ORAZIO GENTILESCHI, The Rest on the Flight into Egypt

Oil on canvas

140 x 169 cm (55 1/8 x 66 1/2 in.)

Further images

Provenance

Possibly George Villiers (1592 – 1628), 1st Duke of Buckingham;
Probably George Villiers (1628 – 1687), 2nd Duke of Buckingham;
By tradition given to Anna Maria Brudenell (1642 – 1702), Countess of Shrewsbury;
Probably by descent to her son, George Brydges (1678 – 1751) of Avington Park, who had no male heirs and by descent to his cousin, James Brydges (1731 – 1789), 3rd Duke of Chandos;
Probably by descent to his daughter, Anne Eliza Brydges (1779 – 1836) and by marriage to her husband Richard Temple-Nugent-Brydges-Chandos-Grenville (1776 – 1839), 1st Duke of Buckingham and Chandos;
By descent to their son, Richard Temple-Nugent-Brydges-Chandos-Grenville (1797 – 1861), 2nd Duke of Buckingham and Chandos (first recorded at Stowe in 1838);
His sale, Stowe House, Christie’s, 13 September 1848, lot 152, sold to P. Norton for 18 guineas;

Montague Parker (1807 – 1858), Whiteway, Devonshire;

By descent to Ambassador Sir Harold Farquhar (1894 – 1953), London;

Sale, London, Sotheby’s, 13 December 1950, lot 5;

Where acquired by Thomas Agnew and Sons, London;

By whom sold in September 1953 to:

Jean Paul Getty (1892 – 1976), Sutton Place, Guildford, Surrey;

By whom donated to the Getty Museum, Malibu, 1971;

By whom sold, New York, Christie’s, 21 May 1992, lot 12 (as Attributed to Orazio Gentileschi), where acquired by the present owners.

Exhibitions

London, Thomas Agnew and Sons, Autumn Exhibition of Fine Pictures by Old Masters, October – December 1951, no. 26;

Tokyo, Tokyo Metropolitan Teien Art Museum, Caravaggio e i suoi primi seguaci, 29 September – 16 December 2001, no. 13;

Okazaki, Okazaki City Museum, Caravaggio e i suoi primi seguaci, 22 December 2001 – 24 February 2002, no. 13;

Pisa, Museo Piaggio, Luce e Ombra: Caravaggismo e Naturalismo nella pittura Toscana del 600: Frammenti di immagini tra realtà naturale misticismo sensualità, 18 March – 12 June 2005, no. 45;

Fabriano, Pinacoteca Civica ‘Bruno Molajoli’, La luce e i silenzi: Orazio Gentileschi e la pittura caravaggesca nelle Marche del Seicento, 2 August – 8 December 2019, no. 8;

Cremona, Museo Civico Ala Ponzone, Orazio Gentileschi: La fuga in Egitto, 10 October 2020 – 5 April 2021, no. 1.2.

Literature

Stowe. A Description of the House and Gardens of his Grace the Duke of Buckingham and Chandos, at Stowe, in the County of Buckingham, London 1838, p. 57, no. 180, p. 79;

H. R. Foster, The Stowe Catalogue Priced and Annotated, London 1848, p. 164, no. 152;

Art Prices Current, XXVIII, 1950-1951, p. 60, no. 1399;

Thos. Agnew & Sons, Autumn Exhibitions, exh. cat., London 1951, no. 26, illustrated;

W. R. Valentinier & P. Wescher, The J. P. Getty Museum Guidebook, Los Angeles 1954, p. 25, no. 7;

J. P. Getty & E. Le Vane, Collector’s Choice. A Chronicle of an artistic Odyssey through Europe, London 1955, p. 57, illustrated opposite p. 89;

H. Voss, ‘Orazio Gentileschi: four versions of his Rest on the Flight into Egypt’, Connoisseur, no. 144, November 1959, pp. 163-164, fig. 2;

Birmingham City Museum and Art Gallery, Catalogue of Paintings, Birmingham 1960, pp. 59-60;

Royal Academy of Arts, Italian Art and Britain, exh. cat., London 1960, pp. 143-145;

D. Cooper & K. Clark, Great Private Collections, London 1963, pp. 184-185, illustrated;

J. P. Getty, The Joys of Collecting, New York 1965, pp. 31, 104-106, illustrated;

C. Musgrave, ‘Sutton Place, Guilford: The English Home of Mr. J. Paul Getty’, Connoisseur, no. 161, March 1966, p. 147, no. 8, illustrated;

Wildenstein & Co., Old Masters from the City of Birmingham, exh. cat., London 1970, no. 11;

B. B. Fredericksen, Catalogue of the Paintings in the J. P. Getty Museum, Malibu 1972, pp. 44-47, no. 46, illustrated;

C. Anson, ‘The Picture Collection at Stowe’, Apollo, no. 136, 1973, pp. 596-598, note 75, no. 47, illustrated;

B. B. Fredericksen, The J. P. Getty Museum, London 1975, pp. 70-94, illustrated;

B. Nicolson, The International Caravaggesque Movement, Oxford 1979, p. 52;

R. Ward Bissell, Orazio Gentileschi, and a poetic tradition in Caravaggesque painting, Pennsylvania 1981, pp. 167, 185, 186-187, no. 59, fig. 120, illustrated;

G. Marcolini, ‘Alla ricerca di un Guercino “perduto”. La Santissima Vergine che va in Egitto della Galleria Conti di Lucca’, Arte Documento, 10, 1996, pp. 71-73, no. 4, illustrated;

B. Nicolson & L. Vertova, Caravaggism in Europe, 3 vols., Turin 1990, vol. I, p. 113, no. 212-3;

The J. Paul Getty Museum Journal, vol. 21, 1993, p. 120;

C. Strinati & R. Vodret Adamo (eds.), Caravaggio e i suoi primi seguaci, exh. cat., Okazaki 2001, pp. 47, 104-5;

K. Christiansen & J. Mann (eds.), Orazio e Artemisia Gentileschi, exh. cat., Rome 2001, pp. 28-9, 218-220;

K. Christiansen & J. Mann (eds.), Orazio and Artemisia Gentileschi, exh. cat., New York 2001, pp. 28-9, 218-220;

S. Loire, E. Martin, E. Ravaud & J.-P. Rioux, ‘Les Deux Tableaux d’ Orazio Gentileschi conserves au Musèe du Louvre’, Technè, no. 19, 2004, p. 53, note 2;

P. Carofano (ed.), Da Santi di Tito a Bernardino Mei: momenti del caravaggismo e del naturalismo nella pittura Toscana del Seicento, Pisa 2004, p. 69, illustrated;

P. Carofano (ed.), Luce e Ombra: Caravaggismo e Naturalismo nella pittura Toscana del 600: Frammenti di immagini tra realtà naturale misticismo sensualità, exh. cat., Pisa 2005, pp. 44, 46, illustrated;

R. Ward Bissell in P. Carofano (ed.), Luce e Ombra: Caravaggismo e Naturalismo nella pittura Toscana del 600: Frammenti di immagini tra realtà naturale misticismo sensualità, exh. cat., Pisa 2005, cat. no. 45, pp. 128-137, illustrated;

M. A. Lazzari, A. Bonazzi & C. Merlo, ‘Analisi scientifiche sui Riposo durante la fuga in Egitto ex Getty di Orazio Gentileschi’, in P. Carofano (ed.), Luce e Ombra: Caravaggismo e Naturalismo nella pittura Toscana del 600: Frammenti di immagini tra realtà naturale misticismo sensualità, exh. cat., Pisa 2005, pp. 202-211, illustrated;

F. Simonetti (ed.), Orazio Gentileschi e Pietro Molli, exh. cat., Genoa 2005, pp. 11-14, 32, 50-55, illustrated on p. 52, fig. 30;

A. Bonazzi & C. Merlo, ‘Diagnostica sperimentale finalizzata alla lettura del Riposo durante la fuga in Egitto di Orazio Gentileschi’, in P. Carofano (ed.), Atti delle Giornate di Studi sul Caravaggismo e il naturalism nella Toscana del Seicento, Pontedera 2009, pp. 57-70;

M. A. Lazzari, ‘Oltre il Riposo. Indagine sul Riposo durante la fuga in Egitto, ex collezione Getty’ in P. Carofano (ed.), Atti delle Giornate di Studi sul Caravaggismo e il naturalism nella Toscana del Seicento, Pontedera 2009, pp. 205-223, illustrated;

W. Prohaska & G. Swoboda, Caravaggio und der Internationale Caravaggismus, Sammlungs Kataloge des Kunsthistorischen Museum, Milan 2011, vol. VI, pp. 188, 190-192;

M. Tazartes, Orazio Gentileschi: ‘Astratto e Superbo Toscano’, Florence 2016, pp. 122, 137;

L. Treves, Beyond Caravaggio, exh. cat., London & New Haven 2016, under cat. no. 14, p. 84, 180, notes 5 & 6;

V. Sgarbi, Dall’ombra alla luce: Da Caravaggio a Tiepolo: Il Tesoro D’Italia IV, Milan 2016, p. 12;

R. Morselli in A. M. Ambrosini Massari & A. Delpriori (eds.), La luce e i silenzi: Orazio Gentileschi e la pittura caravaggesca nelle Marche del Seicento, exh. cat., Fabriano 2019, pp. 130-131, 291-299, cat. no. 8, illustrated on p. 131;

R. Morselli, ‘Storia di un quadro italiano di Orazio Gentileschi che diventò pegno di amore in Inghilterra’, in M. Marubbi (ed.), Orazio Gentileschi: la fuga in egitto e altre storie dell’infanzia di Gesù, exh. cat., Cremona 2020, pp. 15-23, 28-29.

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