Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Two Tritons at the Feast of Acheloüs
Artist:Attributed to Cornelis de Vos (Flemish, Hulst 1584/85–1651 Antwerp)
Artist: and Attributed to Frans Snyders (Flemish, Antwerp 1579–1657 Antwerp)
Medium:Oil on canvas
Dimensions:62 3/4 x 45 7/8 in. (159.4 x 116.5 cm)
Classification:Paintings
Credit Line:Marquand Fund, 1906
Accession Number:06.1039
Monsieur Coupée [or Coupe], Brussels (until 1906; sold to The Met)
Hempstead, N. Y. Hofstra College. "Metropolitan Museum Masterpieces," June 26–September 1, 1952, no. 5.
Roger Fry. Letters. January–March 1906 [published in Ref. Sutton 1972, vol. 1, letter no. 173, p. 251], writes "I hope to get the Rubens [for the Museum]".
Max Rooses. Letter to Roger Fry. February 9, 1906, suggests that it was painted by Van Dyck as Rubens's assistant.
[Roger Fry]. "Principal Accessions." Metropolitan Museum of Art Bulletin 1 (November 1906), p. 153, notes its original attribution to Rubens, but suggests that it was painted by Van Dyck in Genoa; refers to a "vague tradition" identifying the central figure as a member of the Doria family; erroneously records its purchase as through the Rogers Fund.
Roger Fry. Letter to his wife, Helen Fry. January 14, 1906 [published in Ref. Sutton 1972, vol. 1, letter no. 168, p. 248], writes that "the great find is the Rubens, a superb 'Neptune' of the Italian period".
Roger Fry. Letter to John G. Johnson. May 21, 1906 [published in Ref. Sutton 1972, vol. 1, letter no. 190, p. 264], writes "[I] have acquired what I think is a very magnificent picture of Neptune, attributed to Rubens, but in my mind certainly a Van Dyck".
Roger Fry. Letter. December 17, 1908, as by Van Dyck; thinks it represents a member of the Doria family.
Julius S. Held. "Achelous' Banquet." Art Quarterly 4 (Spring 1941), p. 133 n. 8, as by a Flemish follower of Van Dyck; notes that "the main figure appears to be a portrait".
Harry B. Wehle. "The Feast of Acheloüs by Rubens." Metropolitan Museum of Art Bulletin 4 (March 1946), p. 179.
Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 33, attribute it to Anthony van Dyck and Frans Snyders.
Denys Sutton, ed. Letters of Roger Fry. New York, 1972, vol. 1, p. 248 n. 1 to letter no. 168 (January 14, 1906), p. 251 n. 3 to letter no. 173 (February 18, 1906).
Erik Larsen. L'opera completa di Van Dyck. Milan, 1980, vol. 2, p. 132, no. A67, ill., attributes it to Snyders and a pupil of Van Dyck.
Hans Vlieghe. Letter to Walter Liedtke. March 12, 1981, tentatively accepts the attribution to Snyders, but feels that the figure is closer in style to Jan van den Hoecke than to Cornelis de Vos.
Julius S. Held. Letter to Walter Liedtke. 1981, tentatively identifies the central figure as Achelous, but states that it is also a portrait of the Antwerp fishmonger who appears in the "Fish Market" of Frans Snyders and Cornelis de Vos (Kunsthistorisches Museum, Vienna); questions, however, the attribution of the figure in the MMA canvas to de Vos.
Hella Robels. Letter to Walter Liedtke. March 26, 1981, states that while the still life certainly derives from Snyders, she questions an attribution of the fish to Snyders himself.
Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, pp. 275–78; vol. 2, pl. 108, observes that "the still life certainly seems of sufficient quality to be attributed tentatively to Snyders," and that "the case for de Vos . . . as the author of the figures is equally strong".
Walter A. Liedtke. "Flemish Paintings in the Metropolitan Museum—II: Van Dyck, Jordaens, Brouwer, and Others." Tableau 6 (February 15, 1984), pp. 32, 34, fig. 16.
John Pope-Hennessy. "Roger Fry and The Metropolitan Museum of Art." Oxford, China, and Italy: Writings in Honour of Sir Harold Acton on his Eightieth Birthday. Ed. Edward Chaney and Neil Ritchie. London, 1984, p. 233, notes that Fry originally believed this picture to be a Rubens but then published it as an Italian Van Dyck.
Erik Larsen. The Paintings of Anthony van Dyck. Freren, Germany, 1988, vol. 2, p. 426, no. A45, ill.
Introduction by Walter A. Liedtke inFlemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, pp. 23, 374, no. 489, ill.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 283, ill.
Walter Liedtke. "Toward a New Edition of Flemish Paintings in the Metropolitan Museum of Art." Munuscula Amicorum: Contributions on Rubens and His Colleagues in Honour of Hans Vlieghe. Ed. Katlijne van der Stighelen. Vol. 2, Turnhout, Belgium, 2006, pp. 665, 669, 677 n. 4, fig. 2.
Anthony van Dyck (Flemish, Antwerp 1599–1641 London)
ca. 1622
Resources for Research
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.