The Rape of Europa

• George Scharf, Catalogue Raisonné; or, A List of the Pictures in the Private Apartments of Blenheim Palace; with Occasional Remarks and Illustrative Notes (London, 1862), vol. II, p. 148, no. 9.
• Charles Davis, A Collection of One Hundred and Twenty Paintings by David Teniers (From Blenheim Palace): The Property of His Grace the Duke of Marlborough. On Exhibition at Mr. Davis’s Galleries (London, 1884), p. 7, no. 9.
• Art Institute of Chicago, Bulletin of the Art Institute of Chicago: Report for the Year Nineteen Hundred Thirty-Six (Chicago, 1937), p. 40.
• George Vertue, “Notebooks,” The Volume of the Walpole Society 26 (1937-1938), p. 135.
• William Suida, “Forgotten Splendor in Titian’s Treasury,” Art in America 29 (1941), pp. 9, ill., 13.
• George Martin Richter, “Lost and Rediscovered Works by Giorgione: Part II,” Art in America 30 (1942), pp. 215, ill., 217-218.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 445.
• Terisio Pignatti, Giorgione (Milano, 1978), pp. 89, ill., 157-158.
• Barbara Mundt, “Große Bild-Erfindungen: Beispiele künstlerischer Interpretation des Europa-Themas in der Malerei des 16. und 17. Jahrhunderts,“ in Die Verführung der Europa, ed. Barbara Mundt (Franfurt-am-Main, 1988), pp. 117-118, ill., 278.
• Jaynie Anderson, Giorgione: Peintre de la “Brièveté Poétique,” Catalogue Raisonné, trans. Bernard Turle (Paris, 1996), pp. 79, 237, 240, ill., 315-316, ill.
• Jacques Foucart, “Quelques exemples de représentations de l’enlèvement d’Europe chez les maîtres nordiques au XVIIe siècle,” in D’Europe à l’Europe, vol. I, Le mythe d’Europe dans l’art et la culture de l’antiquité au XVIIIe siècle, eds. Rémy Poignault and Odile Wattel-de Croizant (Tours, 1998), p. 250.
• Peter H. Gommers, Europe – What’s in a Name (Leuven, 2001), p. 117, ill.
• Margret Klinge, “David Teniers and the Theatre of Painting,” in David Teniers and the Theatre of Painting, ed. Ernst Vegelin van Claerbergen (London, 2006), pp. 25-26, 28.
• James Methuen-Campbell, “Early Collections of Teniers’s Copies for the Theatrum Pictorium,” in David Teniers and the Theatre of Painting, ed. Ernst Vegelin van Claerbergen (London, 2006), pp. 59-63.
• Wolfgang Eller, Giorgione: Catalogue Raisonné, Mystery Unveiled, trans. Ingeborg Elizabeth Pendl, (Petersberg, 2007), p. 184.
• Celia Hilliard, “‘The Prime Mover’: Charles L. Hutchinson and the Making of the Art Institute of Chicago,” Art Institute of Chicago Museum Studies 36,1 (2010), p. 30.

• Art Institute of Chicago, Recent Accessions to the Permanent Collections of the Art Institute, December 22 – January 24, 1937, no cat.
• Florence, Italy, Galleria degli Uffizi, Il Mito di Europa: da fanciulla rapita a continente, June 11, 2002 – January 6, 2003, no. 18.

Presumably John Churchill, 1st Duke of Marlborough, Blenheim Palace, Oxfordshire, died 1722 [it is presumed that he was the purchaser of the Blenheim set of 120 copies made by Teniers as models for engravings forming part of a larger group of small copies after paintings in the collection of Archduke Leopold-Wilhelm]; his daughter, Henrietta, Duchess of Marlborough, certainly by 1728, when the copies were seen by Pierre Jacques Fougeroux [see Methuen-Campbell, 2006, p. 61]; by descent in the collection of the dukes of Marlborough to George Charles Spencer-Churchill, 8th Duke of Marlborough, sold, Christie’s, London, July 26, 1886, no. 84 to Thomas Agnew & Sons for £55 13s. [according to annotated catalogue at the Rijksbureau voor Kunsthistorisch Documentatie, The Hague]; sold by Agnew’s to Charles Hutchinson, Chicago, September 24, 1886, died October 7, 1924 [copy of receipt in curatorial file]; his widow Frances Kinsley Hutchinson, died 1936; bequeathed to the Art Institute in 1936.