LOT DETAILS

Materials:

oil on canvas

Measurements:

48.03 in. (122.00 cm.) (height) by 70.08 in. (178.00 cm.) (width)

Markings:

signed and dated lower center: HG./ A o . 1612 and inscribed on the cloth near Antiope's knee: ANTIOPA.

Exhibited:

Venlo, Kunstkring, Hendrick Goltzius, November 15 - December 1958, no. 8; Laren, Singer Museum, Modernen van toen 1570-1630: vlaamse schilderkunst en haar invloed, June 15 - September 1,1963, no. 79; Kevelaer, Niederreinisches Museum für Volkskunde un Kulturgeschichte, Hendrick Goltzius ,1558-1617, May 26 - November 5, 1973; Gouda, Catharina Gasthuis, Slapen, 1978 Utrecht, Kunsthistorisch Instituut, on loan 1952-78; Groningen, Groninger Museum, Stad en Lande, 1979; Groningen, Groninger Museum, on loan 1979-85; Haarlem, Frans Hals Museum, Goltzius als schilder; Restauratie, techniek en betenkenis van een aantal schilderijen uit de verzameling, 1985-85; Rotterdam, Museum Boijmans Van Beuningen, and Frankfurt, Städelsches Kunstinstitut, Hollands Classicisme in de zeventiende-eeuwse schilderkunst, September 25, 1999 - April 30, 2000, no. 1; Athens, National Gallery/Alexander Soutzos Museum; Athens, Netherlands Institute; and Dordrecht, Dordrecht Museum, Greek Gods and Heroes in the Age of Rubens and Rembrandt, September 28, 2000 - May 8, 2001, no. 27; Haarlem, Frans Hals Museum, on loan 1985-2009.

Literature:

A. Bredius, "Bijdragen tot de geschiedenis van Hendrick Goltzius," in Oud Holland, vol 32, 1914, p. 146, incorrectly identified as Danaë; O. Hirschmann, "Zwei Gemälde von Hendrick Golzius," in Oud Holland, vol. 33, 1915, pp. 129-131, reproduced; O. Hirschmann, Hendrick Goltzius als Maler 1600-1617, The Hague 1916, p. 82, no. 28, reproduced fig. 12, as location unknown; C. M. A. A. Lindeman, Joachim Anthonisz. Wtewael, Utrecht 1929, p. 218; E. Kieser, "Über Rembrandts Verhältnis zur Antike," in Zeitschrift für Kunstgeshichte, vol. 10, 1941-42, p. 161, no. 22; E. Michel, Catalogue raisonné des peintures du Moyen Age, de la Renaissance et des temps moderns. Peintures flamandes du XVe et du XVIe siècle, Paris 1953, pp. 126-127; E. Haverkamp Begemann , Willem Buytewech, Amsterdam 1959, p. 9; E.K.J Reznicek, Die Zeichnungen von Hendrick Goltzius. Mit einem beschreibenden Katalog, Utrecht 1961, vol. 2, p. 219 and note 83 and pp. 282-83; H. Gerson, "Goltzius", in Kindler's Malerei Lexikon, vol. 2, 1965, p. 699; T. Gerzi, "Goltzius und Jan Muller: Beiträge zu ihrer Zeichenkunst", in Nederlands Kunsthistorisch Jaarboek, vol. 23, 1972, p. 49; T. Gerzi, "Ein spätes Prachtwerk von Goltzius" in Album Amicorum J. G. van Gelder, The Hague 1973, p. 126, fig. 5; M. van de Vlist, Goltzius als Schilder, doctoral dissertation, University of Utrecht, 1974, pp. 40-41, no. 17; H. Miedema, "De nimf en de dienstmeid: een realistisch genre?", in Oud Holland, 1976, vol. 90, p. 266; F. Baligand, Peinture Hollandaise, Douai, 1978-79, p. 30; L.W. Nichols, "Job in Distress, a newly discovered Painting by Hendrick Goltzius", in Simiolus, 1983, vol. 13, p.182 and note 3; I.Q. van Regstern Altena, Jaques de Gheyn, Three Generations, The Hague, Boston and London 1983, vol. 2, p.129; L.W. Nichols, "Onsterfelijkheid in smetteloos naakt -- Goltzius als schilder", in Goltzius als schilder -- Kunstschrift, Openbaar Kunstbezit, vol. 29, 1985, no. 5, p.16, reproduced fig. 11; E. J. Sluijter, De 'heydensche fabulen' in de Noordnerlandse schilderkunst, circa 1590-1670. Een proeve van beschrijving en interpretatie van schilderijen met verhalende onderwerpen uit de klassieke mythologie, doctoral dissertation, University of Leiden, The Hague 1986, pp. 42-43, 50, 131, 255, 281, 380 note 43-1 and 438 note 100-5, reproduced fig. 195; I.M. Veldman, "Who Is the Strongest? The riddle of Esdras in Netherlandish art," in Simiolus, vol. 17, 1987, p. 237; L.W. Nichols, The Paintings of Hendrick Goltzius (1557-1617), doctoral dissertation, Columbia University 1990, pp. 112, 116, 118-20, 125, 128, 134 and 209, cat. no. A-31, fig. 25; E. J. Sluijter, "Vertumnus en Pomona door Hendrick Goltzius (1613) en Jan Tengnagel (1617). Constanten en contrasten in vorm en inhoud", in Bulletin van het Rijksmuseum, vol. 39, 1991, p. 387, note 21; reprinted in English as "Vertumnus and Pomona by Hendrick Goltzius (1613) and Jan Tengnagel (1617): Constants and Contracts in Form and Content," in Seductress of Sight, Studies in Dutch Art of the Golden Age, Zwolle 2000; Old Master Paintings. An illustrated summary catalogue [of] The Netherlands office for Fine Art The Hague, Zwolle and The Hague 1992, p. 108, fig. 812; E.J. Sluijter, "Venus, Visus en Pictura", in Nederlands Kunsthistorisch Jaarboek (Goltzius-studies: Hendrick Goltzius [1558-1617]), vol. 42-43,1991-92, pp. 361, 376, 380, 392, 394, notes 215 and 216, fig. 281; reprinted in English as "Venus, Visus and Pictura" in Seductress of Sight, Studies in Dutch Art of the Golden Age, Zwolle 2000; E. Hendricks, A. van Grevenstein, K Groen, 'The Painting Technique of Four Paintings by Hendrick Goltzius and the Introduction of Coloured Ground', in Nederlands Kunsthistorisch Jaarboek: Goltzius-studies (Hendrick Goltzius [1558-1617]), 1991-92, vol. 42-43, pp. 481-497, passim, figs, 331, 335e, 338, 339a and 339d; P.J.J. van Thiel, Cornelis Cornelisz. van Haarlem, 1562-1638. A Monograph and Catalogue Raisonné, Doornspijk 1999, pp. 128 and 141 note 161; Dutch Classicism in Seventeenth Century Paintings [the English language edition of Hollands Classicisme in de zeventiende-eeuwse schilderkunst], exhibition catalogue Rotterdam and Frankfurt, 1999, pp. 16-17, 64-67 and 154, no.1, reproduced; Greek Gods and Heroes in the Age of Rubens and Rembrandt, exhibition catalogue, Athens and Dordrecht 2000, pp. 49 and 210-211, no. 27, reproduced; X. van Eck, "Review. Gods and Heroes: Athens and Dordrecht", in The Burlington Magazine, vol. 143, no. 1177, April 2001, p. 242, reproduced; E.E. van Duijn, "The story of Goltzius's Jupiter and Antiope. A study into its conservation history", in Interdisciplinair tijdschrift voor conservering en restauratie, vol. 6/3, 2005, pp. 32-38; E. Hendricks and E. Torringa, in Painting in Haarlem 1500-1850: The collection of the Frans Hals Museum, Haarlem 2006, pp. 80, 90, 445-46, no. 149, reproduced; N.H. Yeide, Beyond the Dreams of Avarice, The Hermann Goering Collection, Dallas 2009, p. 376, no. A1149, reproduced p. 165; to be included in L.W. Nichols forthcoming catalogue raisonné of Goltzius's paintings as cat. no. A-37.

Provenance:

Jan Wubbels; His sale, Amsterdam, Van der Schley and Ten Kate, July 16, 1792, lot 126, for 30 guilders, to Ijver; Possibly private collection Zurich; Art market Zurich, 1906; Abraham Adelsberger (1863-1940), Nuremberg and Amsterdam; His sale, Munich, Hugo Helbing, October 8, 1930, lot. 52 (unsold); His further sale, Munich, Hugo Helbing, December 9, 1931, lot 413 (unsold); Alfred Isay (the son-in-law of Abraham Adelsberger), Amsterdam, February-November 1941; Gonsenheimer, 1941; With D. A. Hoogendijk & Co., Amsterdam, 1941; From whom acquired by Hermann Göring, Carinhall, through Walter Andreas Hofer, December 1941 for 20,000 guilders; Recovered by Allied forces, Munich Central Collecting Point, 1946; Returned to the custody of the Stichting Nederlandsch Kunstbezit, 1946 (NK2425); Utrecht, Kunsthistorisch Instituut, on loan 1952-78; Groningen, Groninger Museum, on loan 1979-85; Haarlem, Frans Hals Museum, on loan 1985-2009: Restituted to the heirs of Abraham Adelsberger, 2009