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“Flora, Silenus and Zephyr”, oil on canvas, 141.4 x 125.5 cm, framed, (Wo)
Estimate upon request
Provenance: John, 3rd Earl of Bute (1713 - 1792) or John, 4th Earl and 1st Marquess of Bute (1744 - 1814); by inheritance to Luton Park (inventory 1799-9, in the study; inventory 1799, p. 64; in the reading room, pp. 54, 64; inventory 1800, no. 87, in the reading room)
Exhibitions: London, British Institution, 1847, no. 63; Bethnal Green, 1883; no. 208; Glasgow, 1884
Literature: K. Armet, Mount Stuart, Rothesay, p. 7; G. F. Waagen, Works of Art and Artists in England, London 1838, vol. III, p. 311; G. F. Waagen, Treasures of Art in Great Britain, London 1854, vol. III, p. 475; J. P. Richter, Catalogue of the Collection of Pictures for Exhibition of the Marquis of Bute K. T., London 1883, no. 208.
There is a preliminary drawing for the present painting in the Kupferstichkabinett in Berlin, titled Flora, Silenius and Zephyrus, dated 1639 and signed J. Jordaens. An etching of the present composition in the reverse direction by Schelte à Bolswert (1586 - 1659) is in the Stedelijk Prentenkabinett in Antwerp (Inv. 18030). See the reproduction in this catalogue. Replicas of inferior quality are preserved in Montauban and Pommersfelden. The authenticity of the present work is supported by numerous pentimenti (corrections made by the artist while conceiving his composition), primarily in Flora's right arm and hand. It is said that Jordaens depicted himself as Silenus and lent Flora the features of his daughter. Jordaens repeated the face of Flora in one of his other bacchanals (see illustration). The world of bacchanals was one of Jordaens' most popular subjects. Flora, the goddess of flowers and spring, is the companion of Zephyr, the personification of the west wind. We thank Prof. Richard Knight for his cooperation.
Certificate: Walter Liedtke, Metropolitan Museum of Art, New York, examined the original painting and considers it to be an autograph work by Jacob Jordaens (oral communication to the owner). Willem L. van de Watering inspected the original painting and accepted it as a characterstic and in its essential parts autograph work by the Flemish history, genre, and portrait painter Jacob Jordaens: ”For certain details, namely the draperies, we may assume the assistance of the artist's workshop (which, just as with Rubens, was not unusual for Jordaens).”
See also the preface to this catalogue.