About This Artwork

Hendrick ter Brugghen
Dutch, 1588-1629

The Denial of Saint Peter, 1626/1629

Oil on canvas
51 5/8 x 69 5/8 in. (132.3 x 178 cm)

Charles H. and Mary F. S. Worcester Collection, 1969.3

Exhibition, Publication and Ownership Histories

Exhibition History

Raleigh, North Carolina, North Carolina Museum of Art, Sinners and Saints, Darkness and Light: Caravaggio and His Dutch and Flemish Followers, September 27-December 13, 1998, pp. 107-110, cat. 14, cat. by Denis P. Weller et al.; traveled to Milwaukee, Wisconsin, Milwaukee Art Museum, January 29-April 18, 1999, and Dayton, Ohio, The Dayton Art Institute, May 8-July 18, 1999.

Publication History

Julius Lange, Baroniet Gaunos Malerisamling, Gavnø, 1876, no. 81.

Karl Madsen and Otto Andrup, Fortegnelse over to hundrede af Baroniet Gaunos malerier af aeldre malere samt over dets portraetsamling, Copenhagen, 1914, p. 10, no. 12

Karl Madsen, “Malerisamlingen paa Gaunø,” Kunstmuseets Aarsskrift 4 (1917), pp. 56-57.

Hans Wentzel, “Unbekannte Werke von Terbrugghen in Dänemark und Schweden,” Die Kunst und das Schöne Heim 4 (January 1954), pp. 121 (ill.), 123.

Benedict Nicolson, “The Rijksmuseum ‘Incredulity’ and Terbrugghen’s Chronology,” Burlington Magazine 98 (1956), pp. 109, 110.

Benedict Nicolson, Hendrick Terbrugghen, London, 1958, pp. 5, 16, 18-19, 66-67, no. A 30, pl. 73.

J. Richard Judson, Gerrit van Honthorst: A Discussion of his Position in Dutch Art, The Hague, 1959, p. 70.

The Art Institute of Chicago Annual Report 1968-69, pp. 1, 6, 14, 17, front cover.

Calendar of The Art Institute of Chicago, November 1969, vol. 63, no. 5, pp. 8, 9 (ill.).

“Art Across America,” Apollo, 91 (1970), p. 245, fig. 8.

“La chronique des arts” supplement to Gazette des Beaux-Arts, 6e pér., 75 (February, 1970), p. 59, fig. 278.

Anna Ottani Cavina, “La Tour all’Orangerie e il suo primo tempo Caravaggesco,” Paragone, 23, no. 273 (1972), p. 11, fig. 8.

Benedict Nicolson, “Terbrugghen since 1960” in Album Amicorum J. G. van Gelder, The Hague, 1973, p. 240.

A. Pigler, Barockthemen: Eine Auswahl von verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts, 2nd, revised ed., vol. 1, Budapest, 1974, p. 340.

The Art Institute of Chicago: 100 Masterpieces, Chicago, 1978, p. 53 (ill.).

The Art Institute of Chicago: 100 Masterpieces, Chicago, 1983, p. 53 (ill.).

Peter C. Sutton, A Guide to Dutch Art in America, Grand Rapids, Michigan, 1986, p. 49.

Benedict Nicolson, The International Caravaggesque Movement: Lists of Pictures by Caravaggio and His Followers Throughout Europe From 1590 to 1650, Oxford, 1979, p. 99.

Alan Jacobs Gallery, London, Dutch and Flemish 16th and 17th Century Paintings from the Shipley Collection, exhib. cat., 1979 by Christopher Wright, traveled to Wolverhampton Art Gallery, The Bowes Museum, Barnard Castle, Shipley Art Gallery, Gateshead, Laing Art Gallery, Newcastle upon Tyne, and Gemeentelijk Museum Het Princessehof, Leeuwarden, under no. 23.

Yoriko Kobayashi-Sato, “The Attribution of the Tokyo Liberation of St. Peter to Ter Brugghen: A Reconsideration,” in Hendrick ter Brugghen und die Nachfolger Caravaggios in Holland: Beiträge eines Symposions aus Anlass der Ausstellung ‘Holländische Malerei in neuem Licht. Hendrick ter Brugghen und seine Zeitgenossen’ im Herzog Anton Ulrich-Museum Braunschweig vom 23. bis 25. März 1987, ed. Rüdiger Klessmann, Braunschweig, 1988, pp. 105, 106 (ill.).

Benedict Nicolson, Caravaggism in Europe, vols. 1, 3, Turin, [1989], p. 191, no. 1178 (ill.).

Richard Mühlberger, The Bible in Art: New Testament, New York, 1990, pp. 119 (ill.), 176.

Walter Liedtke, “Dutch Paintings in America. The Collectors and their Ideals” in Great Dutch Paintings from America, exhib. cat. Mauritshuis, The Hague and Fine Arts Museums of San Francisco, 1991, p. 35.

Larry Silver, “Caravaggism’s Missing Link, or what ter Brugghen brought home from Rome”, Pantheon, 58 (2000), p. 191.

Natasha Therese Seaman, “Archaism and the Critique of Caravaggio in the Religious Paintings of Hendrick ter Brugghen”, PhD dissertation, Boston University, pp. 213-16, fig. 5.

Leonard J. Slatkes and Wayne Franits, The Paintings of Hendrick ter Brugghen 1588-1629. Catalogue Raisonné, Amsterdam and Philadelphia, 2007, pp. 126-28, 165, 167, 222, no. A35, pl. 34.

Tableaux anciens et du XIXe siècle, Tajan, Paris, 20 June 2007, p. 22, ill., under no. 12.

Souren Melikian, “At Tajan auction, rare Chinese tray adds a tiny clue to historical whodunit,” The New York Times, June 15, 2007 http://www.nytimes.com/2007/06/15/arts/15iht-melik16.1.6151514.html?pagewanted=all (accessed May 17, 2012).

Gianni Papi in Gherardo delle Notti. Quadri bizzarrissimi e cene allegre, exh. cat., Galleria degli Uffizi, Florence, 2015, p. 134, ill. under no. 5.

Gregor J. M. Weber, "Ter Brugghen's lost 'Martyrdom of St Bartholomew--what a copy can tell," Simiolus 38 (2015-2016), p. 257.

Ownership History

Reedtz-Thott collection, Guanø Castle near Næstved, Denmark, by ca. 1750 [according to letter from Baron Otto Reedtz-Thott dated July 26, 2004 in curatorial file]; Baron Kjeld Thor Tage Otto Reedtz -Thott (died 1923), 2nd Baron Guanø, Guanø Castle, Denmark by at least 1914; by decent to Baron Axel Reedtz-Thott, Guanø Castle, Denmark; sold by him to a London dealer in the late 1960’s [according to the letter from his son, Baron Otto Reedtz-Thott, cited above]. Wildenstein and Company, New York, by 1968; sold to the Art Institute in 1969.

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