Gentileschi and the Home
| Français | Introduction
Theme of "Lot and Bis Daughters"
by R. Ward Bissell
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4 AVIGNON, PAMARD COLLECTION,
late 18th century
Accarding ta Isarla, p. 144. The picture in the Le Brun sale in 1791? (see entry
above and Pérez Sanchez, p. 503).
5 LONDON, CHARLES I COLLECTION
Joachim von Sandrart saw the painting in London: "No less
important was one of Lot sleeping on the lap of one of his
daughters, while the other daughter looked back on her father's
activity, a wondrous work, incapable of improvement" (Academie
der Bau-, Bild- and Mahlerey-Künste von 1675, ed. Peltzer,
Munich, 1925, p. 166). It is implied that Gentileschi executed the
canvas during Sandrart's stay in London, i.e., between April 1628
and the fall of the same year O. Hess in Kunstgeschichtliche
Studien zu Renaissance und Earock, vol. II, Rome, 1967, p. 242,
for the date of Sandrart's visit). Undoubtedly the painting listed by
Gerbier in his report of 12 September 1629(?) on "The Sommes of
Monnys Gentilesco Hath Recaeved :" "The Picture he hath
maide in Englant of Lott, that wich the King hath" (Sainsbury,
p. 315). Engraved by Lucas Vorstermann, in England between 1624 and
1630 (A. von Wurzbach, Niederliindisches Künstler-Lexikon, vol.
II, Vienna and Leipzig, 1910, pp. 814-15). At Greenwich in the
Queen's Withdrawing Chamber when catalogued by Van der Doort
between 1637 and 1639: "don bij oracio gintiliscko. ill prijmos
a larg pis auff lot and his 2 doehters Wij Was rellufft vrall
Wijthal" ("Catalogue of the Collections of Charles
I," ed. o. Millar, Walpole Society, vol. XXXVII,
1958-60, p. 194). At Greenwich, 1649: "Lott and his two
dauhters - at - 80.00.00" (Pictures of King Charles I,
London, P. R. O., L. R. 2/124, f. 60r). Sold to the Dividend of
Charles I's creditors headed by William Latham, 1651: "A Peece
of pharaohs Daughter finding Moses done by Genteliscoe 80. Sold Mr.
Wm. Latholl &c in a Dividend as Aprised 23 Oct. 1651. Lott and
his two Daughters 80 Sold Mr. Latholl &c Ditto" Chettle, p.
36). Mr Latham, Woollen-Draper to James I and Charles I, headed the
4th Dividend, composed of himself and fourteen others, which
purchased thirty-five paintings, to be divided by lot along the
members, each of whom then had free rights to the picture or
pictures he had thus obtained (W. L. F. Nuttall, "King Charles
I's Pictures and the Commonwealth Sale," Apollo, vol.
LXXII, 1965, pp. 302 ff.).
In Appendix I, 4, I have proposed that the Lot and His Daughters later
entered the collection of the Marqués del Carpio (see next entry)
and is today in the Museo de Bellas Artes at Bilbao.
6 SPAIN, MARQUÉS DEL CARPIO; CASA DE ALBA
Appears in a list of paintings formerly belonging to D. Luis Méndez
de Haro y Guzman, Marqués del Carpio, and his son D. Gaspar de
Guzman, Marqués del Carpio y de Heliche, which were inherited by
the Casa de Alba: "Un lienzo apaisado de tres varas y media.
Representa a Lot y sus hijas. Original de Oratius Gentilius.
Excelente" (Barcia, Catdlogo, 191I, p. 250; Pérez
sanchez, p. 503). The oblong canvas thus measured approximately 292
cm. (115 in.) in width. It was not among the pictures which passed
to the Duque de Berwick y de Liria after the litigation involving
the inheritance of the 13th Duchess of Alba, who died without
issue in 1802 (Barcia, 1911, pp. 17, 254-8). The Marqués del Carpio
(and then the Alba) also owned an Apollo and the Muses by
Gentileschi: "Un lienzo de tres varas y media de alto. Apolo y
las musas. Original de Oratius Gentilius" (Barcia, 1911, p.
252; Pérez sanchez, p. 504). The Apollo and the Muses was
unquestionably a painting from Orazio's English period. when in
London, Gentileschi represented this theme at least twice, and
possibly three times, including a version for Charles I which was
framed in 1633-4, displayed in Somerset House in 1649, and sold on
23 October 1651 (Chettle, p. 104; Pictures of
Charles I, London, P. R. O., L. R. 2 / 124, f. 192V; B. M. Hari. 4898, f. 231,
no.286). It may be related to the canvas which was formerly in the
Lawlor collection at New York (R. Longhi, "Ultimi studi sul
Caravaggio e la sua cerchia," Proporzioni, vol. I, 1943,
p. 47, n. 38; G. Isarlo in Arts, 29 June 1951, p. 8; l. Hess,
"Die Gemalde des Orazio Gentileschi für das 'Haus der Konigin'
in Greenwich," English Miscellany, vol. III, 1952, pp.
160, n. 9 and 163; G. Isarlo, Les indépendants dans la peinture
ancienne, Paris, 1956, p. 114, fig. 52). I believe that the Lot
and His Daughters also belonged originally to Charles I of
England (App. II, 5) and is today in the Museo de Bellas Artes at
Bilbao (see App. I, 4).
7 SPAIN, JOSÉ MADRAZO COLLECTION
Marqués de Leganés(?); Altamira Coll. (Madrazo, Catá logo,
pp. 39-40, no.152); José Madrazo Coll., Madrid, with measurements
of 176 x 253 cm., or 69 1/4 x 99 5/8 in. (ibid.); passed to the
Marqués de Salamanca (Pérez Sanchez, p. 66; López Navio, pp.
261,266). The painting was accompanied in the Madrazo collection by
a version of Gentileschi's Rest on the Flight into Egypt, said
to have been a gift of the Cardinal of Savoy to the Marqués de
Leganés (and thence to the Altamira Coll.; Madrazo, 1856, p. 40,
no.153). The Rest on the Flight appears without attribution
in the Leganés inventory of 6 April 1655, where the provenance
from the Cardinal of Savoy is also claimed (López Navio, p. 315,
no. 1112). The available evidence suggests that the Lot and His
Daughters also belonged to the Marqués de Leganés, for in
spite of the apparent size discrepancies it seems possible to
recognize it in the Leganés catalogue as "un lienço de 2
baras y media, de las hijas de lot y su padre, quando le
embriagaron, le taso en 3.000" (ibid., p. 300,
no.758). The Lot as described in the Madrazo Catalogue (Lot
embriagado por sus hijas. Estân estas sentadas en tierra y mirando
el fuego de las ciudades incendiadas que se descubre en lontananza.
Lot está dormido, recostado sobre una di ellas) was obviously
most similar in type to the composition at Rurghley House (fig. 10;
App. I, 3). Roth the Lot and His Daughters
and the Rest on
the Flight may have been products of Gentileschi's Italian
period, since the Marqués de Leganés appears to have bought the
majority of his Italian pictures during his tenure as Governor of
Milan (I635 - January 1641; López Navio, p. 264).
As this issue of the Bulletin was in preparation, a canvas
(169 x 253 cm., or 66 1/2 x 99 5/8 in.) of Lot and His Daughters
up in Spain and has been acquired by the Gemäalde-galerie,
Rerlin-Dahlem (fig. 9). Professor Pérez sanchez, who has seen the
original, believes that it can be identified as the Madrazo version,
and has commented (by letter) that "it is unquestionably by
his [Orazio Gentileschi's) hand, and is very beautiful."
Extremely close to the Lot by Gentileschi that was formerly
in Genoa (App. I, I; II, I), the picture must have an Italian
provenance. The author and the editor wish to express their
gratitude to Professor Pérez sanchez for his generous help in
tracing this picture and providing the photograph.
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