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Corpus Rubenianum Ludwig Burchard Part Iii the Old

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Corpus Rubenianum Ludwig Burchard Part Iii the Old CORPUS RUBENIANUM LUDWIG BURCHARD PART III THE OLD TESTAMENT BY R.-A. D’HULST & M. VANDENVKN 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-SIX PARTS SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE ‘NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE XVTk EN DE X V lA EEUw’ R.-A. d tiu lst, President • f. Baudouin, Secretary ■ r. pandelaers, Treasurer DE P O O R T E R • A. STUBBE • A. BALIS • J. K. STEPPE • C. VAN DK VELDE • H. V LIE G H E RESEARCH ASSISTANTS: H. DEVISSCHER • P. HUVENNE • M. VANDENVUN RUBENS THE OLD TESTAMENT BY R.-A.D’HULST AN D M. VANDBNVEN T R A N ,S L A T L 1) EROM T l IH D U TCH BY 1'. S. EALLA HARVEY MILLER PUBLISHERS Originating Publisher h a r v e y m i l l e r l t d • 20 Marryat Road • London S W 19 5 b d Published in the United States by o x f o r d u n i v e r s i t y p r e s s • New York © 1989 Nationaal Centrum voor de Plastische Kunsten van de i6dc en de 17clc Eeuw British Library Cataloguing in Publication Data Hulst, R.A.d (Roger - Adolf d') Rubens: the Old Testament. - (Corps Rubenianum Ludwig Burchard: pt. 3). i. Flemish religious paintings. Rubens, Peter Paul - Catalogues I. Title II. Vandenven, M. III. Rubens, Peter Paul, j J77 — 1640 IV. Series 759.9493 ISBN O-905203-64-X 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 Ltd. Printed and bound by Offizin Andersen Nexö • Leipzig • DDR CONTENTS Author’s Preface page 7 Abbreviations 10 Introduction 19 Catalogue Raisonné 33 Sources of Photographs 228 Illustrations 229 Indexes: 369 I •Collections 370 II-Subjects 377 III-Other Works by Rubens 387 mentioned in the Text IV Names and Places 391 ( AUTHOR’S PREFACE h i s b o o k is based on the material collected and analysed by Ludwig Bur- T chard and systematically supplemented by the research stalTof the Nationaal Centrum voor de Plastische Kunsten van de XVIe en XVIle Reuw. Like the other parts of the Corpus Rubenianum, it includes all the works that Burchard re­ garded as authentic. In the few cases where I have found mysell at variance with him, I have tried to set forth as clearly as possible both his arguments and my reasons for disagreeing with them. The iconographical order in which Burchard classified his documentation has served as a starting-point for the division of the material of the Corpus Rubenianum Ludwig Burchard into Parts, some of which are subdivided into separate volumes. The structure of each Part is largely determined by the nature of its contents: some subjects are best treated as monographs, others in the form of a catalogue raisonné, as is the case here. I fovvever, the co­ existence of these two methods has the effect that a c a ta lo g u e raisonné m ay not always contain all the works that one would logically expect to find in it. This applies to the present case: some Old Testament scenes have been assigned to other volumes because of certain iconographie or formal aspects, while others belong to particular groups, the basis of which is neither formal nor iconographie. Works that are not dealt with in the present volume are, in the first place, those which belong to a larger iconographie whole, in which the subdivisions are typologically related. Thus Part I, The C e ilin g Paintings for the Jesuit Church in Antwerp, dealt with The Fall of the Rebel Angels, The Expulsion of Adam and Eve from Paradise, The Sacrifice o f Noah, Abraham and Melchiçedek, The Sacrifice o f Isaac, The Triumph o f Joseph in Egypt, Moses in Prayer between Amon and Hur, David and Goliath, Solomon and the Queen of Sheba, The Translation of Elijah, and Esther before A h a s u e r u s . Part II, The Eucharist Series, which describes a similar large-scale un­ dertaking in which the iconographie connection is of a typological kind, also includes Old Testament scenes, namely Abraham and Melchiçedek, The Gathering o f the Manna, Elijah and the Angel, King David Playing the Harp, and The Sacrifice of the Old Covenant. In the same way, some Old Testament scenes depicted in altar- pieces belong more logically to a larger iconographie whole, and most of these will be found in Parts IV, V and VI when the books are published. Two subjects that have already been published, in S a in ts, I (Part VIII), are a ,\loses and an 7 A a r o n which together formed the predella of the altarpiece of the Chapel of the Holy Sacrament in the Dominican church at Antwerp. Old Testament works that have been assigned to other Parts for formal rea­ sons will be found in Book Illustrations and Title-Pages (Part XXI)— David P o e n i- tens: Illustration for the Breviarium Romanum and Title-Page for M . Barberini, Poe­ mata (Samson , the Lion and the Bees)— and also in the as yet unpublished volume on works executed by Rubens in collaboration with other masters, subjects such as Adam Receiving the Forbidden Fruit, The Hague, in which the figures are by him and the landscape and animals by Jan I Brueghel. The Old Testament scenes classified in groups for other than iconographie or formal reasons will be found, when published, in Copies and Adaptations from Renaissance and Later Artists (Part XXV) and Drawings not Related to the Other Subjects. Addenda and Corrigenda. Indexes (Part XXVI). The subjects in the present volume follow as closely as possible their original Old Testament sequence. From the surviving works and from those known to have existed from documents, it can be seen that Rubens drew on three books of the Pentateuch— G e n e sis (Nos. 1-17), E x o d u s (Nos. 18-21), and N u m b e r s (Nos. 22-24)— and also J u d g e s (Nos. 25-33), I S a m u e l (Nos. 34-42), II S a m u e l (Nos. 43, 44), I K in g s (Nos. 45-46), II K in g s (Nos. 47, 48), T o b it (No. 49), f u d i t h (Nos. 50-52), E s th e r (No. 53), J o b (Nos. 54-56), D a n ie l (Nos. 57-66), and II M a c ­ ca bees (No. 67). The fact that some subjects occur more frequently than others demonstrates Rubens’s own preference for particular scenes, or that of his patrons ; reasons for this preference are discussed in the Introduction. It remains for me to record my debt to all those who in one way or another have helped in the preparation of this volume. My thanks are due in the first place to the many museum keepers, archivists, librarians and private individuals who have allowed me access to their collections and have frequently helped me with information and suggestions. I also owe thanks to the research staff of the Nationaal Centrum voor de Plastische Kunsten van de XVIe en XVIIe Eeuw and the Rubenianum: Arnout Balis, Frans Baudouin, Nora De Poorter, Hans Devis- scher, Paul Huvenne, Carl Van de Velde, Marc Vandenven and Hans Vlieghe. The present volume, which is entirely written by me and for which I bear full responsibility, could not, in view of my age and state of health, have been com­ pleted without the special and devoted assistance of Marc Vandenven, who relieved me of numerous tasks of both a material and an intellectual kind: he traced and procured many documents, books and photographs, in some cases requiring intensive correspondence, and drew my attention to passages in the text that needed to be supplemented or elucidated. For all this I tender him my special thanks. I am also grateful to Els van der Eist, who, in past years and un­ der my direction, laid the basis for the presentation of technical data concerning several of the entries in this volume; to P.S. Falla for the care he has bestowed on the translation; to Elly Miller and Clare Reynolds for their expert help in preparing the manuscript for print; and to the clerical staff of the Rubenianum : Viviane De Meuter-Verbraekenand Vincent Rutten provided val Liable assistance on various occasions, while Nelly De Vleeschouwer-Verreydt typed the manus­ cript with exemplary care. Last but not least, my thanks go to my wife Paula, who has helped in many ways with the preparation of this work. 9 ABBREVIATIONS Literature : Alpers, Torre S. Alpers, The Decoration o f the Torre de la Parada (Corpus Rubenianum Ludwig Burchard, IX), B russels-London- New York, 1971. Bolis, Hunting Scenes A .B alis, Rubens. Hunting Scenes (Corpus Rubenianum Ludwig B u r c h a r d , XVIII, 2), London, 1986. B a r ts c h A. Bartsch, Le Peintre-Graveur, I—XXI, Vienna, 1803-1821. B a sa n F. Basan, Catalogue des estampes gravées d'après P. P. Rubens, avec une méthode pour blanchir les estampes les plus rousses, & en ôter les tâches d ’huile.
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