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Corpus Rubenianum Ludwig Burchard Part Xxiii Copies CORPUS RUBENIANUM LUDWIG BURCHARD NC $ 5 /1 1 0 PART XXIII COPIES AFTER THE ANTIQUE IN THREE VOLUMES I •TEXT II • CATALOGUE III • PLATES & INDEX CORPUS RUBENIANUM LUDWIG BURCHARD AN ILLUSTRATED CATALOGUE RAISONNÉ OF THE WORK OF PETER PAUL RUBENS BASED ON THE MATERIAL ASSEMBLED BY THE LATE DR LUDWIG BURCHARD IN TWENTY-SEVEN PARTS The Editors and Publishers gratefully acknowledge the support given by the Board of the Franqui-Fonds towards the preparation of this publication SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE 'NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE XVIde EN DE XVIIde EEUW' R.-A. d ' h u l s t , President ■ F, Ba u d o u i n , Secretary • A, b a l i s , Treasurer DE PAUW-DE VEEN • N. DE POORTER ■ H. DEVISSCHER ■ P. HUVENNE • H. NIEUWDORP M. VANDENVEN • C. VAN DE VELDE • H. VLIEGHE RUBENS COPIES AFTER THE ANTIQUE BY MARJON VAN DER MEULEN VOLUME II • CATALOGUE ED ITED BY ARNOUT BALIS HARVEY MILLER PUBLISHERS HARVEY MILLER PUBLISHERS Knightsbridge House • 197 Knightsbridge, 8th Floor • London SW7 1RB AN IMPRINT OF G + B ARTS INTERNATIONAL © 1994 Nationaal Centrum voor de Plastische Kunsten van de 16de en de 17de Eeuw British Library Cataloguing in Publication Data Meulen, Marjon Van Der Rubens' Copies After the Antique. - Vol. 2: Catalogue. - (Corpus Rubenianum Ludwig Burchard) I. Title II. Series 759.9493 ISBN 1-872501-61-3 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Harvey Miller Publishers Composition by Jan Keller, London Printed and bound by BAS Printers Ltd • Over Wallop • StocKbridge • Hampshire Manufactured in Great Britain CONTENTS Introduction to the Catalogue page 7 Abbreviations 10 Catalogue Raisonné 27 I • Three-dimensional Models 27 Male Nude Statues Nos. 1-49 (p. 27); Male Draped Statues Nos. 50-51 (p. 64); Draped Statues of Children Nos. 52-53 (p. 68); Female Nude Statues Nos. 54-59 (p. 70); Female Draped Statues Nos. 60-62 (p. 74); Hermaphrodite Nos. 63-64 (p. 82); Statue Groups Nos. 65-101 (p. 83); Animal Sculptures Nos. 102-107 (p. Ill); Portrait Heads Nos. 108-131 (p. 115) II • Two-dimensional Models 151 Reliefs Nos. 132-162 (p. 151); Engraved Gems and Cameos Nos. 163-183 (p. 173); The Rubens Vase Nos. 184-185 (p. 212); Coins Nos. 186-199 (p. 214); Rubens's Mercury Spoon No. 200 (p. 227) III • Copies after T. Galle's Illustrium Imagines 230 Copies after Galle's Unpublished Drawings Nos. 201-218 (p. 230); Copies after Galle's Engravings Nos. 219-222 (p. 245) List of Illustrations in Volume I 249 The illustrations referred to throughout this catalogue by 'Figure Number' are reproduced in Volume III of this work. Text illustrations are to be found in Volume I INTRODUCTION TO THE CATALOGUE This catalogue follows Ludwig Burchard's system of classifying the drawings according to the antique model from which the artist worKed. A drawing is usually the final product, but in a few cases an engraving initiated by Rubens has this status. The engraving is then listed first, the preliminary drawings second and, on the rare occasions when they exist, a retouched proof impression third. The largest section of the catalogue consists of sculptures in the round (Nos. 1-131), which are mainly full-sized marbles (a few small bronzes have been grouped together under Nos. 40-49). These are divided into males (Nos. 1-51), children (Nos. 52-53), females (Nos. 54-62), and hermaphrodites (Nos. 63-64), with nude statues always preceding draped ones; then follow statue groups (Nos. 65­ 101), animal sculptures (Nos. 102-107) and, in a separate category, portrait heads (Nos. 108-131). The second section of the catalogue examines two-dimensional models (Nos. 132-200). These include reliefs, mainly sarcophagi (Nos. 132-142), and the heads of the reliefs from the Column of Trajan (Nos. 143-160, and possibly also Nos. 161­ 162). Copies of engraved gems and cameos (Nos. 163-183) are followed by the Rubens vase (Nos. 184-185), and a series of drawings after Roman coins and imi­ tations by Cavino (Nos. 186-199), to which has been appended Rubens's Mercury spoon (No. 200). The third section of the catalogue consists of copies after Theodoor Galle's drawings of antique worKs (Nos. 201-218), either by Rubens or retouched by him, and copies after Galle's engravings (Nos. 219-222). In order to avoid repetition of information in the separate entries, a general introduction precedes the series of engravings of the Twelve Famous GreeK and Roman Men (Nos. 108-119), the engravings for the Gem BooK (Nos. 163-173), the drawings after antique coins as well as medals by Cavino (Nos. 186-199), and the copies after Galle (Nos. 201-218 and 219-222). All those drawings in the Print Room of the Statens Museum for Kunst in Copenhagen ('Rubens Cantoor') which picture antique sculptures have been in­ cluded, even when the original by Rubens is not Known. I did not want to exclude the possibility that one day the original may reappear. Of the sKetches illustrating MS Johnson and MS de Gam y (see Chapter II, note 11), only those sheets that are direct copies of antique monuments are entered. Both manuscripts will be fully treated in a separate volume by Arnout Balis on Rubens's art-theoretical NotebooK. 7 INTRODUCTION TO CATALOGUE In general, subjects are arranged iconographically under the current identifica­ tion, in alphabetical order. A series of twelve engravings of Famous GreeK and Roman Men (Nos. 108-119) is an exception, as these are catalogued under Rubens's identifications. This catalogue does not include the following: The engravings made after Rubens drawings The latter often belong to a series that may be (now lost) to illustrate Philip Rubens, Electo­ a mixture of genuine and spurious antiques. rum Libri II, Antwerp, 1608, since they are al­ In many cases the exact original models are ready incorporated in J.R. Judson and C. Van not Known. de Velde, Book Illustrations and Title-Pages (Corpus Rubenianum Ludwig Burchard, XXI, 2 Drawings with an attribution to Rubens that vols., Brussels-London, 1978, nos. 1-5; but see do not depict antiques: also Volume I, Chapter III). — Head of a Young Man (New YorK, E.F. Berg­ man Collection; cat. exh. B. HouthaKKer, Am­ Other drawings after the Antique already sterdam, 1972, no. 41, repr.); published in previous volumes of the Corpus — Head of an Old Man (Antwerp, Rubens- Rubenianum: huis, Inv. No. S.207; Jaffé, Rubens and Italy, fig. —Head of Seneca (Fig. 225; St Petersburg, 292); Hermitage, Inv. No. 5454; see Vlieghe, Saints, —Thirteen Studies of the Head of a Priest II, no. 115b; see also p. 136 below); (Chatsworth, Box 56, No. 682 B); — 'Dying Alexandef (Fig. 241; St Petersburg, —M ars (Oxford, Christ Church, No. 1171; J. Hermitage, Inv. No. 5888; see Vlieghe, Saints, Byam Shaw, Drawings by Old Masters at Christ II, no. 146c). Church, Oxford, 1976, p. 333, no. 1371; copy: Berlin, KupferstichKabinett, Inv. No. Rubens's paintings after Roman emperors; KdZ.20714; see Chapter III, note 132); they will treated in a separate volume (Por­ —Head of Nero (Copenhagen, Statens Mu­ traits after Existing Prototypes). seum for Kunst, Kongelige KobberstiKsam- ling, 'Rubens Cantoor', No. Ill, 72; Müller Drawings with free adaptations after the An­ Hofstede, Rubens in Italien, no. 64, repr.); tique, depicting a person in the pose of the —Three Studies of the Head of a Satyr (Paris, sculpture rather than the antique model itself: Louvre, Inv. No. 14.761; A. Sutherland Harris, — Spinario (London, British Museum, Inv. in Master Drawings, X, 2,1972, pp. 143-145, pi. No. 5213-1); 26); —Crouching Woman (Berlin, KupferstichKabi­ —Classical Figures (Worcester Art Museum, nett, KdZ.15541; Mielke-Winner, no. 11, repr.). Inv. No. 1950.247; Worcester Art Museum Bul­ letin, XV, 1949-1950, p. 28, repr.). Drawings of Renaissance sculptures all'antica such as the Barberini Faun (Washington, Na­ Drawings that, in my opinion, are not by nor tional Gallery, Inv. No. B.30.457; Held, Draw­ after Rubens (although drawings which I ings, 1986, no. 40, fig. 29. The sculpture is in would reject but which were attributed to St Louis, City Art Museum) and Rubens's Hel­ Rubens by Ludwig Burchard had to be re­ met (see Chapter III, note 139), with the excep­ tained; this is in each case indicated in the text, tion of drawings of assumed falsifications and a question marK appears on the caption (gems, coins and sculptures of portrait busts). to the illustrations): INTRODUCTION TO CATALOGUE —Hercules as Commodus (Copenhagen, —Reclining Hermaphrodite (London, British Statens Museum for Kunst, Kongelige Kob- Museum, Inv. No. 1946-7-13-1005; Held, Se­ berstiKsamling, 'Rubens Cantoor', No. Ill, 21; lected Drawings, 1986, no. 38, fig. 37); jaffé, Antwerp Sketchbook, pl. XLVII; see Vol. I, —Hercules combating the Lion (England, Appendix X, n. 2); Dorset, Private Collection; Jaffé, Rubens and — Laocoon (New YorK, E.E. Wolf Collection); Italy, fig. 285); —Head of a Man (formerly London, J. —Two Figures from the Sacrifice to Diana, Brophy Collection; Jaffé, Rubens and Italy, fig. Arch of Constantine (London, British Museum, 277); Inv. No. 1946-7-13-1003; Popham, Fenwick Col­ —Boy with a Cloak (Dresden, Kupferstich­ lection, p. 195); Kabinett; ibid., figs. 271-272); —Combat Scene (Paris, Musée du Louvre, —Torso of a Boy (OaKly ParK, Shropshire, Inv. No. 20.263; Lugt, Cat. Louvre, École fla­ Earl of Plymouth Collection; ibid., fig.
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