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ORAZIO GENTILESCHI (1563–1639)

The Rest on the Flight into Egypt

Medium Oil on canvas
Dimensions 140 x 169 cm (55 1/8 x 66 1/2 in.)

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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.

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.

Exhibitions / Fairs

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.

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