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Corpus Rubenianum Ludwig Burchard

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CORPUS RUBENIANUM •fHt—Si! i'ftA J I' , - t LUDWIG BURCHARD PART XXIV THE COSTUME BOOK KRISTIN LOHSE BELKIN ARCADEim 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 xvide EN xvude EEUW” .-a. d'HULST, President - F. B a u d o u in , Secretary - r . pandeiaers, Treasurer N. DE POORTER, G. GEPTS, H. LIEBAERS, J.K . STEPPE, C. VAN DE VELDE, H. VLIEGHE SCIENTIFIC ASSISTANCE: P. HUVENNE, M. VANDENVEN THE COSTUME BOOK KRISTIN LOHSE BELKIN BRUSSELS - ARCADE - MCMLXXX NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN m DE IMeTNlE 17ie EEUW To F.G. Grossmann in gratitude COPYRIGHT IN ANTWERP, BELGIUM, BY MERCATORFONDS, 1980 PRINTED IN BELGIUM - LEGAL DEPOSIT D I978/0721/88 ISBN 2-8005-0124-3 (2-8005-0036-0 complete edition) CONTENTS FOREWORD VII LIST OF ILLUSTRATIONS I SOURCES OF PHOTOGRAPHS 13 ABBREVIATIONS 1 5 AUTHOR’S PREFACE 21 INTRODUCTION 23 I. RUBENS AS COPYIST 23 II. THE COSTUME BOOK 32 I. PROVENANCE 32 II. MAJOR SOURCES 34 III. RECONSTRUCTION OF THE ORIGINAL COSTUME BOOK 4 3 IV. AUTHORSHIP AND DATING 48 V. PURPOSE AND LATER USE 50 CATALOGUE RAISONNÉ 6l INDEXES: I. COLLECTIONS 181 II. SUBJECTS 18 3 III. OTHER WORKS BY RUBENS MENTIONED IN THE TEXT 18 9 IV. NAMES AND PLACES 1 92 PLATES 209 FOREWORD The reader who is familiar with the organization of the Corpus Rubenianum Ludwig Burchard will have noticed that there is a change in the title of Part XXIV , which is now called The Coftume Book. In previous announcements it was entitled Copies and Adaptations from Renaissance and later Art ills and no separate Part on the Coftume Book was planned. In faCt, it was our intention to include the latter in Part XXIV. However, it appeared that Mrs. KriStin Lohse Belkin's Study not only had become more extensive than we had expected but that, moreover, it showed that the copies after earlier models which Rubens has collected in the Coftume Book have a distinctive character. They are not to be confused with his other copies after works by Renaissance and later artists nor with his adaptations thereof. This consideration has led us to publish the Coftume Book separately as Part X X IV of the series. Consequently, we had to change the numbering of the subsequent Parts to read as follows : XXV. COPIES AND ADAPTATIONS FROM RENAISSANCE AND LATER ARTISTS. XXVI. DRAWINGS NOT RELATED TO THE ABOVE SUBJECTS. ADDENDA AND CORRIGENDA. INDEXES. The manuscript of Mrs. Belkin’s thorough and original study was submitted in early 1977. Unfortunate circumstances, for which the author was not responsi­ ble, have delayed considerably the publication of the present book. Conse­ quently, the literature on Rubens which has appeared since then has not been taken into consideration. We hope that henceforth the publication of the Corpus Rubenianum will resume its regular pace. F. Baudouin R.-A. d’HulSt Keeper of the Art Hid or y Museums President of the "Nationaal Centrum of the City of Antwerp voor de Platiische Kunden van de i6de en de iyde eeuw’’ THE COSTUME BOOK LIST OF ILLUSTRATIONS 1. Rubens, Louis de Mâle and Baldwin V of Flanders (No. i). London, British Museum 2. Tomb of Louis de Mâle, drawing {de Succa, f° 77) 3. Two Angels with a Helmet, drawing {de Succa, f° 76T, detail) 4. Coat of Arms of Simon de Mirabello, drawing {de Succa, f° 85*, detail) 5. A. van Wijnendaele, Coat of Arms of Simon de Mirabello, drawing. Ghent, City Archives 6. Baldwin V of Flanders, drawing {de Succa, f° 77v, detail) 7. Rubens, William of Normandy, Arnulf II of Flanders and Eight Other Noblemen (No. 2). London, British Museum 8. Man in Armour, drawing {de Succa, f° 100, detail) 9. Man with Helmet, drawing {de Succa, f° 98, detail) 10. Two Men in Armour, drawing {de Succa, f° 89, detail) 11. William of Normandy, drawing {de Succa, f° 96) 12. Jean de Croy, drawing {de Succa, f° 98T, detail) 13. Arnulf 11 of Flanders, drawing {de Succa, f° 84, detail) 14. Baldwin IV of Flanders, drawing {de Succa, £° 83v, detail) 15. Man with Helmet, drawing {de Succa, f° 99^, detail) 16. A Knight, drawing (de Succa, f° 99, detail) 17. Anonymous, Baldwin IV of Flanders, painting (detail). Ghent, Bijloke Museum 18. Anonymous, Arnulf 11 of Flanders, painting (detail). Ghent, Bijloke Museum 19. Rubens, Anthony of Burgundy (No. 3). London, British Museum 20. Rubens, Jean II de Croy and Josse de Lalaing (No. 4). London, British Museum 21. Rubens, Jean de Croy and Five Other Noblemen (No. 5). London, British Museum 22. After de Succa, Anthony of Burgundy, engraving (H. Barlandus, Ducum Brabantiae Chronica, Antwerp, 1600) 23. Rubens, Margaret of Alsace, Baldwin V of Hainault and Nine Studies of Head• Dresses (No. 6). London, British Museum 24. After Rubens, Studies of Heads, drawing. Hamburg, Kunfthalle 25. H. Vogtherr, Nine Male Heads, woodcut (KunBbiichlin, Strasbourg, 1537) 26. Anonymous, A Lady Playing a Portable Organ, drawing. Paris, Louvre 27. Margaret of Alsace, drawing (de Succa, f° 82* detail) 28. Baldwin V of Flanders and Margaret of Alsace, drawing (de Succa, f° 83, detail) 29. Rubens, Walburga de Meurs and Marguerite de Craon (No. 7). London, British Museum 30. Margaret of Brabant, drawing (Recueil à'Arras, f° 55) 31. Margaret of Flanders, drawing (Recueil d’Arras, f° 53) 32. Anne de Jauche, drawing (Recueil d’Arras, f° 213) 33. Philippe de Lalaing, drawing (Recueil d’Arras, f° 122) 34. Rubens, Jacqueline de Luxembourg, Anne de Jauche, Philippa de Lalaing and Bonne de Vieuville (No. 8). London, British Museum 35. Bonne d’Abbeville, drawing,(Recueil d’.Arras, f° 184) 36. Isabella of Bourbon, drawing (Recueil d’Arras, f° 63) 37. W. Vrelant (?), Charles the Bold and Isabella of Bourbon, miniature. Copenhagen, Kongelige Bibliotek 38. Rubens, Raas van Gavere, Antoinette de Baux, Jeanne d’Escornaix and Two Uni­ dentified Women (No. 9). London, British Museum 39. Agnes de Bourbon, drawing (de Succa, f° 79T, detail) 40. Marguerite de Clisson, drawing (Recueil d’Arras, f° 47) 41. After Rubens, Madonna and Saints, painting. Pommersfelden, Schloss Weissenftein 42. Rubens, Yolande de Barbançon, Guillaume de Jauche and Three Other Figures (No. 10). London, British Museum 43. Guillaume de Jauche, drawing (Recueil d’Arras, f° 209) 44. Catherine de Molembais, drawing (Recueil d’Arras, f° 119 ) 45. School of Rubens, Alboin and Rosamond, painting. Vienna, Kunfthiftorisches Museum 46. Rubens, Guillaume de Bretagne and Emperor Frederick 111 (No. 11) . London, British Museum 2 47- MaSter of the Habsburgs, Adoration of the Magi, painting (detail), Vienna, KunSthiStorisches Museum 48. After the Master of Frankfort, Adoration of the Magi, painting (detail). Stuttgart, Staatsgalerie 49. MaSter of Frankfort, Adoration of the Magi, painting (detail). Antwerp, Konink­ lijk Museum voor Schone KunSten 50. Rubens, Mary of Cleves and Anna of Hungary (No. 12). London, British Museum 51. Mary of Cleves, drawing (de Succa, f° 8ov, detail) 52. Anonymous, Anna of Hungary and Ferdinand of AuHria, woodcut (detail) 53. After J. Seisenegger, Anna of Hungary, painting. Budapest, Szépmüvészeti Muzeum 54. Rubens, Guillaume de Ligne, Adrienne de Hallewyn and Seven Other Noble Personnages (No. 13). London, British Museum 55. Guillaume de Ligne, drawing (Recueil d’Arras, f° 185) 56. Adrienne de Hallewyn, drawing (Recueil d’Arras, f° 186) 57. Jean de Flandres, drawing (Recueil d'Arras, f° 58) 58. Marie de Ville, drawing (Recueil d’Arras, f° 177) 59. Jean de la Hamayde, drawing (Recueil d’Arras, f° 212) 60. Marguerite de Maingoval, drawing (Recueil d’Arras, f° 112 ) 61. Colard d’Ongnies, drawing (Recueil d'Arras, f° 223) 62. Guilbert de Lannoy, drawing (Recueil d'Arras, f° 118 ) 63. J. van Eyck, Baudouin de Lannoy, painting. Berlin, Staatliche Museen 64. Baudouin de Lannoy, drawing (Recueil d'Arras, f° 109) 65. Jean de Hainault, drawing (Recueil d'Arras, f° 27) 66. Anonymous, Margaret of Flanders, painting. Lille, Musée des Beaux-Arts 67. Rubens, Jean de Hainault and His Wife (No. 14). London, British Museum 68. Rubens, Hawking Scene (No. i4v). London, British Museum 69. Falconers, tapeStry, c. 1445. Minneapolis, Institute of Arts 70. Falconers, tapeStry, c. 1430-35 (detail). London, Victoria and Albert Museum 71. Deer Hunt, tapeStry, c. 1445-50 (detail). London, Viâoria and Albert Museum 3 72. ? A. van Dyck, Hawking Party, grisaille sketch. Present whereabouts unknown 73. Rubens, Eusiache de Morcamp and His Wife, Willem van der Bie, His Wife and Children (No. 15). London, British Museum 74. Eudache de Morcamp and His Wife, drawing (de Succa, f° 93v) 75. Willem van der Bie and His Wife, drawing (de Succa, f° 94) 76. Willem van der Bie’s Sons, drawing (de Succa, f° 94v) 77. Willem van der Bie’s Daughters, drawing (de Succa, f° 95) 78. John IV of Burgundy, drawing (de Succa, f° 11, detail) 79. Anna of Bedford, drawing (de Succa, f° 80, detail) 80. Mary of Savoy and Margaret of Savoy, drawing (de Succa, f° 79v, detail) 81. Rubens, Mary of Savoy, Margaret of Savoy, Anna of Bedford and John IV of Burgundy (No. 16). London, British Museum 82. Rubens, Jacqueline of Bavaria, Isabella of Portugal and Three Other Noblewomen (No. 17). London, British Museum 83. Jacqueline of Bavaria and Isabella of Portugal, drawing (de Succa, f° 7) 84. Ogiva of Luxembourg, drawing (de Succa, f° 83*, detail) 85. A. van Wijnendaele, Baldwin IV of Flanders and Ogiva of Luxembourg, drawing. Ghent, City Archives 86. Margaret of Bavaria, drawing (de Succa, f° 83, detail) 87.
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    DOMESTIC OBJECTS IN YORK c.1400–1600 Consumption, Neighbourhood and Choice Lisa Jane Howarth Liddy, MA PhD University of York History August 2015 Abstract Focusing on object assemblages as revealed by documentary and archaeological sources, this thesis explores the material culture of fifteenth- and sixteenth-century York households. It examines the range of objects available to York residents while investigating the ways in which they were used and displayed and the values attributed to them. The first chapter introduces the key research questions, concerning the nature of object assemblages, change over time and interdisciplinarity. It discusses the data sets used and contains an overview of the historiography of urban material culture and household archaeology in England. The second chapter explains the methodology adopted, including prosopographical scoping of the individuals whose possessions have informed this work. Using information provided by surviving buildings and probate inventories, the third chapter investigates the size and composition of York houses, focusing on the ways in which object assemblages inform the spaces found within. It argues that rooms were defined by their contents rather than their physical structure or placement, and challenges the definition and timing of “rebuilding” within the city. The fourth and fifth chapters explore various types of value attributed to object assemblages. The fourth chapter concentrates on financial value as assigned in inventories and revealed by discard practices, and advocates consideration of functional value, leading to an examination of specialization of work and organization of production. The fifth chapter focuses on affective value as revealed through testamentary description, proposing an original methodology for applying the history of emotions to material culture.
  • Page 1 February 2016 Edition by Song Title #Icanteven (I Can't Even)

    Page 1 February 2016 Edition by Song Title #Icanteven (I Can't Even)

    PAGE 1 FEBRUARY 2016 EDITION BY SONG TITLE #ICANTEVEN (I 31837 THE NEIGHBOURHOOD 187 VS FELIX (V) 30961 BOOTLEG CAN'T EVEN) (V) FT FRENCH MONTANA 19 YOU + ME (V) 27215 DAN & SHAY #SELFIE (V) 27946 THE CHAINSMOKERS 1901 (V) 23066 BIRDY $100 BILL (EXPLICIT) (V) 26811 JAY-Z 19-2000 (V) 24095 GORILLAZ (DON'T FEAR) THE REAPER BLUE OYSTER CULT (7 INCH EDIT) (V) 30394 1959 (V) 16532 LEE KERNAGHAN 1973 12579 JAMES BLUNT (I'D BE) A LEGEND RONNIE MILSAP IN MY TIME (V) 31396 1979 (V) 19860 SMASHING PUMPKINS (IF PARADISE IS) AMEN CORNER 1982 (V) 28398 RANDY TRAVIS HALF AS NICE (V) 32025 1983 (NINETEEN 21305 NEON TREES (WIN, PLACE OR SHOW) INTRUDERS EIGHTY THREE) (V) SHE'S A WINNER (V) 32232 1984 (V) 29718 DAVID BOWIE (YOU DRIVE ME) CRAZY BRITNEY SPEARS (ALBUM VERSION) (V) 31784 1985 (V) 2222 BOWLING FOR SOUP 1994 (V) 25845 JASON ALDEAN (YOU MAKE ME FEEL LIKE) 31218 ARETHA FRANKLIN A NATURAL WOMAN (V) 1999 8496 PRINCE MARTIN SOLVEIG 1999 (EXTENDED VERSION) PRINCE +1 (V) 32224 FT SAM WHITE 4347 19TH NERVOUS 0 TO 100 - THE CATCH DRAKE 9087 THE ROLLING STONES UP (EXPLICIT) (V) 30044 BREAKDOWN DESMOND DEKKER 1-LUV 6733 E-40 007 12105 & THE ACES 1ST MAN IN SPACE 23233 ALL SEEING I 1 - 2 - 3 (V) 20677 LEN BARRY (FIRST) (V) BONE THUGS N 1 2 3 O'LEARY (V) 17028 DES O'CONNOR 1ST OF THA MONTH 6874 HARMONY 1 TRAIN (V) 30741 A$AP ROCKY 2 BAD 6696 MICHAEL JACKSON 1, 2 STEP (V) 2181 CIARA FT MISSY ELLIOTT 2 BECOME 1 7451 SPICE GIRLS 1, 2, 3, 4 (SUMPIN' NEW) 7051 COOLIO 2 DOORS DOWN 13629 MYSTERY JETS 1, 2, 3, 4 (V) 3778 PLAIN WHITE T'S 2 HEARTS 12951 KYLIE MINOGUE
  • Rubenianum Fund

    Rubenianum Fund

    2012 The Rubenianum Quarterly 2 The birthplace of Rubens Rubens and beyond Carl Van de Velde It would be as idiotic to deny that Rubens, When and where was Rubens born? Van Dyck and Jordaens are the dominating The question is in itself not very important, masters of seventeenth-century Flemish art as it but as long as it remains unanswered, it would be to deny that numerous other artists of can give rise to misunderstandings among considerable talent were active in their time who the general public, which has always been are worthy of our admiration. The Rubenianum interested in trivial questions. Therefore, plays a fundamental part in the research on the Centrum Rubenianum has reconsidered the available sources. This article presents the greatest names in Flemish art, but it is also an overview of the arguments. Detailed central to the study of artists who may be less results will be published shortly. famous, but whose contributions to Flemish In the caption to an etching showing art helped define its course. It is they who made Rubens’s portrait that was published our sixteenth and seventeenth centuries a true in Antwerp in 1649 by Jan Meyssens Golden Age: not a period in which artistic (1612–1670), he is said to have been born excellence was the domain of a few exceptional in Antwerp on the 28th of June 1577. personalities, but an age in which it seems to The likeness is based upon Paul Pontius’s engraving of 1630, but shows the artist have flourished like never before. In my own field of speciality, works on paper, J.