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CORPUS RUBENIANUM MC / f / i LUDWIG BURCHARD PART XIX PORTRAITS II. ANTWERP - IDENTIFIED SITTERS BY HANS VLIEGHE 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 TRANSLATED FROM THE DUTCH BY P. S. FALLA SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE ‘NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE XVIde EN DE XVIUe EEUW’ R.-A. d ’h u ls t, President ■ f. Baudouin, Secretary • r. pandelaers, Treasurer N. DE POORTER • A. STUBBE • H. L1EBAERS • J. K. STEPPE • C. VAN DE VELDE • H. VLIEGHE RESEARCH ASSISTANTS! A. BALIS • H. DEVISSCHER • P. HUVENNE • M. VANDENVEN RUBENS PORTRAITS OF IDENTIFIED SITTERS PAINTED IN ANTWERP BY HANS VLIEGHE HARVEY MILLER PUBLISHERS Originating Publisher h a r vey m iller ltd • 20 Marryat Road • London sw 19 5BD Published in the United States by o x f o r d u n iv e r s it y press • New York © 1987 N ationaal C en trum voor de Plastische Kunsten van de i6dc en de 17de Eeuw British Library Cataloguing in Publication Data Vlieghe, Hans Rubens portraits of identified sitters painted at Antwerp.— (Corpus Rubenianum Lu d w ig Burchard; part 19, v. 2). i. Rubens, Peter Paul “Catalogs I. T itle II. Rubens, P eter Paul III. D e schilder Rubens. E n g lish 759.9493 ND673.R9 ISBN 0-9052.03-57-7 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 9 Introduction 21 Catalogue Raisonné 33 Illustrations 207 Sources of Photographs 370 Indexes: 371 I Collections 371 II Subjects 37H III • Other Works by Rubens mentioned in the Text 38S IV • Names and Places 390 AUTHOR’S PREFACE s e x p l a i n e d in the Editors’ Foreword to the first volume of Portraits in A.the Corpus Rubenianum Ludwig Burchard, it was decided in consultation with the author, Professor Frances Huemer, to divide the material into three sections. P o r tr a its Volume I dealt with those executed by Rubens outside the Southern Netherlands, generally for foreign princes. A second volume was to list portraits painted in Antwerp, which is by far the largest part of the total. A third volume was intended to cover portraits which Rubens did not paint from life but which were free variations on existing, mostly earlier prototypes, though they could not be described as copies pure and simple. The task of cataloguing the portraits in the second category was assigned to me. However, as the work proceeded it became clear that the material was so voluminous that a further subdivision would be necessary. Consequently the present volume deals only with portraits, painted in Antwerp, of sitters whose identity is known. Other portraits painted in Antwerp will be dealt with either in a separate volume or together with portraits executed alter prototypes by other artists. The latter will naturally comprise for the most part portraits ol sitters whom Rubens did not know in the flesh, such as Charles the Bold or Philip II on Horseback: however, there are also some portraits of contemporaries which, it is known, Rubens had to execute after models by other artists. Thus the famous emblematic portrait of Olivares ex archetypo Veldçqueç is not dis­ cussed in this volume but will be included in the catalogue of portraits after prototypes by other hands. The same volume will also contain those portraits of deceased and contemporary sitters which form the so-called ‘studiolo’ of Balthasar Moretus. This will be discussed as a single group. According to the rules of the Corpus Rubenianum any known record of por­ traits by or after Rubens, representing one of the sitters described in this book, is listed or discussed in some way in the present volume. An exception, how­ ever, had to be made in the case of the innumerable sales references of sup­ posed representations of the Archducal couple, Rubens himself, and his two wives. Here I have deliberately confined myself to those references which can clearly be linked to the known— and here discussed -versions of those portraits. A word may also be said about the many portraits which, not always for obvi­ ous reasons, are supposed to represent Rubens’s children. In the present book I 7 PREFACE have listed those portraits where the sitters can clearly be recognized as the painter’s children. More dubious cases however, like the so-called Nicolaas in the Albertina in Vienna (Inv. No. 17650) and the so-called Clara-Serena in the Liechtenstein Collection in Vaduz, will be discussed in the third volume of P o r tr a its . Frances Huemer’s account in P o r tr a its I was prefaced by a series of fairly full essays on, inter alia, Rubens as a court painter. These naturally apply to other works as well as those catalogued in thefirst volume.Professor Huemer touched on aspects of court portraits executed by Rubens in the Southern Netherlands, but did not deal so fully with the artistic evolution reflected in his portraits and the preliminary processes that applied more specifically to them. In my introduction, I will therefore examine how in portraits (as in religious, mythological, allegorical and historical scenes) Rubens began by applying the monumental sense of form that he had learnt in Italy but, after his return to the Southern Netherlands, adapted it to traditions of style and iconography that were current in his native country. I have also tried to make it clear to how great an extent, in the spirit of the time, Rubens’s portraits were the result of intense study from life as well as reflecting an artistic practice which had firm huma­ nist roots. I am happy to express my thanks to all who have helped, directly or indirectly, in the preparation of this volume, either with information of various kinds or with photographs. In this respect I want especially to mention the names of Rudiger an der Heiden, Arnout Balis, Françoise Baligand, Frans Baudouin, Rein­ hold Baumstark, Beatrijs Brenninkmeyer-de Rooij, Marco Chiarini, Julius Chroscicki, Klaus Demus, Nora De Poorter, Roger-A.d’Hulst, Jacques Foucart, David Freedberg, Egbert Haverkamp-Begemann, David Jafie, Ulla Krempel (f), Walter Liedtke, Gregory Martin, Anneliese Mayer-Meintschel, Hans Mielke, Sir Oliver Millar, Konrad Renger, Margaretta Salinger, Jaromir Sip, Lubomir Slavicek, Julian Stock, Jerzi Szablonski, Katlijne Van der Stighelen, Carl Van de Velde and Marc Vandenven. I am also very grateful to P. S. Falla, who took care of the translation, as well as to Elly Miller and Clare Rendell, for their expert help in making this manuscript ready for print. Last, not least, I should like to thank Nelly De Vleeschouwer-Verreydt, for her patience and efficiency in typ­ ing my often nearly illegible manuscript. Antwerp, 1987 ABBREVIATIONS Literature : Adler, Landscapes W . A d le r , Landscapes (Corpus Rubenianum Ludwig Burchard, XVIII, i), London-Oxford-New York, 1982. Alpers, Torre S. A lp e r s, The Decoration of the Torre de la Parada (Corpus Rube­ nianum Ludwig Burchard, IX), Brussels-London-New York, 1971. an der Heiden, Bildnisse R. an der Heiden, Peter Paul Rubens und die Bildnisse seiner Familie in der Alten Pinakothek, Munich, 1982. Baetjer, Cat. New York K. Baetjer, European Paintings in the Metropolitan Museum of Art by Artists born in or before 18 63; a summary catalogue, I—III, New York, 1980. Basan F. B asan, 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. Nouvelle édition, corrigée, considérablement augmentée, & précédée de la vie de Rubens. Troisième partie fai­ sant suite au dictionnaire des graveurs anciens gr modernes, Paris, 1767. Bellori, Vite G.P. Bellori, Le vite de’ pittori, scvltori et architetti moderni, Rome, 1672. Berbie, Description, n t 1 [Cî.Berbie], Description des principaux ouvrages de peinture et sculpture, actuellement existons dans les églises, couvens àr lieux publics de la ville d ’Anvers, 3rd edn., Antwerp, 1757. Bernard-Maitre H. Bernard-Maître, T n portrait de Nicolas Trigault, dessiné par Rubens?’, Archivium historicum Societatis fesu, XXII, 1953, pp.308-313. Bernhard, Verlorene Werke Marianne Bernhard, Verlorene Werke der Malerei. In Deutsch­ land in der Zeit von 1939 bis 194 s zerstörte und verschollene Ge­ mälde aus Museen und Galerien, Munich, 1965. Bock-Rosenberg R. Bock and J. Rosenberg, Staatliche Museen zußerlin.Die nieder­ ländischen Meister. Beschreibendes Verzeichnis sämtlicher Zeich­ nungen (Die Zeichnungen alter Meister im Kupferstichkabinett, ed. by M.J. Friedländer), I—II, Berlin, 1930. Bode, Kritik und Chronologie W. Bode, ‘Kritik und Chronologie der Gemälde von Peter Paul Rubens’, Zeitschrift fü r bildende Kunst, N .F ., X VI, 1905, pp.200-203. Braham, Princes Gate [H.Braham], The Princes Gate Collection, London, [198t]. Bréjon-Foucart-Reynaud A.Bréjon de Lavergnce, J.Foucari and M.Rcvnaud, C atalogue sommaire illustré des peintures du Musée du Louvre. I. École f la ­ mande et hollandaise, Paris, 1979- 9 ABBREVIATIONS Burchard, Anmerkungen L. Burchard, 'Anmerkungen zu den Rubens-Bildern der Al­ ten Pinakothek in München’, Kunstchronik, N.F., XXIII, 1912, pp.257-264. Burchard, Nachträge [L. Burchard], N achträge, in Glück, Rubens, Van Dyck, pp.371- 419. Burchard-d’Hulst, Drawings L. Burchard and R.-A.

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