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Lamentation Netherlandish ca. 1550 The Triumph of Fame Netherlandish, probably Brussels
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Paul before Agrippa from a set of Scenes from the Life of Saint Paul Flemish, Brussels
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the early 1600s; the innovative work of Peter Paul Rubens and his circle for the Brussels
?Delbecq (or De La Becque), Ghent; private collection, Paris (until 1870); William T. Blodgett, Paris (from 1870; sold half share to Johnston); William T. Blodgett, Paris, and John Taylor Johnston, New York (1870–71; sold to The Met)
Brussels, 1944, pp. 81, 148–49, erroneously records an attribution by Valentiner
The Artist: For a biography of Jan van Eyck, see the Heilbrunn Timeline of Art History.The Paintings: In unusually tall, narrow paintings, the Crucifixion and Last Judgment emphasize the narrative features of these well-known biblical themes prophesied in Isaiah and related in the Gospels of Matthew, Mark, Luke, and John for the Crucifixion, and in Deuteronomy and the Book of Revelation for the Last Judgment
Brussels, 1905, p. 118 . Alfred von Wurzbach.
Inscription: Recto, lower right, in pen and brown ink: A.V. Dyck.Verso, lower right, in graphite: 1972.118.279Marking: Recto, lower left, collector’s mark of Sir Joshua Reynolds (Lugt 2364)Recto, lower left, collector’s mark of Thomas Hudson (Lugt 2432)Recto, lower right center, collector’s mark of Prosper Henry Lankrik (Lugt 2090)Recto, lower right, collector’s mark of Baron Louis-Auguste de Schwiter (Lugt 1768)Verso, lower left, collector’s mark of Pierre Olivier Dubaut (Lugt 2103b)Verso, bottom right, MMA stamp
costume suggests a date of 1627–32 or 1634–35, when van Dyck was in Antwerp and Brussels
Heusch, Château de l’Andweck (until 1870; sale, Étienne Le Roy and Victor Le Roy, Brussels
The Artist: A successor of Jan van Eyck and Petrus Christus, and a contemporary of Gerard David, Hans Memling was among the most important artists of fifteenth-century Bruges. Although he spent the majority of his career in that thriving city, he was born around 1435–40 in the German town of Klein-Krotzenburg near Seligenstadt, south-east of Frankfurt, Germany
Brussels, 1948, p. 26, pl. 37, lists it with Rogier’s principal works.
Inscription: Etched and gilt on the surface: Φ; MW; VV; CI; CG (or GC); FUDL (?), CƆ; [fermesse] (S overlaid with a diagonal line); painted in white inside the bevor on the left side: 82
Charles de Meue, Brussels (until 1980s; sold to Leyssens); [Yvon Leyssens, Brussels
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Free to download "A Rosary Picture with a View of the Park of the Ducal Palace in Brussels
