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This composition can be seen in several paintings, including in the Erasmushuis in Anderlecht near Brussels (117 x 145), Sotheby's in New York 2013 (97, 2 x 143.5)
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History:
Via Lempertz in Cologne, where it was auctioned on May 10, 1916, lot no. 15 to Hoogendijk in the Netherlands and then to an unknown private individual.
Literature:
Edouard Michel. "Peter Huys au Musée du Louvre." Gazette des beaux-arts 77 (1935), p. 154 n. 1, mentions this painting in connection with a Temptation of Saint Anthony, also by Pieter Huys (Louvre, Paris), which is signed and dated 1547. E. P. Richardson. "Pieter Huys." Bulletin of the Detroit Institute of Arts 17 (March 1938), pp. 53–54, ill., calls this picture an early work by Huys, closely related to the painting of the same subject in the Louvre. Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 155–56, ill., mentions a replica in the Cels collection, Brussels, later in the Jan Mayer collection, New York, and a slightly later example in reverse in the museum in Brussels (Musées Royaux des Beaux-Arts). Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 49. Leo van Puyvelde. La peinture flamand au siècle de Bosch et Breughel. Paris, 1962, p. 75, believes this panel could well be the work of Huys, but doubts that the Brussels picture is autograph. Lucie Ninane in Le siècle de Bruegel: La peinture en Belgique au XVIe siècle. Exh. cat., Musées Royaux des Beaux-Arts de Belgique. Brussels, 1963, p. 116, compares it to the example in Brussels. Leo van Puyvelde. La Renaissance flamande de Bosch à Breughel. [Brussels], 1971, p. 51. Nancy A. Corwin. "The Fire Landscape: Its Sources and Its Development from Bosch through Jan Brueghel I, with Special Emphasis on the Mid-Sixteenth Century Bosch "Revival"." PhD diss., University of Washington, Seattle, 1976, pp. 506–7, no. II-5, pl. 159, attributes it to the workshop of Huys, about 1560s, and discusses it with a group of related pictures of the subject; states that this type of Temptation of Saint Anthony, with large figures in the center foreground and the Saint sitting under a tree facing a temptress, is not based on any known Bosch original and occurs only late in the Bosch revival; notes that "details are very summary and ommissions such as the lack of strings on the mandolin make this version seem like the work of a copyist—perhaps turning these works out in quantity". Charles Scribner III. "Daniel Hopfer's 'Venus and Amor': Some Iconographic Observations." Record of the Art Museum, Princeton University 35, no. 1 (1976), p. 17 n. 8. Gerd Unverfehrt. Hieronymus Bosch: Die Rezeption seiner Kunst im frühen 16. Jahrhundert. Berlin, 1980, p. 282. Walter Liedtke. "Addenda to 'Flemish Paintings in the Metropolitan Museum of Art'." Metropolitan Museum Journal 27 (1992), p. 110. Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 275, ill. p. 274. From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Ed. Maryan W. Ainsworth and Keith Christiansen. Exh. cat., The Metropolitan Museum of Art. New York, 1998, p. 408, ill. Marc Rudolf de Vrij. Jan Mandyn. Zwanenburg, 2006, pp. 78–79, no. 12. Marc Rudolf de Vrij. Jheronimus Bosch: An Exercise in Common Sense. Hilversum, The Netherlands, 2012, p. 609, no. F. 7.4, ill.
Source:
Website 'metmuseum.org'
