QUENTIN METSYS (LEUVEN 1465⁄6-1530 ANTWERP)
QUENTIN METSYS (LEUVEN 1465⁄6-1530 ANTWERP)
QUENTIN METSYS (LEUVEN 1465⁄6-1530 ANTWERP)
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QUENTIN METSYS (LEUVEN 1465⁄6-1530 ANTWERP)
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QUENTIN METSYS (LEUVEN 1465/6-1530 ANTWERP)

The Madonna of the Cherries

Details
QUENTIN METSYS (LEUVEN 1465/6-1530 ANTWERP)
The Madonna of the Cherries
oil on panel
29 5/8 x 24 ¾ in. (75.3 x 62.9 cm.)
Provenance
Cornelis van der Geest (1577-1638), Antwerp, by 1615, and on display by 1628 in the Huis de Keizer, Mattenstraat, backing on to the Werf on the Scheldt, and probably by inheritance to his nephew,
Cornelis de Licht (d. 1663), by whom sold shortly thereafter to,
Peeter Stevens (c. 1590-1668), Antwerp, as ‘La Vierge de Quentin Metsys’, by whose heirs sold at ‘feu SR. Pierre Stevens, En son vivant Aumônier de la Ville d'Anvers’, Antwerp, 13 August 1668 (=1st day), lot 10, as ‘Quentin Matsijs, Une très-célèbre Pièce de la Vierge Marie’.
Amable-Charles Franquet, Comte de Franqueville (1840-1919); (†) his sale, Château de La Muette, Paris, 31 May 1920 (=1st day), lot 23, as ‘Attribué à Quentin Metsys’, when acquired for 50,000 francs by,
Madame Darcy, Paris, and by descent to the following,
Anonymous sale [From the Château de La Muette, Paris]; Christie’s, London, 9 July 2015, lot 6, as ‘Studio of Quentin Metsys’, when acquired by the present owner.
Literature
F. Fickaert, Metamorphosis, ofte Wonderbaere veranderingh' ende leven vanden vermaerde Mr. Quinten Matsys, constigh grof-smit ende schilder binnen Antwerpen, Antwerp, 1648, p. 15.
A. van Fornenbergh, Den Antwerpschen Protheus, ofte Cyclopshen Apelles ; dat is ; Het leven, ende konst-rijcke daden des uyt-nemenden, ende hoogh-beroemden, Mr. Quinten Matsys : van grof-smidt, in fyn-schilder verandert..., Antwerp, 1658, pp. 24f.
F.J.P. van den Branden, Geschiedenis der Antwerpsche schilderschool..., Antwerp, 1883, p. 73.
H. Hymans, ‘Quentin Matsys’, Gazette des Beaux-Arts, XXXVIII, 1 July 1888, pp. 200 and 202.
W. Cohen, Studien zu Quinten Metsys, Bonn, 1904, p. 33.
M. Rooses, Rubens, London, 1904, p. 127.
H. Brising, Quinten Matsys und der Ursprung des Italianismus in der Kunst der Niederlände, Leipzig, 1908, p. 32.
M. Conway, The van Eycks and their Followers, New York, 1921, p. 318.
F. Winkler, Die altniederländische Malerei: die Malerei in Belgien und Holland von 1400-1600, Berlin, 1924, p. 204.
L. von Baldass, 'Gotik und Renaissance im Werke des Quinten Metsys', Jahrbuch der Kunsthistorischen Sammlungen in Wien, N.F., VII, 1935, pp. 171-172.
K.G. Boon, Quinten Massys, Amsterdam , 1942, pp. 47-48.
W.E. Suida, A Catalogue of Paintings in the John and Mabel Ringling Museum of Art, Sarasota, 1949, p. 169, under no. 200.
L. Mallé, ‘Quinten Metsys’, Commentari, VI, no. 2, April-June 1955, p. 105.
J.S. Held, ‘Artis Pictoriae Amator: An Antwerp Art Patron and His Collection’, Gazette des Beaux-Arts, L, 1957, p. 63, no. 29.
S. Speth-Holterhoff, Les peintres flamands de cabinets d'amateurs au XVIIe siècle, Brussels, 1957, pp. 101 and 104 (where incorrectly identified as the picture in the W.E. Edwards collection).
H.T. Broadley, The Mature Style of Quinten Massys, PhD dissertation, New York University, 1961, pp. 162-171.
M.J. Friedländer, Early Netherlandish Painting: Quinten Massys, VII, New York and Washington, 1971, p. 68, under no. 67.
A. de Bosque, Quentin Metsys, Brussels, 1975, pp. 207-208, 213-214 and 221-232, fig. 69.
F. Badouin, Pietro Paolo Rubens, New York, 1977, pp. 283 and 297.
J. Briels, ‘Amator Pictoriae Artis: De Antwerpse kunstverzamelaar Peeter Stevens (1590-1668) en zijn constkamer’, Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen, 1980, p. 191.
L. Silver, Catalogue of The Flemish and Dutch Paintings 1400-1900, The John and Mable Ringling Museum of Art, Sarasota, 1980, n.p., under no. 30.
D.A. Freedberg, ‘Fame, Convention and insight: on the relevance of Fornenbergh and Gerbier’, The Ringling Museum of Art Journal, I, 1983, p. 239.
L. Silver, The Paintings of Quinten Massys, Oxford, 1984, pp. 2, 78-79, 98, 179-180 and 230-231, no. 50.
H. Vlieghe et al., Von Bruegel bis Rubens. Das goldene Jahrhundert der flämischen Malerei, exhibition catalogue, Cologne, 1992, pp. 45, 164-165 and 373-376.
E. Mai, 'Pictura in der 'Constkamer' - Antwerpens Malerei in Spiegel von Bild und Theorie', Von Bruegel bis Rubens: Das goldene Jahrhundert der flämischen Malerei, Cologne, 1992, pp. 373 and 375-376.
A. Scarpa Sonino, Cabinet d'amateur: Le grandi collezioni d'arte nei dipinti dal XVII al XIX secolo, Milan, 1992, pp. 68-69.
S. Quintens, ‘Willem van Haecht schilderde in 1628 de constkamer van Cornelis van der Geest: een multi-interpreteerbaar tijdsdocument’, Vlaanderen, XLIII, no. 4, September-October 1994, pp. 167 and 171-172.
G. Schwartz, 'Love in the kunstkamer: Additions to the work of Guillam van Haecht (1593-1637)', Tableau, XVIII, Summer 1996, pp. 45-48.
M.I. Pousão-Smith, 'Quinten Matsys and Seventeenth-Century Antwerp: An Artist and his Uses’, Jaarboek Koninklijk Museum van Schone Kunsten Antwerpen, Antwerp, 2001, pp. 180-182 and 184.
A. Marr, ‘Ingenuity and discernment in The Cabinet of Cornelis van der Geest (1628)’, Nederlands Kunsthistorisch Jaarboek, LXIX, 2019, pp. 123-125 and 137.
A. Marr, Rubens’s Spirit: From Ingenuity to Genius, London, 2021, p. 101.
Exhibited
Antwerp, Exposition Internationale Coloniale, Maritime et d'Art Flamand, 1930, no. 200, as ‘Quinten Metsys’ (lent by Madame Darcy).

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