Summer Harvest

Artist Pieter Brueghel the Younger (Flemish, 1564? - 1638?)

Formerly attributed to Pieter Brueghel the Elder (Flemish, died 1569)

Dateca. 1615-1625

MediumOil on wood panel

DimensionsUnframed: 17 3/16 × 23 3/16 inches (43.66 × 58.9 cm)
Framed: 23 1/4 × 29 × 2 1/4 inches (59.06 × 73.66 × 5.72 cm)

Credit LinePurchase: William Rockhill Nelson Trust

Object number34-297

Signedl.r.: "P. Breughel."

On View

Not on view

Collections

European Art

Terms

DescriptionScene of peasants gathering wheat; village and church in background at left, stream and field with stacks of wheat in right background. Left foreground, man cutting wheat with scythe; left foreground, kneeling peasant drinking from large jug. Other figures of men and women gathering, cutting, and carrying wheat.Exhibition History

Exhibition History

Masterpiece of the Week, The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, February 3, 1935, no cat.

Fifth Anniversary Exhibition, The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, December 1938, no cat.

7^th Anniversary Exhibition of German, Flemish, and Dutch Painting, The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, December 1940-January 1941, no. 7.

Old Master of the Month, Mulvane Art Museum, Washburn University, Topeka, KS, March 1949, no cat.

Genre, Nelson-Atkins Museum of Art, Kansas City, MO, April 5-May 15, 1983, no. 8.

Provenance

James Aiken (1843-1928), Dalmoak Castle, West Dunbartonshire, Scotland, by 1928;

Inherited by his cousin, James Cyril Mawdesley Aiken, Dalmoak Castle, West Dunbartonshire, Scotland, 1928-1934 [1];

Morrison, McClery;

Acquired from Morrison, McClery by Robert Langton Douglas (1864-1951), London, stock no. 315, September 24, 1934 [2];

Purchased from Douglas by The Nelson-Atkins Museum of Art, Kansas City, MO, 1934.

NOTES:

[1] James Cyril Mawdesley Aiken was a trustee and cousin of James Aiken, owner of Dalmoak Castle. Upon the latter’s death in 1928, James C. M. Aiken took possession of the property and sold its contents in the 1930s. Information on the Aiken family and Dalmoak Castle was provided by Michael Cousins, owner of Dalmoak Castle, in a phone conversation with Dena M. Woodall, NAMA curatorial intern, November 19, 1996. See also correspondence from Graham Hopner, Local Studies Librarian, Dumbarton Public Library, to Dena M. Woodall, December 9, 1996 and January 10, 1997, NAMA curatorial files.

[2] Robert Langton Douglas stock books, Metropolitan Museum of Art, European Paintings Department, p. 177.

Published References

Alfred M. Frankfurter, “Paintings in the William Rockhill Nelson Gallery of Art,” in “The William Rockhill Nelson Gallery of Art, Kansas City Special Number,” Art News 32, no. 10 (December 9, 1933): 30.

“Five Years of Collecting,” Newsflashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 5, no. 2 (December 1, 1938): 1.

7^th Anniversary Exhibition of German, Flemish, and Dutch Painting, exh. cat. (Kansas City, MO: William Rockhill Nelson Gallery of Art, Atkins Museum of Fine Arts, 1940), 16.

The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2^nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 56, 167, (repro.)

“Contemporary Textiles: New Exhibit at Mulvane,” Washburn Review (March 18, 1949): unpaginated.

Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4^th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 259.

Michael Jaffé, “The Flemish and Dutch Schools,” Apollo 96, no. 130 (December 1972): 504, 506, (repro.) [repr. in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972): 36, 38, (repro.).

Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5^th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 102, 257, (repro.).

Denys Sutton, “Robert Langton Douglas, Part IV,” Apollo 110, no. 209, (July 1979): 203, 214, (repro.).

Ross E. Taggart and Lawrence Sickman, Genre, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1983), 10, 20 (repro.).

Marvin Perry et al., Western Civilization: Ideas, Politics and Society, 2^nd ed. (Boston: Houghton Mifflin, 1985), 330, (repro.)

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 162, (repro.).

Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art, 1933-1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 52.

Klaus Ertz, Pieter Brueghel der Jüngere (1564-1637/38): Die Gemälde mit kritischem Oeuvrekatalog, vol. 2 (Lingen, Germany: Luca Verlag, 2000), no. E635, pp. 567, 569, 596, (repro.).

Burton L. Dunbar, The Collections of The Nelson-Atkins Museum of Art: German and Netherlandish Paintings, 1450-1600 (Kansas City, MO: Nelson-Atkins Museum of Art, 2005), 9, 306-314, (repro.).

Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.