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The Virgin and Child with Saints Thomas, John the Baptist, Jerome and Louis by HUGO VAN DER GOES

Attributed to HUGO VAN DER GOES

(FLEMISH, 1420 - 1482)

The Virgin and Child with Saints Thomas, John the Baptist, Jerome and Louis ,

Price Sold

ORIGINAL CURRENCY OF SALE

ESTIMATE

LOT DETAILS


Materials:

oil on panel

Measurements:

43.62 in. (110.80 cm.) (height) by 49.29 in. (125.20 cm.) (width)

Exhibited:

London, The New Gallery, Exhibition of the Royal House of Tudor, 1890, p. 5, no. 12 (as Jan de Mabuse) New York, Metropolitan Museum of Art, on loan, 1998-2017, as 'Netherlandish (Ghent) Painter'.

Literature:

H. Walpole, Anecdotes of Painting in England; With some Account of the principal Artists; And incidental Notes on other Arts; Collected by the late Mr. George Vertue; And now digested and published from his original MSS, By Mr. Horace Walpole, London, 1762, I (1st ed.), pp. 51-54. H. Walpole, Anecdotes of Painting in England; With some Account of the principal Artists; And incidental Notes on other Arts; Collected by the late Mr. George Vertue; And now digested and published from his original MSS, By Mr. Horace Walpole, London, 1782, I, (3rd ed.), pp. 85-87. H. Walpole, Anecdotes of Painting in England; Collected by the late Mr. George Vertue, London, 1828, I, pp. 93-95. H. Walpole, Anecdotes of Painting in England; With some Account of the principal Artists, London, 1876, I, pp. 54-55. C. Phillips, “La ‘Tudor Exhibition’ à la New Gallery: Exposition des maîtres anciens à la Royal Academy”, Gazette des Beaux-Arts 32/3 (1890), p. 252, as Mabuse/Jan Gossart. W.S. Lewis (ed.), The Yale edition of Horace Walpole’s correspondence. Vol. 40: Horace Walpole’s miscellaneous correspondence, New Haven, 1980, pp. 215-216, 219, 222. C. Grimm, “A Rediscovered Work by Hugo van der Goes”, Journal of the Walters Art Gallery, XLVI, 1988, pp. 77-91, as Hugo van der Goes?. J. Sander, Hugo van der Goes: Stilentwicklung und Chronologie, Mainz, 1992, p. 28-29 note 69. L. Campbell, "Review of Jochen Sander, Hugo van der Goes: Stilentwicklung und Chronologie, Mainz 1992“, Simiolus XXII/1-2, 1993-94, p. 98. D. de Vos, Hans Memling. Het volledige œuvre, Antwerp, 1994, pp. 397-398, 401 note 19, fig. 188, as Hugo van der Goes. M.W. Ainsworth, “Workshop Practice in Early Netherlandish Painting: An Inside View”, in M.W. Ainsworth and K. Christiansen, eds., From Van Eyck to Bruegel. Early Netherlandish Painting in the Metropolitan Museum of Art, exhibition catalogue, Metropolitan Museum of Art, New York, 1998, pp. 208, 210, fig. 79a-b. E. Dhanens, Hugo van der Goes, Antwerp 1998, pp. 172, 175, ill, as Unknown Ghent painter. M. Faries, "Reshaping the Field: The Contribution of Technical Studies”, in M.W. Ainsworth, ed., Early Netherlandish Painting at the Crossroads. A Critical Look at Current Methodologies, New York 2001, pp. 74, 75, pl. 7, as Unknown Ghent painter. M.W. Ainsworth, “Review: Early Netherlandish Drawings from Jan van Eyck to Hieronymus Bosch”, Master Drawings XLI/3, 2003, pp. 312-313, fig. 7, as Ghent Master, Circle of Hugo van der Goes.

Provenance:

with William Sykes (c. 1659-1724), London, where acquired before 1724 for £200 by Henrietta Louisa Fermor, Countess of Pomfret (d. 1761), Easton Neston, Northamptonshire, and by inheritance to her husband Thomas Fermor, 2nd Baron Leominster, First Earl of Pomfret (1698-1753), Easton Neston, Northamptonshire; his sale (†), 1753, day 2, lot 53 (80 gns. to Horace Walpole).[1] Horace Walpole, 4th Earl of Orford (1717-1797), Strawberry Hill, and by descent; his sale, George Robins, Strawberry Hill, 18 May 1842, lot 52 (170 gns. to Beven, for John Dent). John Dent, Sudeley Castle, Gloucestershire, and by descent in the family until 1977. with Edward Speelman Ltd, London, from whom acquired by the present owner in 1986.

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