Dulwich Picture Gallery II


After Rubens DPG506, DPG450, DPG218

DPG506 – The Holy Family

1630–86; canvas, 30.8 x 22.5 cm

Cartwright Bequest, 1686 (no. 211 ‘5l; no. 211; Josiph & mary & our Saviour on a clouth pasted on bourd’).

Sparkes & Carver 1890, p. 38, no. 79 (The Holy Family); Richter & Sparkes 1892, p. 140, no. 79 (not exhibited); Richter & Sparkes 1905, p. 142, no.79; Cook 1914, p. 275, no. 506 (Artist unknown); Cook 1926, p. 256; Cat. 1953, p. 48; Murray 1980a, p. 303 (Unknown); Beresford 1998, p. 310 (Unknown; Probably based on a Flemish prototype); Jonker & Bergvelt 2016, p. 209; RKD, no. 275036: https://rkd.nl/en/explore/images/275036 (May 9, 2017)

London 1987–8, pp. 26, 56, no. 42 (N. Kalinsky: British School).1

1a) Prime version: Peter Paul Rubens, St Willibrord adoring the Holy Family, c. 1630–31, oil on canvas, 395 x 315 cm (oval; probably since 1722). Church of St Willibrord, Antwerp [1].2
1b) Copy: Abraham van Diepenbeeck (?) after Peter Paul Rubens (1a), St Willibrord adoring the Holy Family, oil on panel, 47 x 36 cm. Gemäldegalerie, Oldenburg, LMO 15.616 [2].3
1c) After Peter Paul Rubens (1a, only the Holy Family), The Holy Family, black chalk on paper, 340 x 235 mm. Present whereabouts unknown (sale A. de Vries, Amsterdam, 26–27 June 1928, lot 244, ƒ450 as target price).4
1d.I) (in reverse) Schelte à Bolswert after Peter Paul Rubens (copy of part of 1a), The Virgin and Child near a Fountain, inscriptions, engraving on paper, 299 x 243 mm. BM, London, 1841,0809.26.5
1d.II ) (in reverse) after 1d.I, The Virgin and Child near a Fountain, 270 x 231 mm. Present whereabouts unknown (sale Christie’s, Old Master Drawings, 12 Jan. 1995, lot 266).
2) Jan Boeckhorst, The Holy Family with St Francis, oil on paper, on panel, 43.9 x 27.2 cm. Stadtmuseum, Münster, GE–0601–2.6

This is a crude 17th-century copy, probably made in London, after part of Rubens’s altarpiece of St Willibrord adoring the Holy Family, painted c. 1630–31 for the church of St Willibrord in Antwerp. The Antwerp painting is now oval (Related works, no. 1a) [1] 7 but was originally rectangular, and probably looked like a smaller copy in Oldenburg, which is attributed there to Abraham van Diepenbeeck (1596–1675; Related works, no. 1b) [2].8 The St Willibrord altarpiece was not included in Rubens’s œuvre catalogues9 or in the Corpus Rubenianum volume about saints (1972–3), by Vlieghe; in 1977 Vlieghe rediscovered the altarpiece as a work by Rubens (and studio). In DPG506 only the Holy Family is depicted, with the Child standing on a stone pedestal with one foot raised, probably meant to be resting on the leg of his mother; St Willibrord and the angels crowning him have been left out. Probably a print or a drawing after the altarpiece was the model for the (amateur) London artist. The only known print could not have been the model: by Schelte Adamsz. Bolswert, it shows only the Madonna and Child, in reverse; he added a fountain and inscriptions which made the scene into a Madonna as the source of life (Related works, no. 1d.I). A drawing by an unknown artist, probably 17th-century (Related works, no. 1c), shows the scene with about the same crop; the quality seems to be a little better than in DPG506. The original painting in the church of St Willibrord inspired Jan Boeckhorst for a composition for an altarpiece with The Holy Family and St Francis, known by a modello; here we see a saint kneeling on stairs with the Holy Family towering above him (Related works, no. 2).

after Peter Paul Rubens
Holy Family, 1630-1686
canvas, oil paint 30,8 x 22,5 cm
Dulwich (London), Dulwich Picture Gallery, inv./cat.nr. DPG506

Peter Paul Rubens
St Willibrord adoring the Holy Family, c. 1630-1631
canvas, oil paint 395 x 315 cm
Antwerpen, St. Willibrordus-kerk

attributed to Abraham van Diepenbeeck after Peter Paul Rubens
Holy family and Saint Willibrord, c. 1630
panel (oak), oil paint 47 x 36 cm
Oldenburg (Niedersachsen), Landesmuseum für Kunst und Kulturgeschichte Oldenburg, inv./cat.nr. LMO 15.616

DPG450 – Cupids harvesting

17th century?; oak panel, 50.5 x 83.4 cm

Sir Joshua Reynolds sale, London, No. 28 Haymarket, 4 April 1791 (‘Ralph’s Exhibition’), no. 14 (Summer, represented by boys reaping); bt Lord Darnley (Reynolds’s ledger: ‘Lord Darnely, for a Sketch of Rubens of Little Boys Reaping – £26.5.0’);10 John Bligh, 4th Earl of Darnley (1767–1831), Cobham Hall, Kent; Darnley sale, Christie’s, 8 May 1802 (Lugt 6427), lot 24 (‘Rubens – Boys Reaping, a Sketch’); bt Bourgeois for £21;11 Insurance 1804, no. 15 (‘Cupids reaping – Rubens; £100’); Bourgeois Bequest, 1811; Britton 1813, p. 2, no. 17 (‘Small parlour / no. 17, Cupids reaping – 6 naked boys in lande. Pan[el] Rubens; Lord Radnor has a duplicate’; 2'9" x 3'9").

Cat. 1817, p. 10, no. 174 (‘SECOND ROOM – East side; Cupids Reaping; Rubens’); Haydon 1817, p. 387, no. 174;12 Cat. 1820, p. 10, no. 174 (Cupids Reaping; Rubens); Cat. 1830, p. 7, no. 117 (Rubens); Jameson 1842, ii, pp. 460–61, no. 117;13 Bentley’s 1851, p. 347;14 Denning 1858, no. 117 (after Rubens); Denning 1859, no. 117 (unknown);15 Sparkes 1876, p. 150 (copy after P. P. Rubens); Athenaeum 1876, p. 133 (column 1); Richter & Sparkes 1880, p. 143, no. 117 (under old copies after Rubens); Richter & Sparkes 1892, p. 232 (not exhibited); Richter & Sparkes 1905, p. 128, no. 450 (Harvesting); Bouverie & Squire 1909, i, under no. 19 (Related works, no. 1b.I), pp. 12–13 (note 1);16 Cook 1914, p. 254; Cook 1926, p. 236; Cat. 1953, p. 35; Murray 1980a, p. 302; Broun 1994/1987, ii, pp. 148–9, no. 10;17 Beresford 1998, p. 215 (Manner of Rubens); Jonker & Bergvelt 2016, pp. 210, 215 (after Rubens); Büttner 2018a, i, pp. 117, 119, under no. 7, copy no. 2, ii, fig. 43; RKD, no. 294845: https://rkd.nl/en/explore/images/294845 (Aug. 2, 2019).

This possibly unfinished work is painted on an oak panel consisting of two horizontally joined members. There is a series of fine blisters at the top in the sky. The panel join is loose at the sides and needs rejoining, and there are some small losses in this region, particularly at the edges. This painting has been partially cleaned at some point and discoloured varnish has been left in the dips and hollows, which has a disturbing effect on the lighter passages. Some of the remaining old varnish is blanched. Previous recorded treatment: 1922, varnished; 1953–5, conserved, Dr Hell.

1) ?Engraving by Bolswert after the prime version by Rubens with Jan Wildens.18
2a) Sketch, 28 x 34 cm. M. Barry collection, Marbury Hall; see Rooses 1886–92, iv (1890), p. 100, under no. 866 (Related works, no. 1b.I).19
2b.I) After Peter Paul Rubens, Cupids harvesting, panel, 55.9 x 88.9 cm. Earl of Radnor collection, Longford Castle, Salisbury [3].20
2b.II) Attributed to Jan Boeckhorst after Rubens, Six Cupids reaping, canvas on panel, 52.5 x 91.5 cm. Property of the Federal Republic of Germany; on loan to the Gustav-Lübcke-Museum, Hamm, Mü-No. 4280.21
3) Cornelis Galle II after Jan Boeckhorst, In Solemnitate Corporis Christi, titlepage for the Missale Romanum, engraving, 1653. Plantin-Moretus Museum, Antwerp [4].22
4) Simon Vouet and studio, Ceres and harvesting Cupids, c. 1634–5, canvas, 145.5 x 188 cm. NG, London, NG6292.23
5) Pieter van Avont and ?Frans Wouters, Putti dancing in a Landscape, c. 1630–52, panel, 36.9 x 57 cm. Royal Collection Trust, RCIN 403561.24
6) Copy after DPG450: Edmund Thomas Parris (1793–1873), Putto carrying a Sheaf of Corn on his Back, pencil, 97 x 107 mm, inscribed Dulwich College and Rubens E T P 1818. NGS, Edinburgh, D 4802 A.19. 25

DPG450 depicts a scene that seems inspired by Classical antiquity – cupids harvesting a field of wheat, with the figures arranged like an Antique frieze across the foreground of an arcadian landscape. That there was a duplicate with the Earl of Radnor was already known to Britton in 1813. It was realized almost immediately that the picture was not by Rubens. Mrs Jameson commented in 1842, ‘This is a most poor, coarse, and flagrant copy of a charming little composition by Rubens, now in possession of the Earl of Radnor. It has the appearance of having been painted, not from the picture, but from Bolswert’s reversed print: the figures being all left-handed.’26 This is however also the case in the Radnor picture, which was probably painted after the same print; its quality seems, judging from a photograph, not much better than DPG450 (Related works, no. 2b.I) [3]. In the catalogues of the Radnor collection the picture is attributed to Peter Paul Rubens and Lucas van Uden.27 In 1890 Rooses referred to a sketch for the Radnor picture mentioned by Waagen in 1854 (Related works, no. 1a). There is another version attributed to Boeckhorst, now in Germany (Related works, no. 2b.II).28 It has not been possible to locate the Bolswert print mentioned by Mrs Jameson (if it exists). There is however a titlepage for a Missale Romanum by Cornelis Galle II (1615–78) after Jan Boeckhorst, in the margins of which are depicted very comparable babies: the one with a hat is in the print on the left; the one in the middle is on the right, now carrying grapes instead of wheat (Related works, no. 3) [4]. The cherubs in the print are busy with wheat (bread) and grapes (wine), which are eucharistical symbols, very fitting in the context of the sacrament of the Eucharist which is depicted in the upper part of the titlepage. The babies are reversed: they have their tools in their right hands. It is possible that Rubens was the original inventor of this composition, which seems to be lost (or was it Boeckhorst, who is mentioned as inventor in the Galle print?). In any case Rubens, or his collaborators, more often painted cupids carrying tools or fruit: see the cupids in the modelli with Ceres in St Petersburg and Switzerland (DPG43, Related works, nos 4d.I–II). The French artist Simon Vouet (1590–1649) combined harvesting cupids with Ceres in his picture now in the National Gallery in London (Related works, no. 4). Putti became a popular subject for minor Flemish artists such as Pieter van Avont (1600–1652): see for instance Putti dancing in a Landscape in the Royal Collection (Related works, no. 5). Here we see the same motif used in mythological, allegorical and religious contexts.

In 1987 Francis Broun noted that DPG450 is first documented in a sale of 176 pictures displayed at No. 28 Haymarket by Sir Joshua Reynolds in 1791, where it was one of the few pictures sold. The buyer, Lord Darnley, disposed of the painting in 1802. It was then bought for 20 guineas by Sir Francis Bourgeois for the Desenfans/Bourgeois collection.

after Peter Paul Rubens
Cupids harvesting, 17th Century
panel (oak), oil paint 50,5 x 83,4 cm
Dulwich (London), Dulwich Picture Gallery, inv./cat.nr. DPG450

after Peter Paul Rubens
Cupids harvesting, 17th Century
panel, oil paint 55,9 x 88,9 cm
Salisbury (Wiltshire), private collection Earl of Radnor

Cornelis Galle (II) after Jan Boeckhorst
In Solemnitate Corporis Christi, c. 1652-1653
paper, engraving ? x ? mm
Antwerp, Museum Plantin-Moretus/Prentenkabinet

DPG218 – Evening Landscape

17th century?; oak panel, 45.4 x 42.5 cm

Insurance 1804, no. 29 (‘A Small Landscape – Rubens . £100’); Bourgeois Bequest, 1811; Britton 1813, p. 1, no. 6 (‘Small parlour / no. 6, Landscape with sheep, a shepherd in foregd. Sk. [sic] Pan[el] Rubens’; f [sic]; 2.f [sic]).

Cat. 1817, p. 9, no. 148 (‘SECOND ROOM – East side; A Landscape; Rubens’); Haydon 1817, p. 384, no. 148;29 Cat. 1820, p. 9, no. 148 (A Landscape; Rubens); Cat. 1830, p. 9, no. 175; Jameson 1842, ii, p. 471, no. 175;30 Denning 1858, no. 207 [sic; Denning confused nos 175 and 207];31 not in Denning 1859; Lavice 1867, p. 181 (Rubens no. 6; Paysage devenu tout noir (totally blackened landscape – but is the reference to DPG132?); Sparkes 1876, p. 153, no. 207 (Rubens); Richter & Sparkes 1880, p. 143, no. 207 (under old copies after Rubens); Richter & Sparkes 1892 and 1905, p. 59, no. 218; Cook 1914, p. 136; Cook 1926, p. 128; Cat. 1953, p. 35 (school of Rubens); Murray 1980a, p. 300 (after Rubens); Beresford 1998, pp. 214–15; Jonker & Bergvelt 2016, pp. 209, 215; RKD, no. 294843: https://rkd.nl/en/explore/images/294843 (Dec. 24, 2020).

The support is a two-member oak panel with horizontal grain and a slight convex warp; the central join is supported with a canvas strip on the reverse. There is a chip missing at the bottom right corner and several woodworm holes along the bottom edge. Three of the sides are bevelled slightly on the reverse, and the verso join is stepped because of the difference in thickness of the two members. There has been some flaking of the paint and ground around the panel join on the front, and there is a lot of paint loss and abrasion in the sky. Elsewhere the sky is thinly painted, allowing the sandy-coloured ground to show through. The brown appearance of the trees has been attributed to the probable presence of a discoloured copper-resinate glaze. There is a network of predominantly vertical cracks; these are worse and more visible in the dark areas. There are drying cracks in the very dark passages. There are some long scratches in the sky, and some small areas – notably in the left of the sky and to the right of the tree – where complete paint loss has occurred. Previous recorded treatment: 1953–5, conserved, Dr Hell; 1988, examined, Courtauld Institute of Art.

1) Prime version: Peter Paul Rubens, Sunset Landscape with a Shepherd and his Flock, c. 1638–40, oak panel, 49.4 x 83.5 cm. NG, London, NG157 [5].32
2) Peter Paul Rubens, Landscape with Moonlight, panel, 63.5 x 89 cm. Courtauld Institute of Art Gallery, London, Princes Gate Bequest 1978, D.1978.PG. 380.33

DPG218 is a mediocre copy after the right half of Rubens’s Landscape with a Shepherd and his Flock in the National Gallery (Related works, no. 1) [5]. Its principal subject is a shepherd playing a flute in the evening, his flock around him. The relationship to the National Gallery picture was first noted by Murray in 1980. Denning in 1858 caused confusion since he mixed up the numbers that were previously 175 and 207, calling them both the ‘Two Rainbows’, which applies to DPG132 but not to DPG218.

Peter Murray also asked in a note whether DPG218 could have been the picture once in the collection of Sir Joshua Reynolds that was sold as lot 72 at Christie’s, London, on 7 Feb. 1801 (‘Rubens – A Landscape by Moonlight, a fine serene effect with the rich and luxuriant colouring of this great master; out of the collection of Sir Joshua Reynolds’).34 However it seems more likely that that picture is the one now in the Courtauld Institute, London (Related works, no. 2).35

The picture is testament to the high esteem in which Rubens’s landscapes were held in the late 18th and early 19th centuries. That the painting is on panel might suggest that it is an early copy, but until dendrochonological analysis is carried out this must remain a conjecture.

after Peter Paul Rubens
Evening landscape
panel (oak), oil paint 45,4 x 42,5 cm
Dulwich (London), Dulwich Picture Gallery, inv./cat.nr. DPG218

Peter Paul Rubens
Landscape with a shepherd and his flock, c.1638-1640
panel (oak), oil paint 49,4 x 83,5 cm
London, National Gallery (London), inv./cat.nr. NG157


1 London 1987–8, p. 56: ‘The composition derives ultimately from prototypes close to Rubens; Cartwright’s painting is, however, most probably an English copy of the mid-seventeenth century.’

2 RKD, no. 275145: https://rkd.nl/en/explore/images/275145 (May 9, 2017); not in Jaffé 1989; Vlieghe 1977b (originally the picture was rectangular; probably the oval shape was made in 1722: pp. 251–2); Rooses 1886–92, v (1892), pp. 322–3, no. 235a (Erasmus Quellinus).

3 RKD, no. 292706: https://rkd.nl/en/explore/images/292706 (Aug. 1, 2019); Dohe, Falk & Stamm 2017, p. 229, no. 129, ill. (colour) (the Rubens picture is not mentioned); Vlieghe 1977b, pp. 240–41 (fig. 4); Keiser 1966, p. 73 (Abraham van Diepenbeeck, The Holy Family with a Bishop; no inv. no. is given).

4 RKD, no. 295158: https://rkd.nl/en/explore/images/295158 (Aug. 31, 2019).

5 https://www.britishmuseum.org/collection/object/P_1841-0809-26 (Aug. 2, 2020); according to this website the print is after an unknown painting by Rubens (Rooses 1886–92, i (1886), pp. 259–60, no. 193); a proof retouched by Rubens is in the Museum Plantin-Moretus, Antwerp. For another impression see BM, London, R,3.119. See also Vlieghe 1977b, pp. 243–4, fig. 6; Voorhelm Schneevoogt 1873, p. 82, nos 69–72.

6 Galen 2012, pp. 288–9, no. Z 32; Galen 1998, pp. 44–5.

7 Vlieghe 1977b, p. 236 (fig. 1).

8 The differences between the two versions (more details in the upper and lower part of the version in Oldenburg) are not relevant here, as the Holy Family chosen for DPG506 is in the centre.

9 According to Rooses it was by Erasmus Quellinus: see note 2 above.

10 GPID (1 Aug. 2014). This was known as ‘Ralph’s exhibition’ because an admission fee of one shilling was charged on entry, the proceeds going to Reynolds’s servant Ralph Kirkley. Reynolds also recorded in his ledger that Darnley had ‘set out for Ireland on the 30th July, 1791, not paying for the picture’. See also Broun 1994/1987, ii, p. 148 (note 1).

11 GPID (1 Aug. 2014).

12 ‘Ditto [= SIR P. P. RUBENS]. Cupids reaping. Portraits of six naked boys, of singular beauty and richness of pencilling and colours, and one of the most indisputable productions of the Prince of colourists in existence. Lord Radnor has a duplicate of it.’

13 See text before note 25 below.

14 ‘The “Cupids Reaping,” by Rubens, have been disastrously meddled with, I fear, by the picture-cleaners. There is a dull, red tone, all over the scene; over the sky even, which could not have existed originally, when the work came from the painter’s hand.’

15 (after Rubens) ‘Evidently painted from a print the Cupids are all reaping with their left hands the original is in the possession of the Earl of Radnor which Bolswert Engraved’; Denning 1859, no. 117 (unknown): ‘A Copy, not from a picture by Rubens, but from a print of one his pictures, now in the possession of the Earl of Radnor. The Engraving was Bolswerts.’

16 p. 12: ‘a poor copy […] with slight variations (omission of the partridges, church spire, etc.) is in the Dulwich Gallery’. See also note 20 below.

17 p. 147 (note 2) ‘The Radnor catalogue (1909, i, pp. 11–13, no. 19) refers to the Dulwich version as “a poor copy” […] with slight variations’ (see the preceding note).

18 Mrs Jameson is the first to mention a print by Bolswert as the source for DPG450, repeated by several other authors. Bouverie & Squire in 1909 were the first to search in vain for a print by Bolswert with that subject. Büttner (2018a, i, pp. 116–20) mentions an original painting by Rubens with Jan Wildens as his no. 7, presumably lost, to be dated c. 1617–19.

19 Rooses refers to Waagen (1854–7, iv (1857), p. 411). There: ‘Marbury Hall, Apartments up-stairs; Mrs. Smith Barry’s Boudoir; “Rubens; Three amorini occupied with harvest …” The motives agree with three corresponding figures in a picture at Longford Castle, of which this appears to me the sketchy but most spirited first design.’ Büttner (2018a, i, pp. 117–18, 119, notes 15–17, under no. 7, copy no. 7, with further provenance, but whereabouts unknown) considers this picture to be his copy no. 7, which in 1909 was in the possession of the 1st Baron Barrymore: see Bouverie & Squire 1909, i, p. 12.

20 RKD, no. 295223: https://rkd.nl/en/explore/images/295223 (Sept. 16, 2019); Büttner 2018a, i, pp. 117, 119 (note 3), under no. 7, copy no. 1, ii, fig. 42; Bouverie 1928, p. 19, no. 19: ‘Peter Paul Rubens […] and Lucas van Uden […] This picture was given by Prince Charles of Lorraine, Governor of the Netherlands, to Solomin Dayrolles, Esq., British Residant [sic] at Brussels. Bought from R. Cosway in 1791.’ The dimensions given in Bouverie & Squire 1909, i, p. 11, no. 19 are 22 x 35 in. NB: this picture was in the RA exhibition at Burlington House, see London 1876, p. 12, no. 77, and Athenaeum 1876, p. 133 (col. 1; partly also in Bouverie & Squire 1909, i, p. 13): ‘This picture purports to be one of those small works which Rubens prepared for his pupils to enlarge, or rather to repeat on a great scale, and, if such, it is one of the best of a not very numerous class; the landscape is by Van Uden. The design is capital and the composition ingenious. Both the attitudes and expressions are full of spirit. There is a version of it, reversed, from Bolswert’s print in the Dulwich Gallery. Still, nowithstanding all its charms, we have seen richer, stronger, and more sumptuous examples of the same class, and, more especially do we remember with delight Sir Matthew Wilson’s superb “Cymon and Iphigenia.”’ A note is added in Bouverie & Squire 1909: the Dulwich version is not reversed, and no print by Bolswert is known. Waagen 1854–7, iv (1857), p. 355 (Longford Castle; Rubens (28.) ‘The landscape is by Van Uden; 2 ft x 2 ft 8 in; One of the great master’s most original and attractive inventions. The motives charming, and spiritedly and carefully executed in a bright tone. The landscape is also very pretty’); Rooses 1886–92, iv (1890), p. 100: C’est probablement le même tableau qui, dans la vente du comte de Plettenberg et Wittem (Amsterdam, 1738), fut adjugé à 240 florins et mesurait 2 pieds de haut et 3 pieds 3 pouces de large. (It is probably the same picture that, in the sale of the Duke of Plettenberg and Wittem (Amsterdam 1738), was sold for ƒ240, and was 2 feet high and 3 feet 3 inches wide.) Note by Ludwig Burchard (RUB, LB no. 782 file): die Ausführung zu weich und zu unbestimmt als dass sie von R. selber herrführen könnte. Die Landschaft hat nichts, gar nichts von L. von Uden (the execution is too weak and indeterminate for it to be by Rubens. The landscape has nothing, really nothing, to do with L. von Uden). See also Bouverie 1890, p. 2, no. 15.

21 RKD, no. 295226: https://rkd.nl/en/explore/images/295226 (Sept. 16, 2019); Büttner 2018a, i, p. 117, 119 (notes 8–11) under no. 7, copy no. 3, ii, fig. 46, gives further provenance; see also http://www.badv.bund.de/DE/OffeneVermoegensfragen/Provenienzrecherche/Provenienzen/Daten/4000_4999/4280.html (Aug. 2014; unfindable in 2019). The provenance given there was as follows: beginning of the 20th century, Baron Rudolf Isbary, Vienna, bought the picture from the Vienna art dealer Wendlinger; Galerie Xaver Scheidwimmer bought it from an Austrian private collector; on 31 Aug 1938 Galerie Xaver Scheidwimmer sold it to the Reichskanzlei for 65,000 RM. For this picture see Galen 2012, pp. 148–50, no. 48 (as Boeckhorst; it is not clear whether the picture was made before or after the print).

22 RKD, no. 294918: https://rkd.nl/en/explore/images/294918 (Aug. 17, 2019); Büttner 2018a, i, pp. 118–19 , ii, fig. 47; Galen 2012, pp. 280–81, Z 26; Lahrkamp 1982, p. 158, no. 110 (fig.).

23 https://www.nationalgallery.org.uk/paintings/simon-vouet-and-studio-ceres-and-harvesting-cupids (July 29, 2019); Wine 2001, pp. 402–9, no. NG6292.

24 https://www.rct.uk/collection/403561/putti-dancing-in-a-landscape (July 29, 2019); White 2007, pp. 50–52, no. 2.

25 Büttner 2018a, i, pp. 118, 119 (note 18), under no. 7, copy no. 8; the website that Büttner mentions no longer exists.

26 Jameson 1842, ii, pp. 460–61, no. 117. Which print by Bolswert she means is not clear.

27 Bouverie 1928, p. 19, no. 19. See also note 20.

28 See note 21 about its provenance.

29 ‘Sir. P. P. Rubens. Landscape, with Sheep and Figures.’

30 ‘[Rubens] 175. A Landscape –?’

31 ‘A Landscape – Evening. The two Rainbows; Rubens; The genuineness of this picture is very questionable.’

32 RKD, no. 10111: https://rkd.nl/en/explore/images/10111 (Aug. 1, 2019); see also https://www.nationalgallery.org.uk/paintings/peter-paul-rubens-a-landscape-with-a-shepherd-and-his-flock (July 29, 2019); Brown 1996, pp. 82–3 (fig. 79); Jaffé 1989, p. 347, no. 1193.

33 RKD, no. 349: https://rkd.nl/en/explore/images/349 (Aug. 1, 2019); see also http://www.artandarchitecture.org.uk/images/gallery/209b9cab.html (July 29, 2019); Jaffé 1989, p. 368 no. 1360; Broun 1994/1987, ii, pp. 131–6, no. 3.

34 Peter Murray note in DPG218 file.

35 GPID (24 Dec. 2020): Lugt 6190; seller William Morland; buyer John Willett; annotations 32½ P. [i.e. 3 x 2½ feet Panel] where it sold for £89.5; previous owners Sir Joshua Reynolds and Boswell; previous sales on 14 March 1795 and a later one on 1 June 1813; present location Courtauld Institute, London.

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