Art Ancien et Contemporain à Épinal, Gent: Ludion, 2004, S. 84, Kat.-Nr. 3 .
- Michael Jaffé: Rubens. Catalogo Completo, Mailand: Rizzoli Editore, 1989, S. 329, Nr. 1062.
- Jahresbericht 1986, hrsg. von Zürcher Kunstgesellschaft, Zürich, 1987, S. 95–97.
About the provenance
This painting by Peter Paul Rubens was for a long time in the hands of various private owners in Paris and England. One of them was the British businessman James Morrison. His wife Mary Ann Todd, later Mary Dent-Brocklehurst, inherited the internationally renowned collection of works by Dutch and English Old Masters. She moved the collection to Sudeley Castle, England, which is still owned by the family. In 1986, the work was acquired by the foundation established by the Nobel Prize winner and art collector Leopold Ruzicka directly from the collector’s estate, and donated to the Kunsthaus Zürich. Consequently, the possibility that it constitutes cultural property confiscated as a result of Nazi persecution can be ruled out.
State of research 30.06.2023
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Literature (general)
- Die Meisterwerke, hrsg. von Zürcher Kunstgesellschaft/Christian Klemm, Sammlungskatalog Kunsthaus Zürich, Ostfildern: Hatje Cantz, 2007, S. 63 (ill.).
- Kunsthaus Zürich. Gesamtkatalog der Gemälde und Skulpturen, hrsg. von Zürcher Kunstgesellschaft et al., Sammlungskatalog, Ostfildern: Hatje Cantz, 2007, S. 94.
- Peter Paul Rubens, hrsg. von Gerhard Finckh et al., Ausst.-Kat. Von der Heydt-Museum Wuppertal, Wuppertal, 2012, S. 212, 224 (ill.).
- Rubens contre Poussin. La querelle du coloris dans la peinture française à la fin du XVIIe siècle, hrsg. von Cécile Krings, Ausst.-Kat. Musée des Beaux-Arts d'Arras, Musée Départemental d'Art Ancien et Contemporain à Épinal, Gent: Ludion, 2004, No. 3 (ill.).
- Michael Jaffé: Rubens. Catalogo Completo, Mailand: Rizzoli Editore, 1989, No. 1062.