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This painting entered the Museum`s holdings as a copy of a work by Jan Both, described as Saint Francis in Penitence and listed as the companion piece to Landscape with Saint Francis in Meditation. It was later catalogued as an anonymous work of the Germanic schools and from 1910 onwards as an anonymous Flemish work. However, this landscape can be identified with one of the pictures described in t
Although the painting entered the Museum as a copy of a work by Jan Both, it is recorded as an anonymous work by the Flemish school from the 1843 catalogue onwards. It is listed as such by Díaz Padrón (1975), and the attribution is maintained up until the last general inventory (1990). In 1976 Barghahn identifies it as the landscape described in the Buen Retiro inventory of 1701 and
The painting entered the Museum`s holdings as a work of the school of Jan Both, but it is listed as an original by the painter in the 1843 catalogue. In 1973 Valdivieso identifies it as one of the landscapes recorded in the Buen Retiro inventory of 1701 and proposes it be ascribed to Herman van Swanevelt. This attribution is backed by Luna (1984), Barghahn (1986) and Steland (2001 and forthcoming)
The painting entered the Museum as an original by Jan Both, and it is recorded as such in subsequent inventories and catalogues until the edition of 1976. Further, up until 1972 it is described in the Museum publications as the companion piece to Landscape with Carthusian (Saint Bruno?) (P02064) and Landscape with Saint Benedict of Nursia (P02065). In 1959 Blunt identifies it as the landscape desc
This painting entered the Museum`s holdings as Saint Francis in the Brambles by Jan Both. The scene is correctly classified in the catalogue of 1873. A decade later Valdivieso (1973) identifies it as the landscape listed in the Buen Retiro inventory of 1701 and proposes it be attributed to Herman van Swanevelt, albeit with the possible collaboration of Jan Both in the landscape. Luna (1984), Bargh
This painting is identified in the early catalogues of the Museum`s holdings with the landscape listed in the 1766 inventory of the collection of Isabella Farnese in the palace of La Granja, which, in turn, could be the landscape with shepherds by the hand of the Hermit (the nickname by which Herman van Swanevelt was known in Rome) recorded as being located in the Alcázar of Madrid in 1686,
The painting entered the Museum holdings as an original work by Jan Both. In 1959 Blunt identifies it as the landscape listed in the 1701 inventory of the Palace of the Buen Retiro and maintains the attribution to Both, as does Roethlisberger (1961). However, Waddingham (1960) ascribes it to Herman van Swanevelt, an attribution backed by Luna (1984) and officially adopted by the Museum in 1985. Th
The painting entered the Museum`s holdings as an original work by Herman van Swanevelt, an attribution that has been maintained by subsequent catalogues. In 1973 Valdivieso identifies it as the landscape described in the inventory of 1701 and maintains the ascription to Van Swanevelt, which is also backed by Burke (1976), Luna (1984), Barghahn (1986), Galera Mendoza (2001) and Steland (forthcoming
This painting entered the Museum as an original work by Herman van Swanevelt and as companion piece to Landscape with Hermit preaching (P5121), an attribution maintained in all subsequent catalogues and supported by Gerstenberg (1923), Waddingham (1964), Valdivieso (1973), Burke (1976), Barghahn (1986), Galera Mendoza (2001) and Steland (forthcoming). Barghahn misidentifies this landscape as entry
The painting entered the Museum as an original work by Herman van Swanevelt. This attribution is maintained in later catalogues and accepted by all authors. In early Museum catalogues the work is described as the companion piece to Landscape with Fisherman Family at Dusk (P2141).In the latest general inventory of paintings (1990) this work is listed as Landscape with Saint Paul preaching. However
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