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. d’Hulst, Rubens Drawings (Monographs o f the 'Nationaal Centrum voor de Plastische Kunsten van de XVIde en de XVIIde Eeuw’, II), I—II, Brussels, 1963.

Cat. Düsseldorf, 1770 Catalogue des tableaux qui se trouvent dans les galeries du Palais de S.A.S.E. Palatine à Dusseldorff, Düsseldorf, 1770.

Cat. Munich, 1936 Amtlicher Katalog. Aeltere Pinakothek, Munich, 1936.

Cat. Munich, 1983 Alte Pinakothek München. Erläuterungen çu den ausgestellten Ge­ m älden. Munich, 1983.

Cat. Vienna, 1928 Katalog der Gemäldegalerie, Vienna, 1928.

Cat. Vienna, 1938 Katalog der Gemäldegalerie, Vienna, 1938.

Cat. Vienna, 1933 [K. Demus], Kunsthistorisches Museum Wien. Verzeichnis der Ge­ m älde, Vienna, 1973.

Chros'cicki, Rubens J. A. Chroscicki, ‘Rubens w Polsce’, Rocçnik Historii Sçtuki, XII, 1981, pp.133-219.

Conway, Memorial Volume [M. Conway ed.], Catalogue of the Loan Exhibition o f Flemish and Belgian Art, Burlington House London 1921, London, 1927.

Cruçada Villaamil, Rubens G.Cruzada Villaamil, Rubens, diplomdtico espahol, sus viajesd Espana y noticia de sus cuadros, segun los inventarios de las casas reales de Austria y de Borbon, Madrid [1872].

Daugherty, Self-Portraits F.P.Daugherty, The Self-Portraits of Peter Paul Rubens: Some Problems in Iconography, Ann Arbor, 1976. de Blainville, Travels de Blainville, Travels through Holland, Germany, Switzerland, but especially Italy, I—III, London, 1757. de Jongh, Zinne- en minnebeelden E. de Jongh, Zinne- en minnebeelden in de schilderkunst van de Zeventiende eeuw, s.l., 1967.

De Maeyer, Albrecht en Isabella M. De Maeyer, Albrecht en Isabella en de Schilderkunst. Bijdrage tot de geschiedenis van de XVIF-eeuwse schilderkunst in de Zuide­ lijke Nederlanden {Verhandelingen van de Koninklijke Vlaamse Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Klasse der Schone Kunsten, IX), Brussels, 1955.

Denucé, Konstkamers J. Denucé, De Antwerpsche 'Konstkamers’. Inventarissen van kunstverzamelingen te Antwerpen in de 16e en 17e eeuwen (Bron­ nen voor de geschiedenis van de Vlaamsche kunst, II), Antwerp, 1932.

Denucé, Na Rubens J. Denucé, Na Peter Pauwel Rubens. Documenten uit den kunst­ handel te Antwerpen in de XVIIe eeuw van Matthijs Musson (Bronnen voor de geschiedenis van de Vlaamsche kunst, V), Ant- werp-The Hague, 1949.

10 ABBREVIATIONS

De Poorter, Eucharist N. De Poorter, The Eucharist Series (Corpus Rubenianum Ludwig B urchard, II), I—II, Brussels-London-New York, 1978.

Descamps, Vie J.B. Descamps, La vie des peintres flamands, allemands et hollan­ dais, I, Paris, 1753.

Descamps, Voyage J.B.Descamps, Voyage pittoresque de la Flandre et du Brabant, Avec des Réflexions relativement aux Arts quelques Gravures, Paris, 1769.

De Wit, Kerken J. de Wit, De kerken van Antwerpen, met aanteekeningen door J. de Bosschere en grondplannen, Antwerp-The Hague, 1910.

Diaz Padrôn, Cat. Prado M.Di'az Padrôn, Museo de! Prado, Catdlogo de pinturas, I, Es- cuela flamenca siglo XVII, I—II, Madrid, 1075.

Dillis, Cat. Munich G. von Dillis, Verzeichnis der Gemälde in der königlichen Pinako­ thek zu München, Munich, 1838.

Dillon, Rubens E. Dillon, R uben s, London [1909].

Dutuit, Manuel E. Dutuit, Manuel de I’amateur d’estampes, VI, Paris, 1885,

Duverger, Van Hecke E. Duverger, ‘De verzameling schilderijen van de Antwerpse zijde-en tapijthandelaar Peter van Hecke de Jonge, schoon­ broer van P.P.Rubens, naar een inventaris van 1646’, Jaarboek Koninklijk Museum voor Schone Kunsten Antwerpen, 1971, pp. 143-173.

Eastlake, Notes Ci. Eastlake, Notes on the principal pictures in the Old Pinakothek at M u n ich , London, 1884.

Engerth, Cat. Vienna E.R. von Engerth, Gemälde. Beschreibendes \'erzeichniss, II, niederländische Schulen, Vienna, 1884.

Eriz, Brueghel K .Ertz, Jan Brueghel der Aeltere (t;bH-n>2s), die Gemälde mit kritischem Œuvrekatalog, Cologne, [1979],

Evers, Neue Forschungen H.G.Evers, Rubens und sein Werk, neue Forschungen, Brussels, 1943.

Evers, Rubens H.G.Evers, Peter Paul Rubens, Munich, 1942.

Fierens-Gevaert H. Fierens-Gevaert, in Trésor de l'art belge au XVIIe siècle. Mé­ morial de l’exposition d'art ancien à Bruxelles en 1910,1—II, Brus­ sels, 1912.

Friedländer M.J. Friedländer, Early Netherlandish Painting, I-XIV, Brussels, 1967-1976.

Fry, Flemish Art R.Fry, ‘Flemish Art at Burlington House. II. The Later Schools’, The Burlington Magazine, L, 1927, pp.132-133, 136- t 3 9­

Génard, Rubens P. Génard, P. P. Rubens. Aanteekeningen over den grooten meester en zijn bloedverwanten, Antwerpen, 1877.

Gerson-ter Kuile H.Gerson and E.H. ter Kuile, Art and Architecture in Belgium, 1600-1800 (The Pelican Historv of Art), Harmondsworth, i960.

Glück-Haberditçl G.Glück and F.M.Haberditzl, Die Handzeichnungen von Peter Paul Rubens, Berlin, 1928.

II ABBREVIATIONS

Glück, Liebesgarten G. Glück, ‘Rubens’ Liebesgarten’, Jahrbuch der kunsthistori, sehen Sammlungen des allerhöchsten Kaiserhauses, XXXV, 1920, pp.49-98.

Glück, Portrait G.Glück, ‘Rubens as Portrait Painter’, The Burlington Maga­ z in e , LXXVI, 1940, pp.173-183.

Glück, Review G.Glück [Review of K .d.K ., ed. Rosenberg], Kunstgeschichtliche A n ze ig e n , 1905, pp.51-64.

Glück, Rubens, Van Dyck G. Glück, Rubens, Van Dyck und ihr Kreis (Gustav Glück, Ge­ sammelte Aufsätze, ed. by L.Burchard and R. Eigenberger, I), Vienna, 1933.

G o ris-H eld J. A.Goris and J. S. Held, Rubens in America, New York, 1947.

Graf- en Gedenkschriften P.Génard et a i, Verzameling der graf- en gedenkschriften van de Provincie Antwerpen— Inscriptions funéraires et monumentales de la Province d'Anvers, I-IX, Antwerp, 1856-1931.

Haverkamp Begemann, Achilles E. Haverkamp Begemann, The Achilles Series (Corpus Rubenia- num Ludwig Burchard, X), Brussels-London-New York, 1975.

Haverkamp Begemann, Olieverfschetsen [E. Haverkamp Begemann], [Cat. Exh.] Olieverfschetsen van R ubens (Museum Boymans, Rotterdam, 1953-1954), Rotter­ dam, 1953.

Hecquet, Rubens R. Hecquet, Catalogue des estampes gravées d’après Rubens, au­ quel on a joint l’œuvre de Jordaens, & celle de Visscher, avec un secret pour blanchir des estampes & en ôter les taches d’huile, Paris, 175t.

Held, Drawings J. S. Held, Rubens, Selected Drawings, W ith an Introduction and a Critical Catalogue, I—II, London, 1959.

Held, Oil Sketches J. S. Held, The Oil Sketches o f Peter Paul Rubens, A Critical Cata­ logue, I—II, Princeton, NJ, 1980.

Held, Rubens J.S.Held, Rubens and his Circle, Princeton, 1982.

Henkel-Schöne A. Henkel and A. Schone, Emblemata. Handbuch zur Sinnbild­ kunst des XVI. und XVII.Jahrhunderts, I—II, Stuttgart [1967-76].

Hervey, Arundel M. F. R. Hervey, The Life, Correspondence and Collection o f Tho­ mas Howard, Earl of Arundel, Cambridge, 1921.

Hind, Rubens A. M. Hind, Catalogue o f Drawings by Dutch and Flemish Artists preserved in the Department of Prints and Drawings in the British M u seu m , II, Drawings by Rubens, Van Dyck and other Artists of the Flemish School of the XVII Century, London, 1923.

H ollstein F.W.H.Hollstein et a l, Dutch and Flemish Etchings, Engravings and Woodcuts, ca. 1430-1700,1-XXIX, Amsterdam, 1949-1984 (in progress).

Huemer, Portraits F. Huemer, Portraits (Corpus Rubenianum Ludwig Burchard, XIX, 1), Brussels-London-New York, 1977.

Hymans, Gravure H. Hymans, Histoire de la gravure dans l'école de Rubens, Brus­ sels, 1879.

12 ABBREVIATIONS

Hymans, Vorsterman H. Hymans, Lucas Vorsterman. Catalogue raisonné de son œuvre, précédé d’une notice sur la vie et les ouvrages du maure, Brussels, 1893.

Jaffé, Exhibitions M.Jaffé, ‘Exhibitions for the Rubens Year’, The Burlington M a g a zin e, C.XIX, 1977, pp.620-631; CX.X, 1978, pp.131-145, 346. 349-

Jaffé, Rubens and Italy M.Jafte, Rubens and Italy, Oxford, 1977.

Jaffé, Warsaw M.Jafle, ‘Rubens Drawings in the Warsaw University Library', Bulletin du Musée National de Varsovie, W H , 1976, pp.83-96.

Judson-Van de Velde J.R.Judson and C. Van de Velde, Book Illustrations and Title- Pages (Corpus Rubenianum Ludwig Burchard, XXI), I—II, Brussels­ London—Philadelphia, 1978.

Karsch, Cat. Düsseldorf G.J.Karsch, Désignation exacte des peintures dans la Galerie de la Résidance à Dusseldorff, Düsseldorf, 1719.

K .d .K . P.P. Rubens. Des Meisters Gemälde in jjs Abbildungen, ed. by R.Oldenbourg (Klassiker der Kunst, V), 4th edn., Stuttgart­ Berlin, 1921.

K.d.K., ed. Rosenberg P.P.Rubens. Des Meisters Gemälde in su Abbildungen, ed. by A. Rosenberg (Klassiker der Kunst, V), ist edn., Stuttgart-Leip­ zig, 1906.

K.d.K., Van Dyck, Van Dyck. Des Meisters Gemälde in 571 Abbildungen, ed. by G.Glück (Klassiker derKunst,Xlll), 2nd edn., Stuttgart-Berlin­ London, 1931.

K.d.K., Van Dyck, ed. Schaffer E. Schaffer, Van Dyck. Des Meisters Gemälde (Klassiker der Kunst, XIII), Stuttgart, 1909.

Köhler-Lutterbeck U.R.Köhler-Lutterbeck, P.P.Rubens und das Familienportrait. Kommentare çum Thema der Familie im Werk des Malers, Kiel, 1975.

Krempel, M ax Emanuel Ulla Krempel, ‘Max Emanuel als Gem äldesam m ler’, in Gat. Exh. Schleissheim, 1976,1, pp.221-238.

Kuznetsov, Risunki J.I.Kuznetsov, Risunki Rubensa, Moscow, 1974.

L. F.Lugt, Les marques de collections de dessins & d'estampes. M ar­ ques estampillées et écrites de collections particulières et publiques. Marques de marchands, de monteurs et d’imprimeurs. Cachets de vente d'artistes décédés. Marques de graveurs apposées après le tirage des planches. Timbres d'édition. Etc. Avec des notices histo­ riques sur les collectionneurs, les collections, les ventes, les marchands et éditeurs, etc., Amsterdam, 1921.

L., S u p p l. F.Lugt, Les marques de collections de dessins & d’estampes. M ar­ ques estampillées et écrites de collections particulières et publiques. Marques de marchands, de monteurs et d’imprimeurs. Cachets de vente d’artistes décédés. Marques de graveurs apposées après le tirage des planches. Timbres d’édition. Etc. Avec des notices histo­ riques sur les collectionneurs, les collections, les ventes, les marchands et éditeurs, etc., Supplément, The FIague, 1956.

13 ABBREVIATIONS

Larsen, Rubens E. Larsen, P. P. Rubens. With a Complete Catalogue of his Works in America, Antwerp, 1952.

Liedtke, Cat. New York W. A. Liedtke, Flemish Paintings in the Metropolitan Museum of A r t, I—II, New York, 1984.

López Navió J. López Navió, ‘La gran collección de pinturas del Marqués de Leganés’, Analecta Calasanctiana, 1962, pp.259-330.

Lugt, Cat. Louvre, École flamande F.Lugt, École flamande (Musée du Louvre, Inventaire général des dessins des écoles du Nord), I—II, Paris, 1949.

Madrazp, Cat. Prado P. de Madrazo, Catalogo de los cuadros del Real Museo de Pin- tura, Madrid, 1845.

Marggrajf, Cat. Munich R. Marggraff, Die ältere K. Pinakothek zu München. Beschreiben­ des Verzeichnis, Munich, 1865.

Martin, Cat. National Gallery G. Martin, The Flemish School, circa 1600-circa 1900 (National Gallery Catalogues), London, 1970.

Martin, Pompa J. R. Martin, The Decorations for the Pompa Introitus Ferdinandi (Corpus Rubenianitm Ludwig Burchard, XVI), Brussels-London- New York, 1972.

Mauquoy-Hendrickx M. Mauquoy-Hendrickx, L’Iconographie d’Antoine Van Dyck. Catalogue raisonné, I—II, Brussels, 1956.

Mechel, Verzeichnis C. von Mechel, Verzeichnis der Gemälde der Kaiserlich König­ lichen Bilder Gallerie in Wien, Vienna, 1783.

Mensaert, Peintre G. P. Mensaert, Le Peintre Amateur et Curieux, Ou Description Générale des Tableaux des plus habiles Maîtres, qui font l’orne­ ment des Eglises, Couvents, Abbayes, Prieurés & Cabinets parti­ culiers dans l'étendue des Pays-Bas Autrichiens, I—II, Brussels, 1763.

Michel, Histoire J. F. M. Michel, Histoire de la vie de P. P. Rubens, Chevalier, ir Seigneur de Steen, Illustrée à’ Anecdotes, qui n’ont jamais paru au Public, & de ses tableaux étalés dans les Palais, Eglises & Places publiques de l’Europe: & par la Démonstration des Estampes existantes & relatives à ses Ouvrages, Brussels, 1771.

Michel, Rubens E. Michel, Rubens, sa vie, son œuvre et son temps, Paris, 1900.

Mielke-Winner H.Mielke and M.Winner, Peter P a u l Rubens. Kritischer Katalog der Zeichnungen. Originale-Umkreis-Kopien(Die Zeichnungen alter Meister im Berliner Kupferstichkabinett, Staatliche Museen preussi- scher Kulturbcsitz), Berlin, 1977.

MUller Hofstede, Damenporträts J. Müller Hofstede, ‘Höfische und bürgerliche Damen­ porträts: Anmerkungen zu Rubens’ Antwerpener Bildnis­ malerei, 1609-1620’, Pantheon, XLI, 1983, pp.308-321.

Parker-Mathey K. T. Parker and J. Mathey, Antoine Watteau. Catalogue complet de son œuvre dessiné, I—II, Paris [1957].

Parthey, Bildersaal G. Parthey, Deutscher Bildersaal. Verzeichnis der in Deutschland vorhandenen Oelbilder verstorbener Maler aller Schulen in alpha­ betischer Folge zusammengestellt, I—II, Berlin, 1863-1864. 14 ABBREVIATIONS

Pigage, Cat. Düsseldorf N. de Pigage, La Galerie Electorale de Dusseldorff'ou Catalogue raisonné de ses tableaux, Brussels, 1781.

Reber, Cat. Munich F. v o n R e b e r, Katalog der Gemäldesammlung der K. Älteren Pinakothek çu München, Munich, 1884,

Renger, Rubens Dedit K. Renger, ‘Rubens Dedit Dedicavitque. Rubens' Beschäfti­ gung mit der Reproduktionsgrahk, I. Teil : Der Kupferstich’, Jahrbuch der Berliner Museen, X V I, 1974, PPU22-175; ‘II.T e il: Radierungen und Holzschnitt - Die Widmungen’, ibid., XVII, 1975, pp.166-213.

Reynolds, Journey [J. R eyn o ld s], A Journey to Plunders and Holland in the year MDCCLXXXI, printed in The Literary Works of Sir Joshua Rey­ nolds, ed. by H.W.Beechey, II, London, 1852, pp.139-236.

Rietstap, Armorial J.B. Rietstap, Armorial général précédé d'un dictionnaire des ter­ mes du blason, I—II, Gouda, 1884-87.

Rietstap, Armorial Illustré J.B.Rietstap, Armorial généra! illustré. I—VI, The Hague, 1903-26.

Rombouts-Van Leri us P.Rombouts and T. Van Lerius, De liggeren en andere histori­ sche archieven der Antwerpsche Sint Lucasgilde— Les liggeren et autres archives de la gilde anversoise de Saint Luc, I—II, A n t w e r p - The Hague f1872-?].

Rooses M .R o o ses, L'Πuvre de P.P.Rubens. Histoire et description de ses tableaux et dessins, I-V, Antwerp, 188(1-1892.

Rooses-Ruelens Correspondance de Rubens et documents épistolaires concernant sa vie et sesœuvres, publiés, traduits, annotés par Ch.Ruelens (I) ,p a r M ax Rooses et feu Ch. Ruelens (II-VI), I-VI, Antwerp, 1887-1909.

Rooses, Vlaamsche Kunst M. Rooses, ‘De Vlaamsche kunst in de 17e eeuw tentoon­ gesteld in het Jubelpaleis te Brussel in 1910. De schilderijen’, Onze Kunst, X, 1911, pp.1-12.

Rowlands, Rubens Drawings J. Rowlands, Rubens Drawings and Sketches. Catalogue o f an E x ­ hibition at the Department of Prints and Drawings in the British M u seu m , 1977, London, 1977.

Rubens-Bulletijn Rubens-Bulletijn, Jaarboeken der ambtelijke commissie ingesteld door den gemeenteraad der Stad Antwerpen voor het uitgeven der bescheiden betrekkelijk het leven en de werken van Rubens— Bulle- tin-Rubens. Annales de la commission officielle instituée par le con­ seil communal de la Ville d’Anvers pour la publication des docu­ ments relatifs <1 la vie et auxœuvres de Rubens, I-V, 1882-1910.

Scharf, Cat. Blenheim G. Scharf, Catalogue Raisonné or a List of the Pictures in Blenheim Palace, London, 1862.

Schönbrunner-Meder J.Schönbrunner and J.Meder, Handzeichnungen alter Meister aus der Albertina und anderen Sammlungen, I—XIII, Vienna, 1896-1908.

Seilern, Addenda [A . Seilern ], Flemish Paintings and Drawings at 56 Princes Gate, London SW j, Addenda, IV, London, 1969.

Seilern, Corrigenda and Addenda [A . S eilern], Corrigenda & Addenda to the Catalogue of Paintings & Drawings at 56 Princes Gate, London SW~, London, 1971.

15 ABBREVIATIONS

Seilern, Flemish Paintings [A. Seilern], Flemish Paintings & Drawings at j6 Princes Gate L ondon S W 7 ,1, London, 1955.

Smith, Catalogue Raisonné J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, In which is included a short Biographical Notice o f the Artists with a Copious Description of their principal Pictures..., I-IX, London, 1829-1842.

Sonnenburg, Bildaufbau H. von Sonnenburg, ‘Rubens' Bildaufbau und Technik’, M a l- technik-Restauro, 1979, pp.77-100, 181-203.

Speth-Holterhoff, Cabinets S. Speth-Holterhoff, Les peintres flamands de cabinets d’amateurs auXVIIesiècle (Les peintres flamands du XVIIe siècle, ed. by L.Van Puyvelde, VII), Brussels, 1957.

Stampart-Prenner F. Stampart and A. Prenner, Prodromus oder Vor-Licht des eröff­ ne ten Schau- und Wunder-Prachtes aller deren an dem Kaiserl. H of... Carl des Sechsten ... sich befindlichen Kunst-Schätzen und Kostbarkeiten..., Vienna, 1735.

Stuart Worthy C. Stuart Wortley, ‘Rubens’s Drawings of Chinese Costume’, Old Master Drawings, IX, 1934, pp.40-47.

Uffizi, Cat. 1980 Gli Uffizi- Catalogo Generale, Florence, 1980.

Valentiner, Rubens in America W.R. Valentiner, ‘Rubens’ Paintings in America’, T h e A r t Q u arterly, IX, 1946, pp.153-168.

Van den Wijngaert, Prentkunst F. Van den Wijngaert, Inventaris der Rubeniaansche prentkunst, Antwerp, 1940. van Gelder, Rubens Marginalia J.G. van Gelder, ‘Rubens Marginalia’, I—IV, The Burlington M a g a zin e, CXX, 1978, pp.450, 455-457. 839-844; CXXII, 1980, pp.164-168; CXXIII, 1981, pp.542-546.

Van Gooi, Nieuwe Schouburg J. Van Gooi, De nieuwe schouburg der nederlantsche kunstschilders en schilderessen, I—II, The Hague, 1750-51.

Van Puyvelde, Esquisses L. Van Puyvelde, Les esquisses de Rubens, Basle, 1940.

Van Puyvelde, Portraits L. Van Puyvelde, ‘Les Portraits de femmes de Rubens’, La Revue de l’art ancien et moderne, April, 1937, pp.1-24.

Van Puyvelde, Rubens L. Van Puyvelde, Rubens (Les peintres flamands du XVIIe siècle, ed. by L- Van Puyvelde, II), Paris-Brussels, 1952.

Varshavskaya, Rubens M. Varshavskaya, Rubens’ Paintings in the Hermitage Museum [Russ.], Leningrad, 1975.

Vlieghe, Lunden H. Vlieghe, 'Une grande collection anversoise du dix-sep­ tième siècle: le cabinet d’Arnold Lunden, beau-frère de Ru­ bens’, Jahrbuch der Berliner Museen, XIX, 1977, pp.172-204.

Vlieghe, Remarks H. Vlieghe, ‘Some remarks on the identification of sitters in Rubens’ portraits', The Ringling Museum o f Art Journal, 1, 1983, pp.106-115.

Vlieghe, Saints H. Vlieghe, Saints (Corpus Rubenianum Ludwig Burchard, VIII), I—II, Brussels-London-New York, 1972-1973.

16 ABBREVIATIONS

v . s . C.G. Voorhelm Schneevoogt, Catalogue des estampes gravées d ’après P.P. Rubens, avec l’indication des collections où se trouvent les tableaux et les gravures, Haarlem, 1873. Waagen, Galleries G. F.Waagen, Galleries and Cabinets o f Art in Great Britain. Being an account of more than forty collections of Paintings, Drawings, Sculptures, Mss., visited in 1834 and 1836, and now for the first time described. Forming a Supplemental Volume to the Treasures of Art in Great Britain, three Volum«, London, 1857.

Waagen, Kunstwerke G. F.Waagen, Kunstwerke und Künstler in England und Paris, I—III, Berlin, 1837-1839,

Waagen, Treasures G. F.Waagen, Treasures o f A r t in G reat Britain. Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illu­ minated M ss., etc, etc., I—III, London, 1854.

Warnke, Kommentare M.Warnke, Kommentare zu Rubens, Berlin, 1965.

Warnke, Rubens M.Warnke, Peter Paul Rubens. Leben und Werk, Cologne [1977].

Wethey, Titian H. Wethey, The Paintings of Titian, I—III, London [1969-75].

Exhibitions :

Amsterdam, 1933 Rubens-tentoonstelling, Gallery J.Goudstikker, Amsterdam, August-September 1933.

Antwerp, 1927 Petrus Paulus Rubens herdacht, 1 p ; - j 9 1 ', Koninklijk Museum voor Schone Kunsten, Antwerp, 1927.

Antwerp, 1930 Wereldtentoonstelling voor koloniën, zeevaart en Oud-Vlaamsche kunst, Antwerp, June-September 1930.

Antwerp, 1936 Tekeningen van P.P.Rubens, Rubenshuis, Antwerp, June-Sep­ tember 1956.

Antwerp, 1977 P.P.Rubens. Schilderijen, olieverfschetsen, tekeningen. Tentoon­ stelling, Koninklijk Museum voor Schone Kunsten, Antwerp, June-September 1977.

Berlin, 1977 Peter Paul Rubens, Staatliche Museen preussischer Kultur­ besitz, Kupferstichkabinett, Berlin, 1977.

Berne, 1949-30 Kunstwerke der Münchner Museen, Kunstmuseum, Berne, Sep­ tember 1949-February 1950.

Brussels, 1S86 Tableaux de maîtres anciens, Académie Royale de Belgique, Brussels, 1886.

Brussels, 1910 L’art belge au XVile siècle, Musées Royaux des Beaux-Arts de Belgique, Brussels, 1910.

Brussels, 1937 Esquisses de Rubens, Musées Royaux des Beaux-Arts de Belgi­ que, Brussels, 1937.

Brussels, 1938-39 Dessins de Pierre-Paul Rubens, Palais des Beaux-Arts, Brussels, 1938-1939­

1 7 ABBREVIATIONS

Brussels, 1948 De meesterwerken van de Pinacotheek van München, Palais des Beaux-Arts, Brussels, April-July 1948.

Brussels, 1949 De Van Eyck à Rubens, Dessins de maîtres flamands, Palais des Beaux-Arts, Brussels, March-April 1949.

Brussels, 1933 Rubens, esquisses-dessins, Musées Royaux des Beaux-Arts de Belgique, Brussels, 1953.

Brussels, 1965 Le siècle d e R u ben s, MuséesRoyaux desBeaux-Arts de Belgique, Brussels, 1965.

Cambridge-New York, 1936 Drawings and Oil Sketches by P. P. Rubens from American Collec­ tions, Fogg Art Museum, Cambridge,Mass., January-February 1956; The Pierpont Morgan Library, New York, March­ April 1956.

Cincinnati, 1948 Nicolas Poussin. Peter Paul Rubens, Art Museum Cincinnati, February-March 1948.

D etroit, 1936 Sixty Paintings and Some Drawings by Peter Paul Rubens, The Detroit Institute of Arts, Detroit, February-March 1936.

Detroit, 1978 Homage to Rubens, The Detroit Institute of Arts, Detroit, January-April 1978.

Elewijt, 1962 Rubens Diplomaat, Rubenskasteel, Elewijt, July-September 1962.

Florence, 1977 Rubens e la pittura fiamminga del Seicento— Rubens et la peinture flamande du XVIIème siècle, Palazzo Pitti, Florence, July- October 1977.

G ra ç , 1974 Rubens und sein Kreis, Künstlerhaus, Graz, 1954.

Helsinki, 1972-77 P. P. Rubens, esquisses, dessins, gravures, Ateneum, Helsinki, December 1952-January 1953.

Leningrad, 1978 Rubens iflamandskoe barokko, Hermitage, Leningrad, 1978.

London, 1837 One Hundred Original Drawings by Sir P. P. Rubens, Collected by Sir Thomas Lawrence, Royal Academy, London, 1835,

London, 1927 Flemish and Belgian Art, Royal Academy, London, 1927.

London, 1938 17th Century Art in Europe, Royal Academy, London, 1938.

London, 1949 Masterpieces from the Alte Pinakothek at Munich, National Gal­ lery, London, 1949.

London, 1930 A Loan Exhibition of Works by Peter Paul Rubens, Kt., W ilden­ stein and Co., London, October-November 1950.

London,1973-74 Flemish Art 1300-1700, Royal Academy, London, 1953-54.

London,1961 Oil Sketches and Smaller Pictures by Sir Peter Paul Rubens, T. Agnew and Sons, Ltd., London, February-March 1961.

London, 1972 The Age of Charles I. Painting in England 1620-1649, Tate Gal­ lery, London, 1972.

London, 1974 Portrait Drawings X V-XX Centuries, British Museum, London, August-Decem ber 1974. 18 ABBREVIATIONS

London,1977 Rubens Drawings and Sketches, British Museum, London, 1977.

Los Angeles, 1946 Loan Exhibition of Paintings by Rubens and Van Dyck, Los Ange­ les County Museum, Los Angeles, November-December 1946.

Madrid, 1977-7 $ Pedro Pablo Rubens (1377-1640). Exposition llomenaje, Palacio de Velazquez, Madrid, December 1977-March 1978.

N ew York, 192.7 Exhibition Commemorating the 330th Anniversary of P. I’. Rubens, The Gallery of P. Jackson Higge, New York, 1927.

New York, 1942 Peter Paul Rubens, Schaeffer & Brandt, Inc., New York, November-December 1942.

New York, 1971 A Loan Exhibition o f Rubens, Wildenstein, New York, February- March 1951.

Paris, 1936 Rubens et son temps, Musée de l'Orangerie, Paris, 1936.

Paris, 1949 De Van Eyck à Rubens. Les maîtresßamands du dessin, Biblio­ thèque Nationale, Paris, 1949.

Paris, 1974 Anvers, ville de Plantin et de Rubens, Bibliothèque Nationale, Paris, M arch-April 1954.

Paris, 1979 Dessins de Pierre-Paul Rubens, Musée du Louvre, Cabinet des Dessins, Paris, F'ebruary-March 1959.

P aris, 1977-78 Le siècle de Rubens dans les collections publiques françaises, Grand Palais, Paris, November 1977-March 197H,

Paris, 197S Rubens, ses maîtres, ses élèves; dessins dit Musée du Louvre, Musée du Louvre, Cabinet des Dessins, Paris, February-May 1978.

Paris-Antwerp-London- Le siècle de Rubens et de Rembrandt; dessins Jhinwnds et hollandais New York, 1979-80 du XVlIe siècle de la Pierpont Morgan Library de New York, Insti­ tut Néerlandais, Paris; Koninklijk Museum voor Schone Kun­ sten, Antwerp; British Museum, London; Pierpont Morgan Library, New York, 1979-80.

R otterdam , 1939 Petrus Paulus Rubens, teefeeningen, Museum Bovmans, Rotter­ dam, February-March 1939.

Rotterdam, 1948-49 Tekeningen van Jan van Eyck tot Rubens, Museum Boymans, Rotterdam, December 1948-February 1949.

Rotterdam, 1972 Choix de dessins, Museum Boymans, Rotterdam, 1952.

Rotterdam, 1973-74 Olieverfschetsen van Rubens, Museum Boymans, Rotterdam, December 1953-March 1954.

Schleissheim, 1976 Kurfürst M ax Emanuel, Bayern und Europa um 1700, Altes und neues Schloss, Schleissheim, July-October 1970.

Siegen, 196 7 Rubens als Bürger, Museum des Siegerlandes, Oberes Schloss, Siegen, June-July 1967.

Stockholm, 1933 Dutch and Flemish Drawings in the Nationalmuseuni and other Swedish Collections, Nationalmuseum, Stockholm, 1953.

Stockholm, 1977-78 Rubens i Sverige, Nationalmuseum, Stockholm, October 1977- January 1978.

19 ABBREVIATIONS

Tokyo, iç8y Pierre Paul Rubens, Galerie d’Arr,TokyoTakashimaya, Tokyo, August-September 1985

Vienna, 1930 Drei Jahrhunderte Vlämische Kunst, 1400-1700, Secession, Vienna, January-February 1930,

Vienna, 1977 Peter Paul Rubens, 1777-1640. Ausstellung çur 400. Wiederkehr seines Geburtstages, Kunsthistorisches Museum, Vienna, April­ June 1977.

Vienna, Albertina, 1977 Die Rubens^eichnungen der Albertina zum 400. Geburtstag, Gra­ phische Sammlung Albertina, Vienna, March-June 1977.

Zürich, 1946-47 Meisterwerke aus Oesterreich, Kunsthaus, Zürich, October 1946- March 1947.

20 INTRODUCTION

T can be said that after his return to Antwerp in October 1608 Rubens not I only created a new, Baroque style of history painting but also liberated the art of portraiture from a certain schematism which had beset it since the middle of the sixteenth century. His own early painting was subject to the limitations imposed by the Mannerist style in which he had been trained. This is seen in the only portrait that certainly belongs to his pre-Italian years, the A r c h ite c t or Geographer, dated 1597, in the Metropolitan Museum, New York.1 The some­ what stiff, formalized pose and the rather pale, lifeless colouring are in line with Van Veen’s style. At the same time, the play of the hands and, above all, the expressive way in which they are painted reveals the innate talent which enabled Rubens to feel the character of his sitters and depict them as creatures of flesh and blood, just as he did with biblical and mythological figures. Rubens’s style did not mature until his stay in Italy. The Mannerism of his youth gave way to the new Baroque style introduced there, a few years before his arrival, by Annibale Carracci and Caravaggio. Carracci’s eclecticism en­ couraged Rubens to combine Titianesque colouring with a compositional struc­ ture typical of Raphael and an expressivity of physical form reminiscent of Michelangelo. From the direct naturalism of Caravaggio and his dramatic light effects, he learnt to intensify the dramatic character of his own representations. Rubens’s Baroque style of portraiture was also basically formed in these Italian years, as is shown both by his monumental equestrian portraits and by his paintings of distinguished Genoese ladies. Despite Manneristic effects of fore­ shortening, the Equestrian Portrait of the Duke of Lerma2 and that of D o r ia } give an impression of directness and truth to life that immediately captivates the beholder. In the same way the portraits of Genoese ladies dating from the same period show none of the courtly schematism that was so characteristic of cere­ monial portraits from the mid sixteenth century onwards. They are enlivened by the picturesque entourage— children, for instance, or a court dwarfi—and the typically Baroque interpenetration of different spatial spheres.4 As in the eques­ trian portraits, here too the onlooker is at once attracted by the natural ex­

I. Cf. Liedtke, Cat. New York, pp.187-191, pis.XVI, 73. 2. Cf. Huemer, Portraits, N0.20, fig.67. 3. Ibid., No.io, fig.68,

21 INTRODUCTION pression and unaffected pose and is, so to speak, invited to make the sitter’s acquaintance. The sense of physical reality and truth to life is enhanced by the opening-up of the background, with a vista appearing between pillars or across a balcony. This is a Venetian style of portraiture, created byTitian and Veronese. The refined sense of colour, the feeling for shades and materials which help to make these early portraits by Rubens so lively, are also due to Venetian in­ fluence. What is new is, above all, Rubens’s stronger sense of space and drama and his power to transform an essentially formal genre such as the ceremonial portrait into a glimpse of human action. It is rather curious that after returning to Antwerp in October 1608 Rubens did not at once continue working in this lively style of portraiture. In the same way, as is known, his monumental altarpieces did not in every way conform to the Baroque style which he had developed in Italy and which had made him famous in the North. At the outset he reverted to the old fashion of hinged triptychs, which had long been obsolete in Italy, and used old Netherlandish iconographie motifs which must have seemed out of date to him while in Italy.5 This can only be explained by the fact that he had to take account of the cultural climate of Antwerp and his clients’ taste, which was simply not the same as in Italy. The same difference of milieu and tradition no doubt explains why he reverted to a kind of schematism in his portraits painted in Antwerp after October 1608. Naturally this is most in evidence in the typical court portraits such as those of Albert and Isabella dating from 1615-17 (Nos.59-70; Figs.5-21) and the portrait of the Princess of Condé of c.1610 (N0.86; Fig.63) should also be mentioned here. This work is composed in accordance with the old Mannerist schema: Rubens found models for it in the work of Van Veen and Frans Pour- bus II. There is no longer a sense of space as in the Genoese portraits : the perso­ nages stand or sit in somewhat ill-defined attitudes in front of a rather neutral background. But Rubens here departs from the strict linearity of his late six­ teenth-century models : despite the rigid schema, these portraits show a strongly expressive quality and a sense of corporal reality that were new in Antwerp. One of the most brilliant features of Rubens’s art is indeed his exceptional power of enlivening old, traditional schematic forms. This is exemplified in his many retouched or worked-up copies and imitations of other masters. Also Rubens’s reinterpretation of the classical past is enlightening in this respect: in accordance with his own treatise on the imitation of antique sculpture, he

4. Ibid., N0S.19, 41, 45, figs.118-121, 123. 5. Cf. H. Vlieghe, ‘Rubens en Van Scorei’, Oud Holland, XCIV, 1980, pp.32-36, with further bibliographical re­ ferences on this subject.

22 INTRODUCTION

transforms his prototypes into living beings.6 Besides portraits of rulers stand­ ing or sitting there is another type, the equestrian portrait, which was to be an even more expressive symbol of the absolutism that culminated in this period. Here again we find that Rubens forgets the precedents of his Italian years, such as the portraits of Lerma and Doria, and conforms to a more rigid schema based on sixteenth-century prototypes by Stradanus. An example of this is the painting, executed c.1615, of the Archduke Albert as the victor of Ostend (No.58; Fig.2). Several portraits of 1610-20, whose subjects did not belong to court circles, are noteworthy for a similar return to tradition. Thus the fine portrait of J a n Brueghel the Elder and his Family of c. 1612-13 (N0.79; Fig.46) shows its debt to Haarlem Mannerism in the style of Goltzius in the artificial, diagonal pose of the principal figure. Here again the figures appear to be crowded together in the foreground and are posed against a neutral background that is spatially undeter­ mined. In general the family portrait belongs to an old Netherlands tradition. As with Van Heemskerck, Floris and others, the basic conception is that of harmony: the group portrait is conceived as an organic composition, showing the members of the family in loving contact or making music together. Rubens and Isabella Brant are thus conjoined in the Honeysuckle Bower of c.1610 at Munich (No. 138; Fig. 184). The two figures are, as it were, enclosed within a decorative contour, and it is no surprise that this schema too is Mannerist in origin. The portrait is also, as far as we know, the first by Rubens in which married love and fertility are symbolized in emblematic fashion. This emble­ matic symbolism was to be used above all in Rubens’s more intimate portraits, which were clearly intended to express particular affection for the sitter. Such was the case, at this period, with Justus Lipsius and his Pupils (No.117; Fig. 140), where the floral symbolism expresses Rubens’s love for his brother Philip, who had recently died. This painting is an exception among those painted shortly after 1610 in that there is again a break in the background: it is more similar to the Genoese vistas which gave the portrait such an effect of space. At this period, however, Rubens chiefly used other means to achieve an effect of space and liveliness, by modelling his figures in a highly expressive manner and by the use of illusionistic foreshortening. (Marked plasticity was indeed characteristic of the whole of Rubens’s work from about 1612 and throughout the earlier 1620s.) He also endeavoured to express depth and a certain dyna-

6. 1 cannot agree with Justus Müller Hofstede who, in a recent study of Rubens's portraits ot temale sitters (Miiller Hofstede, Damenporträts, especially pp.309-312), insists on Rubens's so-called dislike for late 16th-century Man­ nerist formulas. Rather than refraining front these formulas, Rubens in his Antwerp portraits tries to recast them in a new spirit of realism.

23 INTRODUCTION mism by placing his sitters at an angle, as in the portraits of Rogier Clarisse (No.84; Fig. 59) and Petrus Pecquius (N0.128; Fig.160); or again he would give them animation by eschewing stereotyped poses and showing them at a mo­ ment of extreme tension or emotion. In so doing he naturally sought inspira­ tion from his great predecessor Titian, the first to have conceived of a portrait as a live, instantaneous scene. Portraits of this period in Titianesque style, especially striking and attractive in their spontaneity, are the speaking O p h o v iu s (No.126; Fig.155) and the meditating Van Thulden (No. 152; Fig.220). The bra­ vura portrait of Nicolaas de Respaigne (No. 129; Fig.161) is also inspired by Titian. However, despite all the resemblances it is not easy to point to a direct model in Titian’s work. This shows how well Rubens understood its essence and was able to re-create Titian’s style in a manner all his own. Some of the portraits from the second half of the first decade of the century have a degree of vivacity and of dramatic tension that recalls Rubens’s contemporary history painting. In this respect his R e s p a ig n e (N0.129; Fig.161), Van Thulden (No.152; Fig.220) and V e r m o e ie n (No.i56;Fig.232) match such paintings as the Battle o f the Amaçons or the Dresden B o a r H u n t. Thus Rubens’s portraits provide a good illustration of the general develop­ ment of his style. Soon after 1620 he evolved his own dynamic form of High Baroque, first of all in an ambitious historical cycle such as the Medici series. Here the events of history take on an almost mythological dimension thanks to the appearance of allegorical personifications and classical deities symbolizing the deeper moral or political significance of the various scenes. From the same time onwards Rubens also used the allegorical system in his portraits. Thus the politico-military importance of the Duke of Buckingham is clearly emphasized in the equestrian portrait of c. 1625-27 by the personified figures doing honour to him as a victorious naval hero. A similar technique is shown in the icono­ graphy of some portrait engravings designed by Rubens at this period, such as the Count of Bucquoy (N0.82; Fig.55). There the portrait proper is framed by mythological-allegorical figures emphasizing Bucquoy’s politico-military im­ portance and his service to the cause of the Counter-Reformation. In the por­ trait of Archduchess Isabella as a Poor Clare, engraved somewhat later, the sub­ ject’s moral qualities are symbolized in a similar manner and with equal skill (N0.112; Fig. 131). The devising of such ingenious allegorical settings, in which personifications and symbols are used to ‘reveal’ the theme or deeper moral significance of the main representation, is naturally connected with Rubens’s activity as a designer of title-pages for the Officina Plantiniana. In the 1620s we also find him adapting this iconographie system to the borders of tapestries of

24 INTRODUCTION his own design: the famous E u c h a r is t series is the first example, and a very in­ fluential one. Rubens did not, however, confine himself to this new pictorial language as a means of symbolizing the importance of his sitters. In depicting men and women with whom he was on close terms he used more veiled em­ blematic motifs, such as those expressing his love for Isabella Brant in the Florentine portrait painted shortly after her death, c. 162,6 (N0.76; Fig.41). In the same subtle way he alluded to the differences of temperament between his two sons in the double portrait at Vaduz, painted around the same time, and furnished the work with a moral message (N0.142; Fig.200). But the allegorical personifications that are typical of High Baroque remained part of Rubens’s work to the end. They make an important contribution to the more dashing and dynamic style that characterizes most of Rubens’s work from about 1620. This increasing liveliness is also due to such features as greater flexibility of pose, more flowing draperies and the delicate play of shadows. The stylistic evolution is also seen in Rubens’s portraits: it is especially clear in those of Isabella Brant at Cleveland (N0.75; Fig.36) and Florence (N0.76; Fig.41), Susanna Fourment in London (No. 102; Fig.no) and the double portrait of A lb e r t and Nicolaas Rubens at Vaduz (No. 142; Fig.200). Here too the hard illumination of the period before c.1620, with its sharp m odelling effects, gives place to a more subtle technique. The assertive, self-confident poses seen in portraits before 1620 are likewise replaced by more relaxed attitudes, and the sharp out­ lines are gradually mellowed. There is also a more sensitive treatment of the physical details of skin, hair, muscle and bone structure of the sitters’ faces. We feel that the painter is not only recording their features but is endeavouring in a more subtle way to suggest something of their emotions. Although his style was becoming livelier in this way, Rubens at this period was still faithful to traditional modes of portraying princes and courtiers. Thus, for instance, the portraits ofSpinola dating from the later twenties (Nos. 148-151 ; Figs.215-219) are masterpieces of sharp psychological observation, but the general’s martial attitude belongs to a tradition that is already becoming old- fashioned. The pose ultimately goes back to that of late sixteenth-century court portraits by followers of Moro; Rubens’s direct model was 110 doubt a portrait by Mierevelt. The pose of the seated Lady Arundel in the group portrait of 1620 in Munich (No.72; Fig.24) is also more or less conventional, the model in this case being a portrait by Daniel Mytens that belongs to the same formalist tradition. However, in this group portrait, which is unique in Rubens’s work, the stiffness of the pose is offset by the countess’s picturesque entourage and the landscape background. The stylistic elements in which Rubens revived the con-

25 INTRODUCTION

ceptions of his own Italian period harmonize well enough with the increasing liveliness of his work from the 1620s onwards. Rubens, it is true, chose a more dynamic pose for his portrait of the future Polish King Ladislas Sigismund, executed in 1624 (No. 113; Figs. 132,133): this was based on Titian’s Charles V with Upraised Sword, which Rubens himself copied and had engraved by Vorsterman. But it was not till a few years later, from c. 1628-30 onwards, that Titian once again became a source of inspiration for Rubens, to an even greater extent than before. This re-orientation was in fact closely connected with the stylistic evolution which changed the whole appear­ ance of Rubens’s work from that time onwards. Rubens spent a large part of the years 1628-30 in Madrid and London. His journeys, as is known, were for political and diplomatic purposes, but they were also of great importance to the development of his style as a painter. In particu­ lar they gave him a fresh opportunity to make an intense and thorough study of the style of his beloved Titian, the choicest examples of whose work could then be seen in the collections of Philip IV and Charles I. There is no doubt that, both in quality and in quantity, the works by Titian in the collections of those two monarchs surpassed all that Rubens had previously seen at Mantua or in the master’s own Venice. It is generally accepted that a strong affinity with Titian’s later work can be seen in the pronounced softening of Rubens’s style from this time onwards, marked as it is by less sharp outlines, a subdued tonality, the glow of warm colours, delicate, diffused lighting and freer brushwork. In most of these portraits the sitter also occupies a larger part of the picture sur­ face. Altogether the change of style greatly increased the spontaneity and liveliness of Rubens’s portraits. Typically Titianesque portraits of these years are Jan van Montfort (N0.123; Fig. 147) and the M a r q u is o f L eg a n és (N0.115; Fig.135): they are indeed based very directly on models by Titian, the first on F a b r iz io S a lv a resio and the second on Francesco della Rovere. Other portraits, however, such as J a n B r a n t of 1635 (N0.78; Fig.42) and the somewhat earlier G e v a r tiu s (No.106; Fig.122) are still based on more traditional schemata: these are typical portraits of scholars, accompanied more or less by attributes of their profession. The G e v a r tiu s is actually in the style of early sixteenth-century Netherlands por­ traits of humanists. Another scholar, Ludovicus Nonnius, whose portrait dates from C.1635 (N0.124; Fig. 152), is shown in a more relaxed pose. The iconography is also original, as Rubens in a veiled way pays tribute to the Antwerp-Portu- guese physician as a ‘new Hippocrates’. Still more subtle is the emblematic allusion to the activity of the other famous physician, Théodore Turquet de Mayerne, w7hom Rubens compares to a beacon of light. We know from the

26 INTRODUCTION painter’s correspondence that this iconography reflected his special friendship for Mayerne, who had treated him during his stay in London.7 The portraits of the European nobility made in these years are still characterized by the rhetorical apparatus of allegorical personifications. In this respect the C a r d in a l Infante Ferdinand on Horseback (N0.93; Fig.76) is a variant of the similar portrait of B u ck in g h a m (No.81 ; Fig.53); however, the light touch and the soft, atmos­ pheric play of light and colour strongly emphasize the momentary aspect and thus go far to neutralize the effect of the traditional pose. The portrait of Fer­ dinand also has a vibrant quality that is not present in the much more massive representation of Buckingham. The most outstanding of Rubens’s later por­ traits are unquestionably those of his second wife Flélène Fourment, alone or together with Rubens or their children. These are the finest examples of the more subtle symbolism which, as I have mentioned, Rubens used especially in portraying people of whom he was particularly fond. In all cases this included a tribute to love : the bond of marriage uniting Rubens and his wife, or the love of Hélène Fourment for her children. In Hélène Fourment with Frans Rubens in the Louvre (No.100; Fig.103) the carriage in the background, drawn by two horses, may be an emblem of conjugal harmony. The picture of Rubens and Hélène Fourment in a Garden at Munich (No. 139; Fig. 192) and the more monumental variant in New York (No. 141; Fig. 195) have been convincingly interpreted as personal versions of the late medieval ‘Garden of Love’theme: this appears not only from the iconography but also from the fact that Rubens depicted himself and his wife with the aid of an amorous theme from Dürer’s graphic art. The Munich version is probably based on Ovid’s story of Vertumnus and Pomona, which must have struck Rubens as appropriate to his own marriage, late in life, to a woman thirty-seven years younger; and in the same way the famous ‘ P e ls k e n ’ (N0.97 ; Fig.88) is to be regarded as a portrait historié of Hélène Fourment as Venus Pudica. Again, the two portraits which show Hélène seated, with one or more children on her lap or beside her, are strongly associated with the theme of Charity as interpreted by Titian and Raphael. The portrait in the Louvre (No.99; Fig.97) is directly related, as regards composition, to the somewhat earlier portrait of the Gerbier Family ;8 in both cases the inspiring model is Titian’s Allegory o f Love, now in the Louvre. But the portrait of Hélène with her Son Frans (N0.98; Fig.92) is a more intimate expression of mother-love, being a secular interpretation o f Raphael’s Madonna della Sedia. Rubens’s late full-length portraits of his wife and family (Nos.96-100; Figs.85,

7. Cf. Huemer, Portraits, p.180, under N o.47, fig.128. 8. Ibid., No. 14, flgs.63-64.

27 INTRODUCTION

88, 92, 97, 103) are outstanding for their liveliness and lack of constraint, not least owing to the presence of the children. Here Rubens reverted completely to the style of the monumental yet captivating portraits of ladies from his Genoese period. As we have seen, this type of portrait is Venetian in origin, having been created by Titian and, still more, Veronese. These late family por­ traits accordingly reflect Rubens’s intensified interest in the Venetian school in the last decade of his life, and they are among the finest and most appealing that he ever painted. The type is comparatively rare in Rubens’s work as a whole, in which more conventional half-length portraits are most frequent. However, the reversion to full-length portraits in the Italian style, and hence to the great models of the Venetian Cinquecento, had previously been accom­ plished by Rubens’s most gifted pupil, Van Dyck. The latter, during his Italian years from 1621 to 1627, adopted the type o f portrait created by Rubens at Genoa and interpreted it in his own more refined and courtly style. Returning to Antwerp, he introduced the new style of portraits of gentlemen and ladies in poses of studied informality, often accompanied by children, pages or servants, and depicted in front of a majestic drapery hanging in broad folds or a balcony with a distant view beyond. This type of portrait soon made Van Dyck inter­ nationally famous, so that he ended his career as court painter to Charles I and creator of the Baroque style of ceremonial portraiture. It seems to me quite possible that Rubens in his late years was spurred to emulation by Van Dyck’s return to Antwerp with the new style of portrait-painting that he had brought to maturity in Italy. We may speculate as to how far Rubens’s late return to the Genoese type of portrait dating from the beginning of the century was influenced by the new direction that Van Dyck had given to the art of portraiture, and that was to characterize it throughout Europe until late in the eighteenth century. Some contemporary sources refer to the commissioning of portraits from Rubens by famous persons and to their posing for him. For instance, Alethea Talbot (Lady Arundel) found time to pose in Rubens’s studio, together with her attendants, during her very short stay in Antwerp in 1620 on the way to Venice.9 On this occasion Rubens also made portrait studies of the members of her suite. Again, Bellori in his biography of 1672 relates how the Infanta Isabella and Spinola, returning in 1625 from the successful siege of Breda, stopped at Ant­ werp to have their portraits painted by Rubens.10 The written sources do not indicate what form the sittings took, but we can form an idea from the preli-

9. See further, under N0.72. 10. See further, under N o s.n o and 147.

28 INTRODUCTION minary studies that have survived. Above all, life-size studies of the sitter’s face must have been done from life: a comparatively large number of such studies have survived from one period or another of Rubens’s career. They are generally drawn in black and red chalk: the sitter’s complexion, and modelling shadows, are rendered in these elementary colours. Sometimes they are worked up to some extent with white highlights suggesting particular effects. In some cases Rubens must have made three studies of the sitter’s head, in front view and from either side: this can be deduced from the fact that some drawings which are clearly studies for a particular painting differ from it as far as the face is concerned. The studies for portraits of Isabella Brant (No.75a ; Fig.38) and S u s a n n a F o u r m e n t (No. 102a; Fig. 113) are characteristic examples; mention should also be made here of the studies from different viewpoints which were perhaps made for the portrait of the Jesuit Nicolas Trigault (Nos.i54a-d; Figs.231,227,229,230). The practice was not uncommon, especially for sculpted portraits. The best- known example is Van Dyck’s famous painting in the British Royal Collection showing the head of Charles I from three angles, intended as a tn o d ello for Bernini.“ A similar portrait study of Richelieu was made by Philippe de Cham- paigne for the sculptor Mocchi.“ On the one hand this practice enabled Rubens to choose whichever pose he, and of course the sitter, thought most becoming, and secondly it must have helped him to paint the latter’s head as an organic whole. Special drawings were made of the costume, for instance Hélène Four- m ent’s dress (No.iooc; Fig. 107); in some cases detailed indications of colour were added, especially for unusual or eccentric figures. This may be seen in the study for the dwarf Robin in the Munich portrait of The Countess of Arundel with h er T r a in (No.72a; Fig.28) and in one of the drawings probably made for the portrait of the Jesuit Nicolas Trigault in Chinese robes. (No. 154b; Fig.227). Some­ times servants or others posed in the attitude desired by the commissioner of the portrait, or in the latter’s clothes: for example, the studies for the portraits of the Duke of Lerma13 and Brigida Spinola-Doria.14 Mention may also be made here of a document of 1628 concerning the equestrian portrait of Philip IV, now lost, painted by Rubens during his stay in Madrid in 1628-29. This refers to articles that Rubens needed from the royal stables and armoury : evidently the King’s armour and the harness that was to appear in the portrait,15 and that the painter wished to sketch beforehand. In the case of the group portrait with the

11. Cf. C. Brow n, V a n D y c k , London, 1982, p p .174-177 (repr.). 12. Cf. B.Dorival, Philippe de Champaigne, II, Paris, 1976, N0.213 (repr.). 13. Cf. Huemer, Portraits, No.2oa, fig.69. 14. Ibid., N o.4ia, fig.121. 15. Ibid., pp.151-152, under No.30.

29 INTRODUCTION

Countess of Arundel Rubens also had to make special studies of the dogs that this somewhat eccentric lady had with her. The final portrait was designed in the same way as a more complex compo­ sition such as an altarpiece or a mythological scene. Thus, in addition to several elaborate studies of detail, the artist and sitter between them decided on the most suitable pose for the picture as a whole. As we have seen, there was an element of stereotype in this. Whether the choice fell on the lively style of Titian or something more old-fashioned, courtly and artificial, it was expected that the pose should do full justice to the sitter’s social position and personality. For this purpose, the preliminary sketches done from life were sometimes modified, as for instance in the case of the Hendrik Van Thulden. In the drawing (No.i52a; Fig.221) the priest is sunk in his chair, but in the final painting he appears much more alert and the portrait has a more monumental character (No.152; Fig.220). In the drawing for the portrait of the Marquis of Leganés (No. 115a; Fig. 137) the sitter’s head appears shorter, and his build stockier, than in the final portrait (N0.115; Fig. 135): here too some modification was required by the desired Titianesque pose. The portrait study for Nicolaas Rubens in the double portrait at Vaduz shows the boy with his mouth closed (No. 142b; Fig.204), but in the final painting it is slightly open (No. 142 ; Fig.200). This makes the face more expressive and is no doubt intended to emphasize the boy’s lively, playful disposition. As has been pointed out, Rubens depicted his sons as examples of two opposite types of character. In Hélène Fourment and her Children in the Louvre, little Frans Rubens was originally drawn by his father in a stand­ ing position (N0.99C; Fig. 102); but in the painting (N0.99; Fig.97) he is sitting on his mother’s lap, in accordance with a compositional scheme which again goes back to Titian. Stereotyped poses are, as we have seen, especially characteristic of portraits of princes and nobles, and this is true of equestrian portraits par excellence. Here the variation was confined to three recurrent poses : a frontal one and two show­ ing different attitudes in profile. Of interest in this connection is a painting of three horsemen, from Rubens’s studio, that was in Berlin before 1945 (Fig.4). It has always wrongly been described as a ‘Riding School’, but in my opinion it is to be taken as a representation of the three basic equestrian attitudes; it seems to me quite possible that it was used by Rubens and his assistants as a studio ‘prop’ whenever an equestrian portrait was called for. Such portraits are the most complex of all : they are larger than others, generally more dramatic and, from about 1620 at least, embellished with allegorical figures. It is not surprising, therefore, that for such portraits Rubens also painted an oil m o d ello

30 INTRODUCTION in which the whole composition was clearly displayed. Such m o d e lli are known for the equestrian portraits of B u ck in g h a m (No.8ia; Fig.54) and the Cardinal In­ f a n t e (No.93a; Fig.77). Earlier and simpler equestrian portraits such as that of the Duke ofLerma seem to have been prepared by means of a drawing only.'6 Rubens also used oil m o d e lli for other portraits of a more complex kind: an example is the grisaille m o d ello at Philadelphia for a group portrait of Rubens and his family, which was never executed (No. 140; Fig. 194). Finally, a particular kind of painted preliminary study should be mentioned. Among the works left by Rubens at his death are listed a remarkably large number of portraits of royalty, nobles and other dignitaries painted by himself. They include the Earl of Arundel, the Marquis of Spinola, Théodore Turquet de Mayerne, the Cardinal Infante Ferdinand, the Empress Maria, Philip IV', Isabella (Elizabeth) of Bourbon, Wolfgang-Wilhelm of the Palatinate, Anne of Austria, the Duke of Buckingham, Maximilian of Austria, Albert and Isabella, and Maria de’ Medici.17 Some of these works are found, some years later, in the possession of Rubens’s brother-in-law Arnold Lunden, and are explicitly called ‘sketches’ in the inventory of his collection. For this reason I have suggested elsewhere that they may be the editio princeps of a number of official portraits, which Rubens kept and which were used as prototypes by him and his studio.18 Portraits of this kind were especially designed to be repeated, and it was there­ fore necessary for the studio to hold a well-painted original. We may suppose them to have been shoulder-length paintings, which could then be adapted, when replicas were called for, in accordance with the desired pose or setting. Some very spontaneous head-and-shoulder versions exist for portraits of, for example, the Archducal couple (Nos.68 and 69; Figs.20,21), the Infanta in the habit of a Poor Clare (No.109; Fig.128), and the Earl of Arundel:19 it is quite possible that these were prototypes of the kind described.

16. Ibid., N o.îoa, fig.69. 17. See Denucé, Konstkamers, pp.60-63, Nos,97, 98,100,101, 113-117, 120, 123,127, 146 ,15 1.152 and 166. 18. See Vlieghe, Lunden, pp. 195,198. 19. Cf. Huemer, Portraits, No,5b, fig.53-

31

CATALOGUE RAISONNÉ

CATALOGUE RAISONNÉ

58. Albert, Archduke of Austria, (1750-1828); Longford Castle, Earls of on Horseback Radnor; Radnor sale, London (Christie’s), 27 July, 1945, lot 46; Stockholm, Ohlsen. c. 125 X c.ioo cm. l i t . Smith, Catalogue Raisonné, II, p.313, Whereabouts unknown; presumably lost. N0.1168; Waagen, Galleries, p.362; Rooses, c o p i e s : (i ) Fragment o f The Allegory of IV, p. 118, under N0.881 ; Helen Mathilda, Sight, painting by Jan Brueghel the Elder Countess of Radnor and W. B. Squire, C a ­ (Fig. 3), 1617, Madrid, Prado, No. 1394; can­ talogue o f the paintings in the collection o f the vas, 65 X 109 cm. l i t . De Maeyer, Albrecht Earl of Radnor, London, 1909, N0.62; He­ en Isabella, p. 114, pl.I; Speth-Holterhoff, len Mathilda, Countess of Radnor, C ata­ C abinets, pp. 29, 54, pi.3; Ertç, Brueghel, logue of the Earl of Radnor’s Collection of pp.340-342, figs.399, 408; Müller Hofstede, Pictures, Longford Castle, 1928, N0.62; Damenporträts, p.320, n.15; (2) Painting, Burchard, Nachträge, p.378; (5) Painting, Ghent, Private Collection; canvas, 122 x (Fig.i) Vaduz, Prince of Liechtenstein,

98 cm. p R o v. A former castle in the Ghent Inv.N0.402; canvas, 109 x 75 cm. e x h . La area, e x h , Het Gulden Vlies, Groeninge- Toison d’Or, Bruges, 1907, N0.402. l i t . museum, Bruges, 1962, No. 179 (repr.); K.Höss, Fürst Johann II. von Liechtenstein und Het Belgisch portret van de XVe tot de X Ville die bildende Kunst, Vienna, 1908, pp.65-66; eeuw, behorend tot Belgische privéverçame- G.Gliick, ‘Jugendwerke von Rubens’, lingen, Castle, Laarne, 1970, N0.16 (repr.). Jahrbuch der kunsthistorischen Sammlungen l i t . M. Diaz Padrón, ‘Algunos retratos des Allerhöchsten Kaiserhauses, XXXIII, 1916, mas de Gaspar de Crayer’, Archivo Espanol p.28 (repr.), reprinted in Glück, Rubens, de A rte, XXXVIII, 1965, pp.295-296, pl.II, Van D yck, pp.38-40 (repr.) ; M üller Hofstede, fig.5 (as G. de Crayer); Ertç, Brueghel, Damenporträts, p.320, n.15; (6) Painting, pp.340-341, fig.409 (as G. de Crayer); M ül­ whereabouts unknown; canvas, 129x ler Hofstede, Damenporträts, p.320, n.15; 99 cm. P R o v, Sale, Vienna (Dorotheum), (3) Painting, whereabouts unknown ; can­ 14-17 March, 1978, lot 19 (repr., as G. de vas, 124.5 x 98.5 cm. P R o v . Vienna and Crayer); (7) Drawing, Copenhagen, Kon- Prague, Counts Sternberg, until c.1949; gelige Kobberstiksamling, ‘Rubens Can- temporarily exhibited in the former ‘Mu­ toor’, No.1, 2; black chalk, heightened in seum patriotischer Kunstfreunde’ at Pra­ white, 320x 193 mm.; (8) Drawing,where­ gue, during the earlier 19th century, l i t . abouts unknown; red chalk, p r o v . Lon­ Gemäldegalerie patriotischer Kunstfreunde. don, J.C. Robinson. l i t . M.Rooses, in R u ­ Verzeichnis, Prague, 1835, p.59, N0.3; bens-Bulletijn, V , 1900, p. 197; (9) Litho­ Rooses, IV, p.ii8, under No.881 ; Burchard, graph after (3) by J. A.Hellich (1810—1880; N achträge, p.378 ; (4) Painting (Fig.2) Rooses, IV, pl.280). whereabouts unknown; canvas, 124 x 96 cm. PRov. Warwick Castle; Mr Jeffe- rey, sale, Salisbury, 1806; purchased there The Archduke Albert was born in 1559, by Jacob Bouverie, second Earl of Radnor the youngest son of Emperor Maximi- 35 CATALOGUE NO. 58 lian II. In 1596 Philip II of Spain sent him 1615 seems to have been directly inspired as governor to the Netherlands; he mar­ by Stradanus’s series of engravings of Ro­ ried the Infanta Isabella in 1598 and they man emperors on horseback. More parti­ ruled there as sovereign princes ; Isabella cularly, the Julius Caesar from that series carried on the government after Albert’s was the immediate model for the type of death in 1621. Especially during their joint portrait created by Rubens for his paint­ rule the Southern Netherlands enjoyed a ing of the Archduke. Warnke mentioned period of economic prosperity and cultural it as a model for the portrait of the Duke expansion after the unhappy and turbulent of Lerma,5 but Diaz Padrón rightly drew last decades of the sixteenth century,1 attention to the much closer connection The Archduke and his brown charger with the present portrait, though he are seen in three-quarter view. Albert wrongly ascribed the latter to Gaspar de wears a black cuirass and trunk-hose over Crayer. Rubens’s frontal style of portrai­ brown riding-boots, also a white starched ture set a fashion in its turn: many Fle­ fluted ruff and cuffs to match. He wears mish and Dutch seventeenth-century the chain of the Order of the Golden painters chose it as a prototype for eques­ Fleece, and a red officer’s scarf on his left trian portraits.6 arm; in his right hand he holds a baton. The various painted copies of the pre­ The background represents Albert’s cele­ sent portrait are all about half life-size, as brated military exploit of 1604, the cap­ was the supposed original. According to ture of Ostend from the States forces. Jan Brueghel’s Allegory o f Sight (Fig.3), this The pose of the horse and rider corre­ may have been in the possession of the sponds to a type established by Rubens in, archducal couple in 1617 : Brueghel’s paint­ for example, a studio painting of three ing is part of a set representing The Five equestrian attitudes, dating from about Senses, which was also conceived as a series 16x5, which was formerly in the Kaiser of views of the archducal collection. Ap­ Friedrich Museum, Berlin (Fig.4).2 In any parently there never was a life-size ver­ case 1617 is a terminus ante quem for the sion, and in this respect the portrait is present portrait, as a version of it can be unique among Rubens’s works. However, seen in Jan Brueghel’s Allegory of Sight, such small equestrian portraits were not painted in that year (Fig.3).3 uncommon in seventeenth-century Fle­ Rubens had previously introduced the mish painting: a good many, for instance, type of equestrian portrait in three-quar­ were executed by Gaspar de Crayer.7 It ter face, notably in the portraits of the therefore seems unlikely that, as Müller Duke of Lerma and Giancarlo Doria, Hofstede recently suggested,8 the sup­ both from his Italian period. The very ex­ posed original reproduced in Brueghel’s pressive and impetuous style of the ear­ painting was in fact an oil sketch. lier portraits is here ‘translated’ into the Apart from the archducal collection quieter and cooler style of theyears around there was also an example of this type in 1615. As has been pointed out, this type Erasmus Quellinus’s estate at his death in of equestrian portrait originated in the 1678: ‘Hertogh Albertus te peert, van sixteenth century and goes back, more Rubbens’.9 specifically, to Tintoretto and Tempesta I, Cf. J.Lefèvre, in Nationaal Biografisch Woordenboek, among others.4 However, the formalized I, Brussels, 1964, cols. 14-22, with further bibliogra­ version that Rubens introduced around phical references. 36 CATALOGUE NO. 59 2. Cf. Glück, Rubens, Van Dyck, p .33, fig.21 (as R u b e n s). mander. He is seen in three-quarter view, This painting appears to be a copy rather than an looking towards the spectator. He holds authentic work: for instance, the skyline of Ant­ werp in the background shows mistakes which a baton in his right hand, and his left hand could not be imagined if it were painted by Rubens rests on the hilt of his sword. On his breast him self. is the chain of the Golden Fleece. In the 3. See above, Copy (1). 4. For the provenance of Rubens’s equestrian portrait left background is a brocaded curtain, and types, see: Glück, Rubens, Van Dycfc,pp.28-45;Wiini- on the right a double pilaster. The por­ ke, Kommentare, pp.13-15. 79-81 ; Iluemer, Portraits, trait is a repetition, with a different back­ p.23; J. Müller Hofstede, 'Die frühen Reiterbild­ nisse’, in Cat. Exh. Peter Paul Rubens, Cologne, 1977, ground, of the full-length ceremonial por­ pp.84-94. trait of Albert, based on Van Veen, in the 5. Warnke, Kommentare, p .14. p l.IV. Brussels Museum,1 the prototype of which 6. There are typical examples by e.g. Caspar de Crayer (H. V lieghe, Gaspar de Craver, sa vie et ses œuvres, was also the model for Rubens’s half­ II, Brussels, 1972, pl.233), Anthony van Dyck (K .d .K ., length portraits of the Archduke (No.60; V a n D y c k , p.200), Cornelis de Vos (Katalog over Sta­ cf. Fig.7). tens Porträttsamling pâ Gripsholm, I, Stockholm , 1951, p.257 [repr.]), Thomas Willeboirts Bosschaert (J.C. Burchard regarded the present version van Gelder, ‘De schilders van de Oranjezaal’, N e d e r ­ as a fully authentic work by Rubens, but I lands Kunsthistorisch Jaarboek, II, 1948-49^.127, lig. 5), cannot share this opinion. The modelling Isaac Isaacz (Cat. Exh. In het Zadel, Leeuwarden- 's-Hertogenbosch-Asscn, 1979-80, p.110, No.151 of Albert’s head is in accordance with Ru­ [repr.]). bens’s style, but the features are much 7. See H. Vlieghe, o p cit., pis. 236-257; id., ‘Gaspar de too hard and stereotyped to be attributed Crayer: Addenda et Corrigenda’, Gentse Bijdragen tot de Kunstgeschiedenis, XXV', 1979-80, pp. 199-203 to him. The execution seems to me more (repr,). similar to that of the full-length portrait 8. M üller Hofstede, Damenporträts, loc. cit. of Albert in Säo Paulo (Fig.o), which I have 9. Denucé, Konstkamers, p.276. ascribed to De Crayer.2 The present paint­ ing may well be his work also, but I state this with reserve as 1 have not seen it and 59. Albert, Archduke of Austria can only judge from a rather old photo­ (Kg- 5) graph. Müller Hofstede remarked on the close affinity to the Säo Paulo version and Oil on canvas; 190.5 x 127 cm. therefore he too felt inclined to see the Norfolk, Virginia, The Chrysler Museum. same hand in both works. Müller Hof­ Inv. N0.L80.126 stede also showed that the curtain and pilaster in the background were borrowed p r o v e n a n c e : Bethell Walrond (1878); literally from Van Dyck’s Archduchess Isa­ Captain Bertram Currie, sale, London bella in the Habit o f a Poor Clare, a painting (Christie’s), 27 March 1953, lot 67 ; Leonard from 1628 in the Galleria Sabauda at Tu­ F.Koetser, London (1954). rin.3 Thus the painting discussed here can l i t e r a t u r e ; National Art Collections be dated c.1630, which is almost the very Fund. Annual Report, under No.1876; moment when the Säo Paulo version was Müller Hofstede, Damenporlräls, p.319 (as painted. a copy).

]. Cf. De Maever, Albrecht t-n Isa b ella , p l.XII. 2. H. V lieghe, Gaspar de Craver. Sa vie et ses œ u v res, A full-length portrait of the Archduke Brussels, 1972, N0.A202 (repr.). represented in armour, as a military com­ 3. K.d.K., Van Dvck, p.299.

37 CATALOGUE NOS. 6 0 - 6 1

60-61. TWO PENDANTS: graving of this portrait and its pendant ALBERT, ARCHDUKE (Figs.7, 8). On 13 October of that year Ru­ OF AUSTRIA, bens received 300 guilders from Albert AND HIS CONSORT, ISABELLA, for a set of portraits of the archducal INFANTA OF SPAIN couple, intended for the Marquis of Siete Yglesias.2 60. Albert, Archduke of Austria The dry and linear style of the greater part of the still extant copies seems to me to prove that they were made from the Whereabouts unknown; presumably lost. Muller engraving and not from a painted original.3 c o p y : Engraving by Jan Muller, 1615 (Fig.7; V.S., p.175, N0.190). I. Cf. De Maeyer, Albrecht en Isabella, pp.71-75, pl.X; [G.Heinz and K. Schütz], Porträtgalerie çu r Geschichte l i t e r a t u r e : Smith, Catalogue Raisonné, Österreichs von 1400 bis 1800, Kunsthistorisches M u­ II, p.315, N0.1176; R ooses, IV, pp.115-116, seum, Vienna, 1976, N0.83, flg .128. N0.875; Burchard, Nachträge, p.380; G lück, 1 . ‘El Archiduque... que por mi mandado haveis dado a Pietro Paulo Rubens, pintor, los 300 fl. por 2 re- P ortra it, p. 177: De Maeyer, Albrecht en Isa­ tratos que a hecho, uno de la Infanta, mi Senora, y bella, p p .m —113; Müller Hofstede, Damen­ otro mio, los quales mande ynbiar a Espana al mar­ p o rträ ts, p.319,11.9b. ques de Siete Yglesias...’ (De Maeyer, Albrecht en Isabella, p.322, doc. N0.109). 3. The best known set is the one, now in the National Gallery (Figs.9, 10; Inv. Nos.3818 and 3819; oil on Albert is here painted to knee-length, in canvas, 120.5 x 89 cm). Both Gregory Martin (M ar­ tin, Cat. National Gallery, pp.227-228) and Justus three-quarter view and with his eyes fixed Mtiller Hofstede (Müller Hofstede, Damenporträts, on the spectator. He wears a doublet and p.319) consider these two portraits studio replicas trunk-hose embroidered with crossed made before the Muller engravings. I do not agree. Another better known portrait of Albert, the full- bands, and a short cape over his shoulders ; length representation of the Archduke in the Sao also a starched lace cartwheel ruff and Paulo Museum (Fig.6; oil on canvas, 200 x 118.5 cm.), cuffs to match. On his breast is the chain which I attributed to Gaspar de Crayer (H. Vlieghe, Gaspar de Crayer. Sa vie et ses œuvres, Brussels, 1972, of the Golden Fleece, of which order he N0.A262 [repr.]) is also a copy from the correspond­ became a member in 1599. His left hand ing engraving, and was executed c. 1628-30. rests on the hilt of his sword. On a table to the left is his plumed hat. The back­ ground consists of a velvety curtain which 61. Isabella, Infanta of Spain reflects the light in broad stripes. The composition is in the traditional Whereabouts unknown; presumably lost. international style of formalized court portraits of the late sixteenth century. An c o p y : Engraving by Jan Muller, 1615 immediate model may have been the type (Fig.8; VS., p.176, N0.191). created by Otto Venius in c.1596-97, an example of which is in the Kunsthistori­ l i t e r a t u r e : Smith, Catalogue Raisonné, sches Museum, Vienna.1 II, p.315, N0.1177; Rooses, IV, pp.193-194, No original of this portrait or its pen­ N0.967; Burchard, Nachträge, p.380; G lück, dant (N0.61) is known. The terminus ante P ortra it, p.177; De Maeyer, Albrecht en Isa­ quem for the unknown editio princeps is bella, pp.m-113; Müller Hofstede, Damen­ 1615, when Jan Muller executed his en­ p orträ ts, p.319, n.9b. • 38 CATALOGUE NOS. 6 2 - 6 4

The Infanta Isabella is here shown to knee- graph of 1924, in which year Burchard saw length, as is her consort in the companion the portrait at Haberstock’s in Berlin. portrait (N0.60 ; Fig.7). She is seen in three- quarter view to the left and, like the Archduke, looks towards the spectator. 63. Albert, Archduke of Austria She wears a richly embroidered dress and, (Fig. 12) like Albert, a lace cartwheel ruff and lace cuffs. She holds a fan in both hands. On Oil on canvas; 120.5 x 89 cm. her lap is a white handkerchief. Her hair Whereabouts unknown. is combed back and adorned with a dia­ p r o v e n a n c e : Sir Charles Orde, Bt., of dem of floral design. Here again the back­ Nunnykirk, Morpeth, Northumberland; ground consists of a velvety curtain re­ Appleby Bros., London (1948); Dudley flecting the light in stripes. Wallis, sale, London (Sotheby’s), 18 April The composition of this portrait, like its 1951, lot 123 ; purchased by H. S. deSlowak. companion piece, is that of the formal­ ized court portrait of the late sixteenth century,1 Aversion of the 1615 portrait type(No.6o; Fig.7). Burchard believed that the face i. E.g. the portrait of the Infanta in the Alte Pinako­ thek in Munich, signed by Juan Pantoja de la Cruz and ‘certain other parts of the picture’ and dated 1599 (see L.Roblot-Delondre, P o r tr a its were entirely by Rubens. d ’infantes, XVIe siècle, Paris-Brussels, 1913, pl.72). Having seen the finely detailed photo­ graphs that were in Burchard’s possession, 1 do not believe Rubens can have had any 62. Albert, Archduke of Austria part in this painting: the features appear (Fig. i i ) too linear and stereotyped.

Oil on canvas; 63 x 48.5 cm. Whereabouts unknown. 64-65. TWO PENDANTS: p r o v e n a n c e ; Von Goldammer, Plaus­ ALBERT, ARCHDUKE dorf Castle, Hessen, Germany; seen by OF AUSTRIA, Burchard at Karl Haberstock’s Gallery, AND HIS CONSORT, ISABELLA, Berlin, 1924. INFANTA OF SPAIN

64. Albert, Archduke of Austria Head and shoulders version of the por­ trait of 1615 (N0.60; Fig.7). C.120 x C.90 cm. Burchard believed this version to have Whereabouts unknown; presumably lost. been completed by Rubens. In particular the highlights on the forehead and sleeve, copies: (1) Left half of a double portrait, the painting of the ear and the bluish fragment of The Allegory o f Sight, painting shadow around the nose appeared to him by Jan Brueghel the Elder (Fig.3), Madrid,

to be retouches by Rubens’s hand. Prado, No.1394; canvas, 65 x 109 cm. l i t . I do not consider it possible to verify De Maeyer, Albrecht en Isabella, pp.112-114, * this opinion on the basis of the old photo­ pl.I; Speth-Holterho/f, Cabinets, p.54, pi.3; 39 CATALOGUE NO. 64

Ertç, Brueghel,pp.332-339 (repr.) ; (2) Paint­ Rouen, 1978, p. 130 (as Workshop of Rubens) ; ing by G. de Crayer (Fig. 13), Althorp (7) Painting, whereabouts unknown; can­

House, Earl Spencer, Inv. No.559; canvas, vas, 132.5 x 95 cm. p r o v . Brussels, Count 119.5 x92 cm. PRO v. Blenheim Palace, de Mérode; sale, Vienna (Dorotheum), Collection of John Churchill, First Duke 15-18 March 1977, lot no (as Workshop of of Marlborough; the Earls of Sunderland. R ubens), l i t . Rooses, p.117, N0.879; (8) EXH. British Institution, London, 1821, Painting, whereabouts unknown ; canvas,

No.79 (as R ubens); Royal Academy, Lon­ 126 x 100 cm. p r o v . Sir Timothy Calvert don, 1870, N0.150 (as R ubens), l i t . Sm ith, Eden, baronet of Maryland ; sale, London Catalogue Raisonné, II, p.307, No. 1125 (as (Sotheby’s), 26 July 1933, lot 20 (as School R ubens); Rooses, IV, p. 116, under N0.875; of Rubens); sale, Zürich (Koller), 17 No­ B.Suida Manning, in Cat. Exh. P aintings vember 1972, as part of lot 3229 (as R u ­ from the Collection o f Walter P. Chrysler, Jr., bens). l i t . Glück, Portrait, p.i77, n.9 (as Portland Art Museum, Portland, Oregon, R ub en s); (9) Painting, whereabouts un­ 1956, p. 17, under N0.7; K.J.Garlick, 'A known; canvas, 118x90cm. p r o v . Sale, Catalogue of Pictures at Althorp’, The W a l­ Cologne (Heberle), 9-10 December 1892, pole Society, XLV, 1974-76, p.74, No. 573 (as lot 200 (repr., as S. de Vos); (10) Painting,

Rubens); Müller Hofstede, Damenporträts, whereabouts unknown; canvas, p r o v . pp.316,319 (repr., as R ubens); (3) Painting, Brussels, Vicomte Ruffo de Bonneval Antwerp, Mrs Boudry ; canvas, 123 x 91 cm. (1955); (h) Painting, whereabouts un­ PROV.? Antwerp, Cogels family ; sale, Ant­ known; canvas 120 x 94 cm. p r o v . Sale, werp (Campo), 13 December i960, lot London (Christie’s), 18 February 1959,

118b. l i t . A.-C. Hosten, ‘Les portraits des lot 71; sale, London (Christie’s), 26 Oc­ Archiducs Albert et Isabelle par Pierre­ tober 1956, lot 52; London, Terry Engell Paul Rubens’, Brabant, September, 1978, Galleries (1956) ; (12) Painting,whereabouts

pp.5-6 (repr., as ? C. de Vos, retouched by unknown; canvas, 118 x 90 cm. p r o v . Co­ Rubens); (4) Painting, Brussels, Baron Car­ logne, B. Schmidt (1970); (13) Painting

ton de Wiart; canvas, 116 x 90 cm, p r o v , (head and shoulders only), Dresden, Ge­ Marquis de la Boëssière-Thiennes, sale, mäldegalerie, N0.988 ; panel, 67 x 52.5 cm.

Brussels (Palais desBeaux-Arts), 14 March p r o v . Prague, Wrzowecz collection; pur­ 1932, part of lot 116 (repr., as M. de Vos). chased for the collections of the Elector of

e x h . Brussels, 1910 , N0.511 (as M. de Vos); Saxony, in 1723. l i t . K.Woermann, K ata­ (5) Painting, Brussels, private collection; log der königlichen Gemäldegalerie çu Dres­

canvas, 119 x86 cm. p r o v . Brussels, G. den, Dresden, 1908, N0.988; (14) Painting Moeremans d’Emaus (1944) ; sale> Brussels (head and shoulders only), whereabouts

(Giroux), 29-31 May 1958, part of lot 401 unknown; canvas, p r o v . Paris, F.Klein- (repr., as Workshop of Rubens); Brussels, berger (1935); (15) Engraving (head and de Robiano family (1977); (6) Painting, shoulders only) by J.Suyderhoef (VS., Rouen, Musée des Beaux-Arts, Inv. No. p.175, N0.188); (16) Engraving (head and

815-1-15; canvas, 100x93cm . p r o v . shoulders only) after (15) by P. de Jode II Descamps collection; purchased for the (V.S., p.177, N0.200).

Museum in 1818. l i t . Catalogue des pein­ tures du Musée des Beaux-Arts, Rouen, 1967, p.109; Olga Popovitch, Catalogue des As in the 1615 portrait type known from peintures du Musée des Beaux-Arts de Rouen, Jan Muller’s engraving (N0.60; Fig.7), the

40 CATALOGUE NO. 65

Archduke is shown to just above the knees. 65. Isabella, Infanta of Spain The pose is very similar; however, instead of his right arm hanging by his side, the C.120 x C.90 cm. hand rests on the corner of a table at the Whereabouts unknown ; presumably lost. extreme left. As in the older type, his hat c o p ie s : (1) Right half of a double portrait, stands on the table. His costume is more fragment of The Allegory o f Sight, painting sober than in the portrait of 1615; it is of by Jan Brueghel the Hlder (Fig.3), Madrid, dark silk and adorned with small gold Prado, No.1394; canvas, 65 x 109 cm, l i t . buttons. He wears a white lace cartwheel De Maeyer, Albrecht en Isabella, pp.112-114, ruff and cuffs to match. On his breast is pl.I; Speth-Holterhoff, Cabinets, p.54, pl.3; the chain of the Golden Fleece. In the best Ertç, Brueghel, pp.332-339 (repr.) ; (2) Paint­ preserved copy, that at Althorp (Copy [2]; ing by G. de Crayer (Fig. 14), Norfolk, Virg., Fig. 13) the background consists partly of The Chrysler Museum; canvas, ii8x embroidered drapery and partly of green 91.5 cm. p r o v . Blenheim, Dukes of Marl­ velvet with stripes reflecting the light as borough ; Duke of Marlborough sale, Lon­ in the portraits of 1615. In other versions don (Christie’s), 31 July 1886 et seq., lot 244 the entire background is a neutral green. (as G.Honthorst); Philadelphia, J.Wana- The year 1617 is a terminus ante quem for maker; New York, J.Weitzner; purchased this and the following portrait (No.65; from the latter by Walter Chrysler Jr., in

Fig. 14), as the tw'o of them, combined into 1949. e x h . Los Angeles, 1946, No.7 (repr., a single painting, appear in the Allegory of as Rubens); Portrait Panorama, Richmond, Sight painted in that year by Jan ‘Velvet’ Virg., 1947, No.8 (as R ubens); D u tch O ld Brueghel (Fig.3). Brueghel’s work belongs Masters from the Collection o f Walter P. Chrys­ to a series entitled The Five Senses, which ler J r., University of Miami Art Gallery, is now in the Prado in Madrid and was Coral Gables, Fl., 1950, No.5 (as R ubens); also intended as a set of views of the arch- Dutch and Flemish Paintings from the Collec­ ducal collection. On 9 December 1616 tion of Walter P. Chrysler, Jr., The Virginia Brueghel wrote to Hrcole Bianchi that Museum of Fine Arts, Richmond, Virg., ‘Rubens e partito per Brussella, per linire 1954 (as Rubens); Paintings from the Collec­ i ritratti di sua altezza ser.ma’.1 This docu­ tion o f Walter P. Chrysler, Jr., Portland Art ment is generally thought to refer to the Museum, Portland, Oregon, 1956, N0.7 two portraits discussed here: since they (as R ubens), l i t . Scharf, Blenheim, p.98 (as already appear in Brueghel’s painting of G. Honthorst) ; Valenliner, Rubens in America, 1617, it is indeed quite possible that Ru­ p.155 (as Rubens); Goris-Fleld, p.27, No.7 bens had created them as new types in (repr., as Rubens); Larsen, Rubens, p.215, 1616. However, it should be remembered N0.14 (as Rubens); De Maeyer, Albrecht en that in about 1620 he reverted to the older Isabella, pp.112-113 (as Rubens); Burchard- types of 1615 (cf. Nos.60-61), and it is pos­ d’Hulst, Drawings, I, p. 162, under N0.97 sible that he repeated these types in 1616 (as R ubens); H. Vlieghe, ‘Caspar de Crayer also. als Bildnismaler’, Jahrbuch der kunsthistori­ schen Sammlungen in Wien, LXIII, 1967, pp.104-105 (as G. de Crayer); H.Vlieghe, Gaspar de Crayer, sa vie et ses œuvres, Brus­ sels, 1972, i, pp.262-263, N0.A264; II,

I. Rooses - Ruelens, II, p.92. pl.240 (as G. de Crayer); Müller Hofstede,

41 CATALOGUE NO. 65

Damenporträts, pp.316-317, 319 (repr., as unknown; canvas, 115 x81cm . p r o v . R u b en s) ; (3) Painting, Antwerp, Mrs Bou- Count Jânos Pâlfly, sale, Bad Pistyan, dry; canvas, 123 x91cm . p r o v .? Ant­ 30 June-1 July 1924, lot 88 (repr.) ; Prague, werp, Cogels family; sale, Antwerp Otto Kretschmer; (11) Painting, where­

(Campo), 13 December i960, lot ii8a. abouts unknown, p r o v . Antwerp, pri­ l i t . A.-C. Hosten, ‘Les portraits des Archi­ vate collection (1927); (12) Painting (head ducs Albert et Isabelle par Pierre-Paul and shoulders only), Dresden, Gemälde­

Rubens’, Brabant, September, 1978, pp. 5-7 galerie, N0.989; panel, 67 x 52.5 cm.p r o v . (repr., as ?C. de Vos, retouched by Rubens); Wrzowecz collection; purchased for the (4) Painting, Brussels, Baron Carton de collections of the Elector of Saxony, in

Wiart; canvas, 116 x 90 cm. p r o v . Mar­ 1723. l i t . K.Woermann, Katalog der König­ quis de la Boëssière-Thiennes, sale, Brus­ lichen Gemäldegalerie çu Dresden, Dresden, sels (Palais des Beaux-Arts), 14 March 1908, N0.989; (13) Painting (head and 1932, part of lot 116 (repr., as M. de Vos). shoulders only), whereabouts unknown;

EXH. Brussels, 1910, N0.512 (as M. de Vos); canvas, 70 x51cm . p r o v . ?London, E. (5) Painting, Brussels, private collection; Speelman (1954) ; sale, London (Christie’s), canvas, 119 x 86 cm. p r o v . Brussels, G. 29 January i960, lot 149 (as Portrait of a Moeremans d’Emaus (1944) ; sale, Brussels W om an); St Albans, Walter Goldsmith (Giroux), 29-31 May 1958, part of lot 401 (i960); (14) Drawing (Fig. 16), Collections (repr., as Workshop o f Rubens) ; Brussels, de of H.M. the Queen; for references, see Robiano family (1977) ; (6) Painting, Rouen, under No.65a; (15) Engraving (head and Musée des Beaux-Arts, Inv. N0.815-1-14; shoulders only) after (14) byJ.Suyderhoef canvas, 100 x 93 cm. prov. Descamps col­ (Fig.15; V.S., p.175, N0.189); (16) Engrav­ lection; purchased for the Museum in ing (head and shoulders only) after (15) by

1818. l i t . Catalogue des Peintures du Musée P. de Jode II ( V.S., p. 177, No.201). des Beaux-Arts, Rouen, 1967, p. 109; Olga Popovitch, Catalogue des peintures du Musée des Beaux-Arts de Rouen, Rouen, 1978, p.130 The Infanta stands in the same attitude as (as Workshop of Rubens); (7) Painting, Albert in the companion portrait (N0.64; whereabouts unknown; canvas, 132.5 x Fig.13). Like him, she is shown to just

95 cm. p r o v . Brussels, Comte de Mérode; above the knees. She too is more soberly sale, Vienna (Dorotheum), 15-18 March dressed than in the portrait of 1615, in a 1977, lot 111 (repr., as Workshop o f Rubens). dark costume with a white lace cartwheel l i t . Rooses, IV, p.195, N0.969; (8) Painting, ruff and cuffs to match. Her hair is combed whereabouts unknown; canvas, 126 x upwards as in the portrait of 1615 and is

100 cm. p r o v . Sir Timothy Calvert Eden, crowned by a pearl diadem. Ropes of baronet of Maryland, sale, London (Sothe­ pearls hang on her breast, also a cross set by’s), 26 July 1933, lot 19 (as School o f Ru­ with jewels and a large oval medallion bens); sale, Zürich (Koller), 17 November with a picture of the Virgin.

1972, as part of lot 3229 (as R ubens), l i t . Isabella’s right hand rests on the back Glück, Portrait, p.i77, n.9 (as R ubens); (9) of a chair; in her left she holds a white Painting, whereabouts unknown; canvas, handkerchief with a lace border. Here

118 x90 cm. p r o v . Sale, Cologne (He- again the background of the best-pre­ berle), 9-10 December 1892, lot 201 (repr. served copy, that by De Crayer in Norfolk, as S. de Vos); (10) Painting, whereabouts Virginia (Copy [2]; Fig.14), consists partly

42 CATALOGUE NOS. 6 5 8 - 6 6

of brocaded hangings and partly of green Albrecht en Isabella, p. 113 (as not by Rubens) ; velvet that reflects the light. In other ver­ Burchard-d’Hulst, Drawings, pp. 161-162, sions the background consists entirely of No.97 (repr.); Miiller Hofstede, Damen­ neutral green velvet. porträts, p.319. Rubens here again followed a late six­ teenth-century prototype, the portrait of Isabella’s head and hair-style are exactly the Infanta by Frans Pourbus II, known as in the portrait type of c. 1616-17 (N0.65; inter alia from a copy or imitation in the Fig. 14). Royal Museum, Brussels.1 Burchard and d’Hulst regarded this

i. C f. De Maeyer, Albrecht en Isabella, p l.XIII. The origi­ sheet as a copy made by Rubens himself nal prototype by Pourbus is not known. That the as a m odello for the portrait engraving by portrait in Brussels is based 011 a Pourbus original is Pieter de Jode II. However, the execution shown by a drawing after this type in the 17th- century Recueil de Gaignières in the Bibliothèque of the sheet cannot possibly be ascribed Nationale, Paris, with the inscription AVTOGRAP. to Rubens: the drawing is too dry and APVD PICTOREM CELEBREM,/F. POVRBVS, AD linear to be compatible with his sense of V IV V M D E PIC T : (cf. L .R oblot-D elondre, P o r tr a its d'Infantes, Paris-Brussels, 1913, lig.73). plasticity. There is no doubt that the draw­ ing was made with a view to an engraving; but this cannot have been, as Burchard 65a. Isabella, Infanta of Spain: and d’Hulst supposed, the rather crudely Drawing (Fig. 16) executed portrait engraving by Pieter de Jode II which appears among Jan Meys- Black and red chalk, partially reinforced sens’s Pourtraicts de tous les souverains prin­ with black ink; 247 x 170 mm.; indented ces et ducs de Brabant. That engraving, in for transfer; arched at the top, corners re­ the same direction as the drawing, is in placed; below, on the right, the mark of fact a copy of an earlier one by Jonas Suy- George III, King of Great Britain (L. 1200 derhoef after a design by Soutman (Fig. 15). or 1201), applied however in the begin­ The present drawing agrees so precisely ning of this century by Sir John Fortescue. with Suyderhoef’s engraving that in my Windsor Castle, Collection ofH .M . the Queen. opinion there is no reason to doubt its Inv. No. 12.978. attribution to Soutman, as previously pro­

p r o v e n a n c e : ’ Purchased by George III, posed by Van Puyvelde. King of Great Britain (1760-1820),

c o p i e s : ( 1 ) Engraving by J.Suyderhoef (Fig. 15 ; V.S., p. 175. No. 189); (2) Engrav­ 66-67. TWO PENDANTS: ing after (1) by P. de Jode II ( V.S., p.177, ALBERT, ARCHDUKE OF N0.201). AUSTRIA, AND HIS CONSORT, ISABELLA, INFANTA OF SPAIN e x h i b i t e d : London, 1938, N0.607.

l i t e r a t u r e : Gliick-Haberditçl, p.35, No. 66. Albert, Archduke of Austria 58 (repr,); Van den Wijngaert, Prentkunst, (Fig-17) p.95, under N0.662; L. Van Puyvelde, The Flemish Drawings in the Collection of His Oil on canvas; ii2 x 173 cm.; below on Majesty the King at Windsor Castle, London, the left, inscribed: 436 and 1199. 1942, p.287 (as P.Soulman); De Maeyer, Madrid, Prado. No. 1683. 43 CATALOGUE NO. 67 p r o v e n a n c e : First mentioned in the 1636, where Rubens appears as the sole Spanish Royal Collections, in the Alcazar author.1 at Madrid, in 1636; transported to the Ertz proposed a date of 1617 for the Prado after its foundation in 1819. landscape portions, partly on the ground of comparison with the Allegories of the e x h i b i t e d : Maîtres flamands du dix-sep­ Senses in Madrid,2 which date from that tième siècle, Musées Royaux des Beaux-Arts year. The actual portraits, whose authen­ de Belgique, Brussels, 1974, No.29(repr.); ticity he did not question, he assigned to Splendeurs d’Espagne et les villes belges tjo o - 1616, identifying them with Rubens’s por­ 1 ]00, Palais des Beaux-Arts, Brussels, 1985, traits of the archducal couple referred to No. B20 (repr.). in a letter by Jan Brueghel of 9 December l i t e r a t u r e : Cruçada Villaamil, Rubens, of that year. This is the letter which we pp.364-365, N0.28 ; Rooses, IV, pp.114-115, have connected above with the second N0.874; De Maeyer, Albrecht en Isabella, portrait type of c. 1616-17. I do not find p.112; Y. Bottineau, ‘L’Alcâzar de Madrid Ertz’s interpretation acceptable. The two et l’inventaire de 1686, Aspects de la Cour portraits do not seem to me to be by Ru­ d’Espagne au XVIIe siècle’, Bulletin Hispa­ bens’s own hand : both are dry, uninspired nique, LX, 1958, pp.312-313; Diaç Padrôn, studio copies, eclectic combinations of two Cat. Prado, I, pp.314-316, No. 1683 ; II, p.200 portrait types invented by Rubens. They (repr.) ; H. Vlieghe, [Review ofDiaçPadrôn, may, however, have been made under his C at. Prado], Art Bulletin, 1979, p.653 ; E rtç, direct supervision, and are therefore cata­ Brueghel, pp.338-340 (repr.). logued here as designed by Rubens but executed by the studio.

This and the next portrait (N0.67; Fig. 18) 1. ‘Dos lienzos al óleo, de 7 piés de largo poco mâs ó are a mixture of the two types of 1615 ménos; en el uno el retrato del serior archiduque Alberto, de medio cuerpo arriba vestido de negro, (N0S.60 and 61) and c. 1616-17 (Nos.64 and la mano izquierda sobre los guantes y en léjos una 65); the point of departure was clearly casa de campo. El otro de la senora Infanta dona the latter type. The archducal couple are Isabel, su mujer, del mismo tamano, vestida de negro, asentada en una silla, abriendo un abanico dressed in the same black costumes and con ambas manos, y en léjos otra casa de campo. wear the same ornaments as in that type, Son de mano de Rubens’. (Cruçada Villaamil, Ru­ but they are here seated in armchairs; b en s, p.364). Isabella’s pose is entirely based on the 2. Ertç, B ru eg h el, p p.328fr. portrait type of 1615. The landscape background is by Jan Brueghel. In the portrait of Albert we see 67. Isabella, Infanta of Spain (Fig.i8) the castle of Tervuren, and in Isabella’s the castle of Mariemont. This traditional Oil on canvas; ii2 x 173 cm,; below, on attribution was recently confirmed by the left, inscribed: 1206. K.Ertz in his comprehensive monograph Madrid, Prado. No.1684. on Jan Brueghel, and I accept it readily.

However, Jan Brueghel’s name is not men­ p r o v e n a n c e : First mentioned in the tioned in the earliest known document Spanish Royal Collections, in the Alcazar concerning this pair of portraits, the in­ at Madrid, in 1636; transported to the ventory of the Alcazar at Madrid, dated Prado after its foundation in 1819. 44 CATALOGUE NO. 68

e x h i b i t e d : Maîtres flamands du dix-sep­ Stockholm, 1911, pp.122-123, No.526; (2) tième siècle, Musées Royaux des Beaux-Arts Painting, whereabouts unknown; 122x

de Belgique, Brussels, 1974, No.30 (repr.); 83 cm. p r o v . Sale, Los Angeles (Sotheby- Splendeurs d’Espagne et les villes belges 1500­ Parke Bernet), 8 March 1976, lot 187. 1700, Palais des Beaux-Arts, Brussels, 1985, e x h i b i t e d : London, 1953-34, N0.168; N o.B u (repr.). Vienna, içjj, No. 13 (repr.).

l i t e r a t u r e : Cruçada Villaamil, Rubens, l i t e r a t u r e : G.Glück, ‘Rubens’ Bild­ pp.364-365, N0.29; Rooses, IV, pp. 194-195, nisse des Erzherzogs Albert und der In­ N0.968; De Maeyer, Albrecht en Isabella, fantin Isabella’, Bildende Kunst, IV, 1921, p.112; Y.Bottineau, ‘L’Alcâzar de Madrid pp.49-54 (repr.), reprinted in G lück, R u ­ et l’inventaire de 1686. Aspects de la Cour bens, Van Dyck, pp.46-55.hgs.31,33;K .d .K ., d’Espagne au XVIIe siècle’, Bulletin Hispa­ p.27, left; A.L.Mayer, ‘Zum malerischen nique, LX, 1958, pp.312-313; Diaç Padrôn, Werk von Rubens’, Der Cicerone, 1922, Cat. Prado, I, pp.316-317, No. 1684; II, p.200 pp.53—54; R.Eigenberger, ‘Ergänzungen (repr.); H.Vlieghe, [Review of D la ç zum Lebenswerk des Rubens und Van Padrôn, Cat. Prado], Art Bulletin, 1979, Dyck in der akademischen Gemäldegale­ p.653; Ertç, Brueghel, pp.338-340 (repr.). rie in Wien’, Belvedere, V, 1924, p.25; G. Glück, ‘Rubens’Jugendstil und die Por­ For a description and comments, see träts Alberts und Isabellas im Kunsthisto­ under N0.66. rischen Museum Neue freie Presse, 30 May 1924; Cat. Vienna 1 92S, No.834a; Burchard, N achträge, pp.379-381; Cat. Vienna, 1938, 68-69. TWO PENDANTS: No.834a; Glück, Portrait, pp.174, 177; ALBERT, ARCHDUKE OF Evers, Rubens, pp.78-80, fig.32; D e M aeyer, AUSTRIA, AND HIS CONSORT, Albrecht en Isabella, pp.iio-iii, pl.XXII; ISABELLA, INFANTA OF SPAIN Cat. Vienna, 1 973, p. 146; K. Schütz, in Cat. Exh. V ienna, 1977, pp.63-66, No. 13(repr.); 68. Albert, Archduke of Austria Muller Hofstede, Damenporträts, pp.318- (Fig. 20) 319.

Oil on panel; 105 x 74 cm. Vienna, Kunsthistorisches Museum. This work and its companion piece (N0.69 ; Inv. N0.6344. Fig.21) were first published by Gustav Glück, in 1921. These knee-length por­ p r o v e n a n c e : IRubens’s estate, 1640; traits are a very faithful repetition of the purchased for the Kunsthistorisches Mu­ type known from Jan Muller’s engravings seum in 1921. of 1615 (N0S.60 and 61; Figs.7, 8). How­

c o p i e s : (1) Painting, Thorönsborg, Swe­ ever, the Archduke and his consort appear den, Count Gösta Mörner; panel, 103 x somewhat stouter, and Albert’s right 73 cm. prov. Said to have been taken by hand hangs straight down instead of being the Swedes when pillaging the Hradschin shown at an angle as in the older type. at Prague, in 1648; Björksund, Count Axel The background is bright red. Glück be­

Mörner (1911). l i t . O.Granberg, In v e n ­ lieved that both portraits were painted in taire général des trésors d’art ...e n Suède, I, 1609, immediately after Rubens’s return 45 CATALOGUE NO. 69 and his appointment as court painter to hand, mean that they were not intended the archducal couple. They were sup­ for a particular client but were kept in the posedly specimen portraits or prototypes, studio as a prototype. Hence, while reject­ identical with the ‘deux pourtraits des ing Glück’s too early dating, we can per­ Archiducs Albert et Isabel’ that were in haps still accept his supposition that these Rubens’s possession at his death:1 works portraits are identical with those in Ru­ of a somewhat sketchy character, on which bens’s possession at his death. the ceremonial portraits were based. This attractive hypothesis was generally ac­ i. Demi«, Konstkamers, p.63, Nos.151-152. cepted until, in 1977, it was invalidated by the dendrochronological examination, carried out by Bauch, Eckstein and Brau­ 69. Isabella, Infanta of Spain (Fig. 21) ner, of the panels on which the portraits are painted. From this it appeared that the Oil on panel; 105 x 74 cm. latter must be dated c.1620. One of the Vienna, Kunsthistorisches Museum. three planks composing the panel with Inv. N0.6345. Albert’s portrait is from an oak-tree which cannot have been cut down before 1618, p r o v e n a n c e : ’ Rubens’s estate, 1640; and, according to the same investigators, purchased for the Kunsthistorisches Mu­ two of the planks composing the Isabella seum in 1921. panel are also from a tree which cannot have been felled before that date. It was e x h i b i t e d : Vienna, 1977, N0.14 (repr.). found too that some panels from this tree

were used for the oil sketches for the Me­ l i t e r a t u r e : G.Glück, ‘Rubens’ Bild­ dici series, dating from c. 1621-22. nisse des Erzherzogs Albert und der In­ While this evidence is indisputable, it fantin Isabella’, Bildende Kunst, IV, 1921, remains the case that the two portraits at pp.49-54 (repr.), reprinted in G lü ck, R u ­ Vienna are notably sketch-like and show bens, Van Dyck,pp.46-55,figs.32,34; K .d .K ., the couple in a less flattering but more p.27, right; A.L.Mayer, ‘Zum maleri­ lifelike pose. This striking difference be­ schen Werk von Rubens’, Der Cicerone, tween them and the portrait type known 1922, pp.53-54; G.Glück, ‘Rubens’Jugend­ from Jan Muller’s engravings may per­ stil und die Porträts Alberts und Isabel­ haps be explained by the fact that while las im kunsthistorischen Museum’, N eue Rubens wished to adhere to what was al­ freiePresse, 30 May 1924; Cat. Vienna, 1928, ready an older type, he felt obliged to No.834b ; Burchard, Nachträge, pp.379-381 ; modify the sitters’ features so as to pro­ Cat. Vienna, 193 V No.834b; Glück, Portrait, duce a better likeness of them in c.1620. pp.174,177 ; Evers,Rubens, pp.78-80, fig.33 ; Compared to the portraits engraved by De Maeyer, Albrecht en Isabella, pp.iio-m, Jan Muller or to the type of c. 1616-17, they pl.XXIII; Cat. Vienna, 2 973, p. 146 ; K.Schütz, certainly look older in the present por­ in Cat. Exh. V ienna, 1977, pp.63-66, No. 14 trait— in particular, they have a flabbier (repr.); Müller Hofstede, Damenporträts, and stouter appearance. pp.318-319. The rather free execution of the por­ traits and the fact that they are clearly not For a description and comments, see altogether finished may, on the other under N0.68.

46 CATALOGUE NOS. 7 O - 7 I

70. Albert, Archduke of Austria the Vienna example, though the present (Fig. 19) painting has suffered much damage, es­ pecially to the sitter’s hands. Hence I read­ Oil on panel; 103 x 76 cm. ily accept Burchard's view, which is also Castagnola near Lugano, Villa Favorita, Col­ the general one, that this is an original lection Bentinck-Thyssen. Inv. No.358. work by Rubens. The portrait was injured by vandalism p r o v e n a n c e : Earl of Upper Ossory in 1977, when sulphuric acid was poured (1830); Earl of Strathmore, London; Earl over a considerable part of the surface. of Harewood, London; Spink, London; Fortunately the damage was very super­ Bottenwieser, Berlin ; purchased from the ficial, and the original structure was latter by Heinrich, Baron Thyssen-Borne- easily restored, apart from a slight loss of misza, in 1930, for his collection at Schloss paint. Rohoncz; Baroness Gabriele Bentinck- Thyssen, Paris; on loan to the Düsseldorf Kunstmuseum, 1975-1984. 71. Alethea Talbot, Countess of c o p i e s : See under N0.68. Arundel (Fig. 22) e x h i b i t e d : British Institution, London, 1815, N0.110; Sammlung Schloß Rohoncç, Oil on canvas; 98 x 77 cm. Neue Pinakothek, Munich, 1930, N0.279; Barcelona, Museo de Arte de Cataluna. Alte Pinakothek, Munich, 1931; A u s dem Inv. N0.65001 B esitzer Stiftung Sammlung Schloss Rohoncç, Castagnola (Lugano), 1949, N0.214. p r o v e n a n c e : Edward Solly, London, C.1842; Leo Nardus, Suresnes, c.1910; Eric l i t e r a t u r e : Smith, Catalogue Raisonné, Lyndhurst, Brussels; Kurt Erasmus, Ber­ II, p.272, No.917; Burchard, Nachträge, lin; purchased from the latter by Julius p.380; R. Heinemann, Stiftung Sammlung Böhler, Munich, in 1928 ; Francisco Cambó, Schloss Rohoncç, Lugano, Lugano, 1937, Barcelona, afterwards (since i936)Switzer- N0.358; Glück, Portrait, p.177; D e M aeyer, land and Buenos Aires; bequeathed to the A lbrecht en Isabella, p. 111 ; R. J. Heinemann, city of Barcelona in 1947, and exhibited Sammlung Schloss Rohoncç, Castagnola (Lu­ there in the Museum since 1955. gano), 1958, p.90, N0.358; Ulrike Peter, ‘Zur Restaurierung des Rubensgemäldes e x h i b i t e d : Brussels, 1910, No.359; Ma­ Erzherzog Albrecht von Österreich’, M a l- drid, 1977-78, N0.101 (repr.). technik-Restauro, LXXXIV, 1978, pp. 178­

181 (repr.); H.Althöfer, ‘Restaurierungs­ l i t e r a t u r e : Smith, Catalogue Raisonné, zentrum’, Düsseldorfer Museen, 1979, IX, pp.340-341, N0.362 (as Portrait of a pp.426-427 (repr.). Lady); Fierens-Gevaert, pp.75-76, pl.28; Rooses, Vlaamsche kunst, p. 12; F.J. Sanchez Cantón, La Collección Cambó, Barcelona, This is in every respect a faithful replica 1955, pp.94-96, No.38 (repr.); ‘Cambo Be­ of the portrait in the Kunsthistorisches quest for Barcelona’, Connoisseur, CXXXII, Museum, Vienna (N0.68; Fig.20), with a 1956, p.52; Burchard-d’Hulst, Drawings, I, brown instead of a red background. The p.199, under No.127; Duverger, Van Hecke, pictorial quality seems equal to that of pp.152-153, fig.3; [R.-A. d’Hulst], in Cat. 47 CATALOGUE NO. 72

Exh. A n tw erp , 1977, p. 117, under N0.47; Mytens’s models of c.iói8 (Fig.23) and Jaffé, Exhibitions, pp.623-624. with the group portrait at Munich (No.72 ; Fig.24) directly in view.4

Alethea Talbot (c. 1585-1654), third daugh­ 1. For the biographical data about Thomas Howard ter and heiress of Gilbert Talbot, Earl of and Alethea Talbot, see especially Hervey, Arundel, p a s s im . For Rubens’s portraits of the Earl of Arun­ Shrewsbury, married on 30 April 1606 del, see Huemer, Portraits, pp.105-110, Nos.5-6, Thomas Howard, second Earl of Arundel, figs.47-56. 2. Duverger.Van Hecke, p. 169. a noted diplomat, collector and patron of 3. Demtcé, Konstkamers, p.6o. the arts.1 4. Erik D uverger (op. c it., pp.152-153) and Frances In 1646 Rubens’s brother-in-law Peter H uem er (op. c it., pp.106-107, under N0.4) proposed van Hecke owned ‘Twee contrefeytsels a connection between the portrait of Arundel in Rubens’s and Van Hecke’s collection and the van Rubbens wesende den Grave ende painting in the National Gallery, London. Gravinne van Arondel’.2 He may have bought these pieces, together with others, at the public sale of Rubens’s estate. The 72. Alethea Talbot, Countess of inventory of the latter refers to a ‘Pour- Arundel, and her Train trait du Comte d’Arondel sur toile’3 but (Figs. 24, 25-27,29) does not mention a companion portrait of the countess. This, however, might be Oil on canvas; 261 x 265 cm. due to a mistake in the inventory or pos­ Munich, Alte Pinakothek. N0.352. sibly in translation, as the original docu­

ment is no longer known to exist. As I p r o v e n a n c e : Bequest of Thomas How­ have pointed out above, these portraits of ard, Earl of Arundel, and his wife Alethea prominent persons in Rubens’s estate are Talbot, Lady Arundel, London (until to be regarded as prototypes after which 1642), Antwerp and Amersfoort; seized replicas were made, by Rubens’s own on behalf of William Howard, Viscount hand or otherwise. of Stafford, 1655; first mentioned in the The Cambó collection, exhibited in the collection of Johann-Wilhelm, Prince- Museum at Barcelona, contains a portrait Elector of the Palatinate, Düsseldorf, in of Alethea Talbot which is a detailed re­ 1719 by Karsch; transported to the Hof­ petition of that in the group portrait in gartengalerie, Munich, 1806; transported Munich (N0.72; Fig.24), and is perhaps to to the Alte Pinakothek in 1836, the year be regarded as a studio replica after the of its foundation. prototype of the ‘Gravinne van Arondel’ copy: Drawing, Berlin, Print Room of the which belonged to Van Hecke. In any case Staatliche Museen, Inv.No.13775; brown the arrangement of the portrait— the ink over black chalk, washed in brown slightly sideways attitude, the sitter’s pose and grey, 305 x 365 mm. l i t . Bock-Rosen­ in the chair and the fact that she is depicted berg, I, p.256, No.13775; Mielke-Winner, on the (heraldic) left side, as was usual in p.130, N0.59 (repr.). the female pendants of double portraits—

suggests that it was the counterpart of a l i t e r a t u r e : Karsch, Cat. Düsseldorf, portrait of the earl, imagined as being on No.290 (as A. Van Dyck); Van Gooi, Nieuwe the dexter side. Rubens may have painted Schouburg, II, p.535 (as A. Van Dyck); Cat. these two portraits in imitation of Daniël Düsseldorf, 1770, p.3, N0.20 (as A . V an

48 CATALOGl'li NO. 72

Dyck); Pigage, Cat. Düsseldorf, N0.243; pleted her portrait and also those of her J. Dallaway, in H.Walpole, Anecdotes of dwarf Robin, her jester and the hitter’s Painting in England, I, London, 1828, dog. A lap-dog that was also tobe in the pp.175-176; Smith, Catalogue Raisonné, 11, picture would be brought to Rubens on p.70, No.210; Dillis, Cat. Munich, N0.250; the following day. As the painter did not Part hey, Bildersaal, II, p.432, No.324; M arg- yet have a canvas of the required size, he graff', Cat. Munich, No.244; lieber. Cat. M u­ had drawn and painted the heads of the nich, No.784; East lake, Notes, p. 189, No.784; various figures, life-size, and had made Rooses, IV, pp.125-127, No.888; R ooses- studies of the poses and costumes on pa­ R uelens, II, p.251; K.d.K., ed. Rosenberg, per. The dog too had already been painted p.209; Dillon, Rubens, p.201, pl.CCVIU; life-size. The canvas for the finished work K .d .K ., p.200; Hervey, Arundel, pp. 174-181 ; had been ordered; Rubens would himself Cat. Munich, ujjó, p.226, No.352; Evers, transfer the figures to it and would send R ubens, pp.87-9r, 258, figs.38, 40; Evers, it to the ear] together with the portrait Neue Forschungen, p.339; Burchard-d'Hulst, studies. The w riter added that Rubens had D ra w ings, 1, p. 199, under No. 127; F.H. promised the countess not to paint any CAVeijtens, De Arundel-Collectie. Commen­ other portraits than those commissioned cement de la fin Amersfoort i6S), Utrecht, by the earl.1 There is not the least doubt 1971, pp.22, 38(11.41),46(11.135).49(0.184), that this letter refers to the group portrait pl.IV; Huetner, Pori rails, pp.85-87, fig.35; now in the Alte Pinakothek, Munich. K. Downes, R ubens, London, 1980, pp.42, Lady Arundel had come from England 44; A. Sjomers] Qocks], in Cat. Hxh. to The Hague, w hence she set out in June Princely Magnificence. Court Jewels of the 1620 for Venice and Padua. Her route lay Renaissance, 1500-1630, Victoria and Albert through the Southern Netherlands, and Museum, London, 1980-81, p.65, under she took advantage of her short stay there N0.55. J.Douglas Stewart, [Review of to pose for this portrait by Rubens.2 She Huemer, Portraits], The Burlington Magazine, appears seated, full length, facing slightly CXXIII, 1981, p.366; U[lla] K[rempelJ, in to the left. She wears a black gown with a Cat. Munich, k )Xj , pp.438-439, N0.352 white lace back-collar and cuffs, and pearl (repr.); D. Howarth, Lord Arundel and his earrings. On her breast, suspended from C ircle, New Haven-London, 1985, p. 152, a chain of precious stones, is a jewel with pl.6. the monogram 1HS. Formerly this jewel had been the breast-ornament of her mother-in-law, Lady Dacre.3 Hcrlefrhand The origin of this canvas and the portrait rests on the arm of her chair; with her composition are described in a letter ad­ right she strokes the head of the large dressed to Thomas Howard, Earl of Arun­ white dog with black spots, mentioned in del, on 17 July 1620 by one of his servants, the letter. Two other figures there refer­ perhaps Francesco Vercellini, who acted red to are also seen in the picture. In the as Lady Arundel’s secretary on her travels. right foreground is a little man in a red The letter stated that Rubens had gladly doublet and breeches and a red cloak acceded to the earl’s wish to have a por­ trimmed with gold; evidently the dwarf trait painted, and had arranged for the Robin. On the left the jester, standing be­ countess to pose for him on the very next side the dog, draws aside a black curtain day. At the time of writing he had com­ that flutters over the countess’s head like 49 CATALOGUE NO. 72 a baldachin. Only the lap-dog, to which place the secretary Vercellini.7 Later he the letter also refers, was not painted. The rightly supposed it to be Sir Dudley Carle- curtain is adorned with the Arundel arms ton,the EnglishambassadoratTheHague, and motto: [s o l ] a - v i r t v s i n v i c t a ,4 who was a friend of both Rubens and the surrounded by the insignia of the Garter. Arundels and was, in a sense, the coun­ The unflattering representation of the tess’s special protector at the outset of her countess’s features indicates that she was Continental travels. In support of this sug­ indeed painted from life. None the less, gestion Burchard pointed to a portrait of there is an unmistakable resemblance be­ Carleton engraved by Willem Delff after tween her pose in this portrait and in that Michiel Mierevelt (Fig.30), which indeed painted by Daniel Mytens in or before shows a striking resemblance to the figure 1618 (Fig.23). It seems to me that Rubens in the present painting as regards the must have followed that schema for the style of the hair and beard. The figure’s present portrait, and must have been ac­ undoubted stiffness, which appeared to quainted with a copy of it.5 The letter Mary Hervey a possible reason for deny­ makes no mention of the man in a dark ing Rubens’s authorship, could be ex­ jerkin, with the Garter below his knee, plained by the fact that the painter was standing beside the countess and resting unable to work from life but had to rely his right hand on the back of her chair. on another portrait. The oldest known description of the paint­ The liveliness and genre-like quality of ing, in the posthumous inventory of Arun­ this composition are unmistakably of Ve­ del’s estate dating from 1655, speaks only netian inspiration. Kerry Downes recently, of Rubens’s ‘Ritratto di Madonna la Con­ and rightly, connected the ’symphonic’ tessa d’Arondeir and ‘ ’t Conterfey tsel van use of colours with Rubens’s early interest de gravin van Arondel’ ;6 not until the in Titian. I find less convincing Downes’s eighteenth century, first of all in Karsch’s suggestion that Rubens was also influenced description, is there a reference to this here by the young Van Dyck. A simpler man, who was always identified as the explanation of the remarkably lively countess’s husband. This identification schema is that Rubens was recalling the was first called in question by Mary Her- portraits of Genoese ladies of his Italian vey in her monograph on the earl, dated period : these works, which are themselves 1921. Pointing out that the man bears thoroughly Venetian in inspiration, are little resemblance to Rubens’s known the sole basis for the group portrait at portraits of the earl, and that in her opinion Munich.8 It also seems to me quite pos­ the man in the group portrait is less ex­ sible that the strongly Venetian character pertly painted than the rest, she concluded of the work was specially desired by the that he was painted in later and does not earl himself, who, like other English con­ represent the countess’s husband (but she noisseurs who set the fashion in the Stuart did not suggest who else it might be). period, was especially fascinated by the Burchard attempted to solve the problem Venetian Renaissance. Moreover, the on two occasions. He rightly assumed that countess is here depicted en route for Ve­ the man must have been in the picture nice, and her destination may also have from the beginning, as no hiatus can be played a part in determining the charac­ perceived in the execution. He therefore ter of the painting. thought of contemporaries, in the first The group is posed on a terrace, the

50 CATALOGUE NO. 72 floor of which is decorated with an Orien­ undoubtedly professed the Roman faith, the mono­ gram IHS may also be displayed by Anglicans. tal carpet bearing flower motifs of varie­ Hver since the 15th century there has been a gated colour. On the left, over a balus­ strong fashion for the IHS pendants like the jewel trade, can be seen a distant, hilly land­ worn by Alethea Talbot. But an even more plausible reason for the Countess ot Arundel's scape with a castle that may represent one wearing of this old-fashioned jewel consisting of of the Arundel country houses.9 In the the Jesus monogram in black lettering may be centre and to the right behind the group the prophylactic powers attributed to the Holy Name (cf. A.Somers Cocks, loc. cit.). are four twisted Solomonic columns 4 . The first half of the motto (SOLA \TRTVS)is clear­ adorned with putti and vine-tendrils. This ly legible in the 16th-century portrait by Hans architectural feature may be a veiled allu­ F.worth of the Earl of Arundel's grandfather, Thomas Howard, 4th Duke of Norfolk (private sion to the countess’s Roman Catholicism. collection; repr. in R.Strong, 'l u d o r a n d Jacobean In the iconography of the Counter-Refor­ P o r tr a its, II, London, 1969, p.459). mation the T emple of Solomon was a well- 5. Mytens’s portraits of the Arundel couple are dis­ cussed in full detail in O. ter Kuile's monograph; known symbol of the Church and the Eu­ ‘Daniël Mytens. “His Majesty's Picture-Drawer"', charist, and the sacrament was also sym­ Nederlands kunsthistorisch Jaarboek, XX, 1969, pp. bolized by angels with vine tendrils.10 43- 47­ 6. The collection lelt by the countess at her death in 1654 "'as the object of .1 dispute between the 1. 'Ho al mio arrivo in questa citta, subito presentata Arundels' son William Howard, Viscount Stafford, la lettu di vra ecc11“ al sr Ribins Pitore, la qualle e and the children of his deceased brother Henry Fre­ stata da lui con alegra fronte ricevuta, ma con piu derick. In consequence, two inventories were drawn piacere doppo l'haverla letta si e dimostrato, et mi up. The first, a long one in Italian dated 1655, was rese questa risposta : con tutto che io abbia ritfutato published in 1911 by Mary L.Cox ('Inventory of a molti Principi et sgrl (particular1' qui nel statto Pictures etc. in the possession of Alethea, Countess d’sua altezza) de far li sua [sic] ritratti; al sr Conte of Arundel, at the time of her Death at Amster­ non posso riffuttar l’honore ehe mi fa di comandar- dam in 1654', The Burlington Magazine, XIX, 1911, mi, tenendollo per uno delli quatro evangelisti e pp.282-286, 323 [referring to the portrait of the soportator del nro arte; seguitando con moite countess]). A second inventory, in Dutch, was parolle cortesi. published in 1971 by F.H .CAYeijiens (op. c it.). This Messi ordene ehe sua ccclla di Madama venisse il covers only part of the collection, but includes the giorno seguente per sedere, come fece,etegli.pieno present portrait with a marginal note saying that d'cortesia, ha compito il suo ritraito, Robin nano, it was 'om de grootheyt niet serbodemt'-i.e. it il Pazzo, et Canne, manchando altra piciol cosso- was too large to be removed, along with other lina ehe fornira dimani, e sua ecc11" partira posdi- paintings, from the residence al Amersfoort. This mani per dormir a Bruselles. Perche d° sr Ribins interesting remark, which does not appear in the non veniva tella di quadro grande abastanza, ha Italian document, refutes the doubt occasionally ritratto le teste come devono essere; la posturu et expressed as to whether the piece mentioned in abitti in Carta disegniati; il Canne ritratto tutto 1655 is in fact the group portrait in Munich. Iiur- intiero; sara in questo mentre metere une tella chard.in particular, thought that thepaintingmen- all’ordine, et lui di propria mano copiera quel ehe tioned in the inventory was identical not with the ha fatto. Sara il quadro perfeto, et il quadro con li Munich portrait but with the small bust-length primi ritratti insieme li inviera a vra ecc11". Ha d° portrait in Barcelona, which is ot dubious quality Ribins promesso a Madama de non voler ritragier (cf. also N o.71). quai si voglia persona, sollo quelli che da vra 7. Burchard's opinion was published in the 1936 ecc11" li sara comandatto' (first published by H er- edition of the catalogue of the Alte Pinakothek at vev, Arundel, p .175; Rooses-Ruelens, II, p .250, only M unich (loc.cit.). published a French traduction of the autograph 8. See, for the portraits of Genoese ladies, L.Bur­ letter, preserved at Arundel Castle). chard, ‘Genuesische Frauenbildnisse von Rubens', 2. Alethea's trip from The Hague to Italy is discussed Jahrbuch der preulStschen Kunstsammlungen, L, 1929, in full detail by Henry, Arundel, pp. 173-184. p p.319-349, and Huemer, Portraits, p p.33-43, Nos. 3. It has been generally assumed (particularly by 19, 39- 45, figs.i 17-125. Hervey, Arundel, p .50, under 11.1, 203, and by 9. It does not seem likely that this is intended as .111 Huemer, Portraits, loc. cit) that this jew el is an a llu ­ accurate representation of any of the Arundel resi­ sion to the countess’s Catholicism. Recently, how­ dences. At any rate the complex ot buildings does ever, Douglas Stewart pointed out that, while she not resemble either the surviving depictions of

51 CATALOGUE NOS. 723-73

Arundel House in London (sec Hollar’s engraving Brussels, 1938-39, N0.26 (repr.) ; R otterdam , reproduced e.g. in Cat. Exh. W enzel Hollar, Paris, 1939, N0.42 (repr.); Rotterdam, 1948-49, Institut Néerlandais, 1979, Nos.106-107, fig.20) or that of Albury House in Surrey (engraving by M. N0.120; Brussels, 1949, N0.90; Paris, 1949, van der Gucht, reproduced in Hervev, Arundel, N0.94; Helsinki, 1932-33, N0.40 (repr.); p l.XVII, facing p .346). Stockholm, 1933, No. 100 (repr.); A ntw erp , to, The iconology of the Solomonic column is exten­ sively explained in De Poorter, Eucharist, p p .171- 1936, N0.89 (repr.); Old Master Drawings, 176; see also Vlieghe, Saints, II, p.59, under N0.110. NationalmuseumStockholm, 1967^0.20; Frances Huemer in her extensive account of the Drawings from Stockholm, The Pierpont portrait states firmly that the Solomonic columns are an allusion to the countess's Catholic faith. This Morgan Library, New York, 1969, N0.54; interpretation was recently questioned, however, London, 1932, No.7 (repr.); Antwerp, 1933, by Douglas Stewart, who-while offering no alter­ No.153 (repr.); Stockholm, 1933-38, N0.33 native-wondered how it was to be reconciled with the fact that the earl, who had commissioned (repr.). the portrait, was an Anglican. l i t e r a t u r e : R ooses, V, p.260, No.1498; Glück-Haberditçl, p.46, No.133 (repr.); 72a. Robin the Dwarf: Drawing L. Van Puyvelde, ‘Die Handzeichnungen (Fig. 28) des P.P.Rubens in der Ausstellung in Brüssel’, Pantheon, XXIII, 1939, pp.75, 78 Pen and brown ink over red, black and (repr.); Evers, Rubens, p.89 (repr.); Evers, white chalk on light grey paper; 403 x Neue Forschungen, pp.339-340; B u rch a rd - 258 mm.; several inscriptions in Rubens’s d’Hulst, Tekeningen,pp.80-81, No. 89(repr.); hand, referring to colours and materials Held, Drawings, pp.10, 32, 44, 55, 136, No. of the costume : Het Wambuys vermach we­ 101, pi.113; Burchard-d’Hulst, Drawings,I, sen root sattijn ende de broeck root flouweel pp.198-199, N0.127 (repr.); B.Magnusson, (above on the left), Tannaytflouweel (waist­ ‘Rubens som tecknare’, in Rubens iSverige, coat), Tannayt flouweel (breeches), root Stockholm, 1977, pp. 105-106 (repr.). (knee), Geel (stockings), root (bootlaces), Sw a rt (boot), Geel Voyeringe (border of mantle); in the right corner below, the A detailed preliminary study, with colour mark of the Nationalmuseum, Stockholm indications, for the dwarf Robin in the (L.1980) and, inscribed with the pen, P.P. right foreground of the group portrait of R ubens (? by Crozat) and 1722 (mark of The Countess of Arundel and her Train at the Royal Library inventory, Stockholm, Munich (No.72; Fig.24). This is the survi­ 1790). Fully mounted. ving example of the drawn costume stu­ Stockholm, Nationalmuseum. dies mentioned in the letter of 17 July 1620 Inv. N0.1913/1863. to the Earl of Arundel. provenance: P.Crozat (Paris, 1665­ 1740), sale, 10 April 1741 et seq., lot 841; Count C.G.Tessin (Stockholm, 1695­ 73-74. TW O P E N D A N T S : 1770) ; Royal Library, Stockholm (Inv. 1790, HELIODORUS AND No.1722); Royal Museum, Stockholm, MARCELLIANUS DE BAREA exh ib ited :Choixde dessins du quinzième au 73, Heliodorus de Barea (Fig. 31) dix-huitième siècle, à l’occasion du XVIIIième Congrès International d’Histoire de l’Art, Na­ Oil on panel; 62 x 49.5 cm. tionalmuseum, Stockholm, 1933, No.36; Barcelona, Private Collection.

52 CATALOGUE NO. 74 p r o v e n a n c e : J.B. van Scherpenbergh, brothers’ Spanish surname, Oldenbourg sale, Antwerp, 19 August 1801, lot 4; pur­ wrongly supposed that the portraits were chased by Thilemans ; sale, London (Chris­ painted during Rubens’s stay at the Spa­ tie’s), 10 April 1802, lot 118; F.T.Fleit- nish court in 1628-29. I do not, however, mann, New York, (19 2 1); sale, London agree with Burchard’s statement in the (Christie’s), 26 November 1976, lot 18 London exhibition catalogue of 1950 that (repr.). February 1632 should be regarded as a ter­ minus ante quem-his view being that Ru­ c o p y : Engraving by N.Lauwers (Fig.34; bens would not have painted the two Ca­ VS., p.181, N0.237). puchins after that date, when the famous e x h i b i t e d : M a d rid , 2977-78, N0.103 betrayal of Count Hendrik van den Bergh (repr.). andhis associates tookplace. In my opinion l i t e r a t u r e : Smith, Catalogue Raisonné, the terminus ante quem should be 1635, as II, p.311, N0.1155; Rooses, IV, p.130, the two brothers were in Burgundy in or No.894; K .d .K ., p.307, left; L.Burchard, in from that year and Rubens is unlikely to Cat. Exh. London, 1950, p.47, under N0.37. have painted them there.2

1. There is much hiographic.il evidence about the Barea brothers in 1’. Irédégand d'Anvers, P tu ile s u r The sitter’s identity is clarified by the in­ le Père Charles il’Arenberg,frère-mineur capucin ( i ;tJ3 scription on Nicolaas Lauwers’s engraving -1669), Paris-Rome, 1019, p a ssim : for their role in after this portrait (Fig.34). Heliodorus de the discovery of the conspiracy: ibid., pp.207, iih. Barea, like his better-known brother Mar­ 2. Ibid., p.231. cellianus, was a Spanish Capuchin active in the Netherlands. He moved in Court circles and, together with his brother 74. Marcellianus de Barea (Fig. 32) (N0.74; Fig.32), was involved in public affairs in the early 1630s; for example, he Oil on panel; 63 x 47 cm. played a part in the discovery of the con­ Nîmes, Mwsée des Beaux-Arts. spiracy planned by the South Netherlands p r o v e n a n c e : J.B. van Scherpenbergh, nobility led by Prince d’Arenberg and sale, Antwerp, 19 August 1801, lot 3; pur­ Count Hendrik van den Bergh. Helio­ chased by Thilemans; entered the Mu­ dorus de Barea died in Madrid on 1 April seum of Nîmes at some date after 1895. 1660.1

He is here shown bust-length in the c o p y : Engraving by N.Lauwers (Fig.33; greyish-brown habit of his Order, in three- VS., p. 181, No.236). quarter view and looking directly towards e x h i b i t e d : London, 19)0, No.37; Pa ris, the spectator. The rather loose brush- 1977-78, No.136 (repr.). work of this portrait and its pendant

(N0.74; Fig.32) representing Marcellianus l i t e r a t u r e : Smith, Catalogue Raisonné, de Barea argues for a late dating of both, II, p.311, No. 1153; Rooses, IV, p. 130, C.1630 or later. The two paintings were N0.893; L.Burchard, in Cat. Exh. Lon­ regarded from the outset as belonging to­ don, 19)0, pp.47-48, N0.37; D.Freedberg, gether, witness Nicolaas Lauwers’s two ‘L’Année Rubens, manifestations et publi­ prints of identical size and with similar cations en 1977’, Revue de l’Art, XXXIX, frames and inscriptions. On account of the 1978, p.86; J.Foucart, ‘Postface à l’exposi- 53 CATALOGUE NO. 75 tion “Le Siècle de Rubens” dans les collec­ e x h i b i t e d : Fifty Paintings by Old Masters, tions publiques françaises’, La Revue du Art Gallery, Toronto, 1950, N0.40; Style, Louvre et des Musées de France, XXIX, 1979, Truth and the Portrait, The Cleveland Mu­ p.157, n.14. seum of Art, Cleveland, Ohio, 1963, N0.21 (repr.); A n tw erp , 1977, N0.58 (repr.).

As with the companion portrait (N0.73; l i t e r a t u r e : W. von Bode, ‘Ein neuauf- Fig.31), the sitter’s identity appears from gefundenes Bildnis von Rubens’ erster an inscription on the engraving made of Gattin Isabella Brant’, Jahrbuch der könig­ it by Nicolaas Lauwers (Fig.33). Unlike his lich preussischen Kunstsammlungen, XXXV, brotherHeliodorus.MarcellianusdeBarea 1914, pp.221-223 (repr.); id., Die Meister is seen almost frontally, his head turned der holländischen und vlämischen Maler­ very slightly to the left and his eyes looking schulen, Leipzig, 1917, pp.346 (repr.), 352; directly at the spectator. Like his brother, Glück, Liebesgarten, p.61, reprinted in he wears the greyish-brown habit of the Glück, Rubens, Van Dyck, p.96; Burchard, Capuchin Order. N achträge, p.385; Valentiner, Rubens in More details are known of Marcellia- A m erica, p.160, N0.67; Goris-Held, p.26, nus’s life than of his brother’s. He was born No.i, pl.it; H.S. Francis, ‘Portrait of Isa­ C .16 0 1 and is said to have joined the Or­ bella Brant by Peter Paul Rubens’, B ulle­ der in 1617. Before this he had contracted tin of the Cleveland Museum of Art, XXXIV, heavy debts, but was able to pay them off 1947, pp.247-249 (repr.); A r t N ew s, XLVI, thanks to generous help from his influen­ December, 1947, p.24 (repr.); Larsen, Ru­ tial fellow-Capuchin Charles d’Arenberg.1 bens, pp.216-217, No.51; The Cleveland M u­ seum. Selected W orks, Cleveland, 1966, p. 161

1. Cf. under No,73, n.i. (repr.); W.Sauerländer, [Review of Cat. Exh. A n tw erp , 1977], Pantheon, XXXV, 1977, p.340; Jaffé, Exhibitions, p.623; K.Renger, [Review of Cat. Exh. Antwerp, 19 77], K u n st­ 75. Isabella Brant (Fig. 36) chronik, XXXI, 1978, p.2; Vlieghe, Remarks,

pp.106-107, h i (repr.); Muller Ftof- Oil on panel; 55.5 x 46.5 cm. stede, Damenporträts, pp.317-318, 321, Cleveland, Ohio, The Cleveland Museum of n.61 (repr.) ; N. C[oe] W[ixom], in European A r t. Inv. N0.47.207. Paintings o f the 16th, ljthand 18th Centuries, Cleveland, Ohio, 1982, pp.24-28, No.io p r o v e n a n c e : Lord Glanusk, sale, Lon­ don (Sotheby’s), 29 April 19x4, lot 88; (repr.). Hugh Blaker, Old Isleworth, Middlesex; purchased from the latter by Marcus Kap­ pel, Berlin, in 1914; Marcus Kappel sale, The sitter is shown bust-length, looking Berlin (Cassirer), 25 November 1930, lot 16 directly at the spectator but with her head (repr.), withdrawn; in possession of the turned three-quarters to the left. She Kappel heirs until November 1945, when wears a black gown with white lace collar purchased by Rosenberg and Stiebel, New and cuffs. Her hair is plaited at the back York; donated to the Cleveland Museum and adorned with a diadem. Her right of Art by Mr and Mrs William H. Marlatt, hand is pressed against her bosom, on in 1947. which hangs a gold chain. The back­ 54 CATALOGUE NO. 75a ground is lightly indicated in greyish-blue of part of the portrait was confirmed, par­ tones, with the undercoat showing tially at least, by the technical examina­ through. tion carried out in r977.2 This showed that There cannot be the least doubt that the panel consisted of four planks glued the sitter is Isabella Brant, Rubens’s first together. At a height of c. ró cm. from the wife. The same head, with almost the bottom, i.e. just above Isabella’s hand, same quizzical expression and the same three vertical planks are completed by a hair-style, but facing three-quarters to the fourth laid horizontally across them. right, can be seen in the portrait now in X-rays (See Fig.35) and examination of the Washington (Fig. 37) thatVanDyck painted paint structure showed that all this under­ of her immediately before his departure most horizontal section was extensively for Italy in 1621. In that painting the iden­ overpainted, in all probability by the re­ tification of the sitter as Isabella Brant storer William Suhr, who had treated the rests above all on the depiction of the cele­ portrait in c.1946. Beneath this overpaint­ brated portico in the garden of Rubens’s ing are traces of another hand. It is, how­ house. The resemblance between the por­ ever, impossible to make out whether the trait at Cleveland and that in Washington painting of the horizontal panel was ori­ is so striking that one is inclined to sup­ ginally by Rubens: the whole of it may pose they were based on studies made at have been a later addition. one and the same time, of Isabella’s head in different poses. We may also note the 1. A draw ing (ink and wa.sh on paper, 114x92111111.), possibly dating from the 18th century and belong­ drawing in the British Museum, which ing to the Museum at Worcester, Mass. (Inv. No. shows the same head almost frontally and 1917.78), may be a copy of such a preliminary study, can well be regarded as one of the set of showing Isabella’s head turned to the right. There is no reason to consider that drawing ,1 copy after a studies (No.75a; Fig.38).1 Since Van Dyck’s lost painting or oil sketch, as has been proposed by portrait was painted in 1621 at the latest, N[ancy] C[oe] \Y[ixom). op. cit., p.28 (the W orcester the present one, in view of its resemblance, draw ing is reproduced there, 011 p.27, as tig.tot). 2. Report of a Technical Examination by Delbert Spur­ must likewise date from the very early loch and Ross Merrill, dated 25 April, 1977, 011 the 1620s. Bode and Held took this view, but occasion of the Rubens exhibition in Antwerp the Burchard, for unclear reasons, dated it sam e year. c. 1625. Müller Hofstede, in a recent article, proposed on the contrary to date it some­ what earlier, c. 1618-20. ■75a. Isabella Brant: Drawing (Fig.38) Doubts have been expressed at various times as to the authenticity of important Black and red chalk, partially heightened parts of the painting. Gliick in 1920 al­ with white body-colour, touches of pen ready suggested that only the face was and ink in the irises and eyelashes, of authentic. Recently Konrad Renger took brownwashin thenostrils; 381 x 292mm.; a similar view, regarding it as quite pos­ below’, on the right, the marks of the col­ sible that Rubens painted only Isabella’s lections of P.H.Lankrink (L.2090), J. Rich­ face and part of her costume, leaving the ardson Senior (L2184) and Harl Spencer rest unfinished. Jaffé came to a less severe (L. 1532). Fully mounted.— Verso: inscribed conclusion, doubting only the authentic­ with the pen, on an attached strip of pa­ ity of the sitter’s hand. per: N o2j Given me by Sr la: Thornhil. Oct. This reservation as to the authenticity 1724,JC[?= Clive],

55 CATALOGUE NO. 76

L o n d o n , British Museum. smile and the hair combed straight Inv. No. 1893. F.31.21. back are very similar in the two cases. The pose, however, is different: in the Cleve­ p r o v e n a n c e : P.H.Lankrink (London, 1628-1692) ; J. Richardson Senior (London, land portrait the sitter is turned much 1665-1745); J.Thornhill; ?Lord Clive; more to the left. On the other hand, the Harl Spencer (Althorp, 18th century); pose in the present drawing is exactly like L.R. S. Holford (London, 1808-Westonbirt, that in the portrait of Isabella of c.1626 in Glos., 1892), sale, London (Christie’s), the Uffizi in Florence (No.76; Fig.41). This 14 July 1893, lot 668; purchased for the resemblance led many art historians, no­ British Museum on 31 July 1893. tably Glück and Haberditzl, Burchard and d’Hulst, to regard this drawing as a study exhibited: Flemish Drawings o f three Cen­ for the Uffizi portrait and to give it ap­ turies, British Museum, London, 1954; proximately the same date. For the same London, 1974, No.88; London, 1977, N0.154 reason Renger did not believe this draw­ (repr.). ing to be connected with the Cleveland l i t e r a t u r e : M.Rooses, in Rubens-Bttlle- portrait, though he also did not regard it tijn, IV, 1896, pp.294-295, N0.15001; id., as a study for the one in Florence. My own ‘The Portrait of Isabella Brant in the Her­ opinion is rather that Rubens, with a view mitage’, The Burlington Magazine, VI, 1905, to the Cleveland portrait, made several p.497 ; C. Ricketts, ‘The Portrait of Isabella studies of his wife in various poses, includ­ Brant in the Hermitage’, The Burlington ing the present drawing, on which the por­ M a g a zin e, VII, 1905, p.84; M. Rooses, ‘Van trait in Florence was later based. The lat­ Dyck’s Leer- en Reisjaren’, Onçe Kunst, ter, however, shows Isabella with clearly XII, 1907, p.42 (repr.); Hind, Rubens, p.29, older and above all thicker features and No.92; Glück, Liebesgarlen, p.6r, reprinted with her hair in a fuller style. in Glück, Rubens, Van Dyck, p.97; G lü c k - Haberditçl, p.51, No.160 (repr.); H eld, D ra w in gs, pp.33, 77, 136-137, No.103, 76. Isabella Brant (Figs. 40, 41) pl. 1151 Burchard-d’Hulst, Drawings, pp.212 Oil on panel; 86 x 62 cm. -213, No.135 (repr.); Kuçnetsov, Risunki, Florence, Uffiçi. Inv. No.779. No.103 (repr,); Rowlands, Rubens Draw­ ings, pp.114-115, No.154 (repr.); K.Ren- p r o v e n a n c e : Purchased in the Nether­ ger [Review of Cat. Exh. London, 1977], lands by Cosimo III, Grand Duke of Tus­ Kunstchronik, XXXI, 1978, p.136. cany, in 1667 or 1669 ;1 Castle of Poggio a Cajano, 1713; Palazzo Pitti, Florence; in the Uffizi since 1773.

Isabella’s head is slightly turned to the c o p i e s : ( i ) Painting, Hamburg, Margret left; she looks directly at the spectator. Köser ; for references, see under N0.77; (2) Her hair and features are depicted with Painting, whereabouts unknown; panel, the utmost care; her costume is only 72x53.5 cm. p r o v . London, Dukes of sketchily indicated. Norfolk, sale, London (Christie’s), 11 Feb­ Held, followed by Rowlands in Cat. Exh. ruary 1938, lot 138 (as R ubens); Vermeer London, 1977, rightly connected this draw­ Galleries, London and New York, c.1940. ing with the Cleveland portrait (N0.75; e x h . New Gallery, London, 1897-98, Fig.36). The smooth cheeks, the mocking No.127 (as Rubens, Portrait of Katherine

56 CATALOGUE NO. 76

B randt [sic]; West Ham, 1899 (as R ubens, e x h i b i t e d : London, 1933-34, No.184;

Portrait of Helena Fourment). l i t . Sm ith, Florence, 1977, No.85 (repr.). Catalogue Raisonné, II, pp.i6o-i6i, under N0.559; IX, p.297, No.194 (as R ubens); l i t e r a t u r e : F.Zacchiroli, Description de Waagen, Treasures, II, p.86; Rooses, IV, la Galerie royale de Florence, II, Florence, p.135, No.899; (3) Painting, Nantes, Musée 1783, p.78, N0.77 (as Hélène Fourment); des Beaux-Arts, N0.434; canvas, 62.5 x Smith, Catalogue Raisonné, II, pp. 146-147,

47.5 cm. p r o v . Cacault Bequest, 1810. No.514; J.Burckhardt, Der Cicerone, Basle, 1855, p. 1020 (as eine Dame in mittlernJahren, l i t . M.Nicolle, Ville de Nantes, Musée des Beaux-Arts. Catalogue, Nantes, 1913, No. von nichtsnutzigem Ausdruck [sicJ, mit dem 434; (4) Painting, whereabouts unknown; Gebetbuch; Rooses, IV, p. 133, No.896; G.Lafenestre and H. Richtenberger, La canvas, p r o v . Paris,Jadwiga Vuyk, where seen by Burchard in 1936; (5) Painting, peinture en Europe... Florence, Paris, 1893, Pistoia, Private Collection; canvas; (6) p.39; K.d.K., ed. Rosenberg, p.261; D illon, Painting, with only the left hand, where­ R ubens, p.216, pl.CCXLIV; M.Rooses, abouts unknown; canvas, 61x48 cm. in Rubens-Bulletijn, V, 1910, p.91; G liick, Liebesgarten, p.6i, reprinted in Gliick, Ru­ p r o v . Sale, London (Christie’s), 24 Feb­ ruary 1978,10t 108; (7) Painting of the head bens, Van Dyck, pp.96-97; Burchard, Nach­ and shoulders, whereabouts unknown; träge, p.385; K .d .K ., p.282; Warnke, Kom­ canvas, 55.5 x 46.5 cm. ; (8) Painting of the m entare, pp.27, 87-88; Warnte, R ubens, head and the right shoulder, whereabouts p.26, fig. 11; D. Bodart, in Cat. Hxh. F lor­ ence, 1977, pp.204-206, No.85, pi.17, unknown; canvas, 48.5x40cm. p r o v . Paris, Birtschansky, 1947; (9) Painting by fig.205; M.Qhiarini], in C at. 19 Ho, Sir Thomas Lawrence, whereabouts un­ p.461, No. P.1379; Vlieghe, Remarks, pp.106 -107, 109, in (repr.); Müller Hofstede, known. e x h . Künstlerkopien, Kunsthalle, Basle, 1937, No.222; (10) Drawing by Damenporträts, pp.318-319, 321, fig.21. Antoine Watteau, Cambridge, Fitzwil­ liam Museum, Inv. No.2267; red, black

and white chalk, 188 x128 mm. p r o v . Isabella Brant is shown half-length in a W. Mayer; Lord Ronald Sutherland black satin gown with a wide décolleté, and Gower; given by the latter to J. H.Millais, over it a dark sleeveless cloak. Two or 1876 ; Ricketts and Shannon, exh, European three necklaces of precious stones hang on Drawings from the Fitçwilliam, New York- her breast. Under the gown is a white Fort Worth-Baltimore-Minneapolis-Phi- garment with a lace collar; her cuffs are ladelphia, 1976-77, No.118 (repr.); A ll fo r also of w'hite lace. Her left hand is on her Art. The Ricketts and Shannon Collection, breast; in her right she holds a book, with Fitzwilliam Museum, Cambridge, 1979, the forefinger between tw'o pages. The

No.206 (repr.). l i t . J.H., A Catalogue o f the plain red background is varied only on the Collection of Drawings by the Old Masters left, by a column w'ith vine-tendrils cur­ formed by the late W. Mayer, 1875, p.87, ling around it. No.409 (as R u b en s); S. Colvin, The Vasari As pointed out under No.75a, Isabella’s Society, ist Series, V, 1909-10, No.37 (repr.); face in this portrait is based on the draw­ Parker-Mathey, I, p.44, No.299 (repr.); (11) ing in the British Museum (Fig.38), which Engraving after (2) by |.G.Facius, 1782 however, is some five years earlier. Her (V.S., p. 159, No.30). hair is done differently, in the fuller style

57 CATALOGUE NOS. 77-78 that was the fashion of the time. As also years earlier rather than conceiving a new noted under No.75a, her features are type. As to the costume, he may also have clearly those of an older woman: they are followed Van Dyck’s portrait (Fig.36). somewhat flabbier and no longer smooth. The portrait is almost universally dated 1. See further, under No.135, Copy (2). 2. See Henkel-Schöne, I, col.259. c. 1625-26; Isabella died of plague on 3. Warnke, Rubens, be. cit. 20 June of the latter year. Only Warnke 4 . Miiller Hofstede, in his article cited above, inde­ proposed a date of c. 1623. The freer, more pendently reached the same conclusion as myself regarding the interpretation of the emblem and the vibrant technique is characteristic of Ru­ dating of the portrait. bens’s style from the mid 1620s onwards and is therefore not in conflict with the later date. I wonder, however, whether 77. Isabella Brant (Fig. 39) Isabella’s death should not be regarded as a terminus post quem: the portrait may Oil on canvas; 62 x 54 cm. have been painted shortly afterwards, in Hamburg, Collection o f Margret Köser. memory of its subject. As explained else­ p r o v e n a n c e : Purchased in Paris by an where, I am led to this hypothesis by the unknown American collector, in 1898; in motif in the left background of a column the latter’s property until 1930; pur­ with vine-tendrils round it. This motif can chased then by August Neuerburg, Ham­ also be seen behind the head of Philip burg; Gottfried Neuerburg, Hamburg. Rubens in the famous group portrait with

Justus Lipsius in the Pitti Palace in Flor­ l i t e r a t u r e : Burchard, Nachträge, p.385; ence (No.117; Fig. 140), where it was N. C[oe] W[ixom], in European Paintings of interpreted by Wolfram Prinz as sym­ the 16th, 1 yth and 18th Centuries, Cleveland, bolizing Rubens’s affection for his dead Ohio, 1982, p.28, under No.io. brother. The overgrown column is a va­ riant of the similarly overgrown dead tree, a clear symbol of the love that out- This is a repetition, cut down on all four sides, of the portrait in the Uffizi in Flor­ livesdeath—‘ a m i c i t i a e t i a m p o s t m o r ­ t e m d v r a n s ’ (111., p.2o6)d Warnke al­ ence (N0.76; Fig.41). Burchard regarded ready pointed out the significance of the it as an original work by Rubens, in fact column in the present portrait, but he as the first version of that portrait, but I related it to Rubens’s affection for Clara cannot detect Rubens’s hand in its work­ Serena, the little daughter of the artist manship. and Isabella, who died in 1623; this was also his reason for proposing an earlier 78. Jan Brant the Younger date for the painting.3 However, apart (Figs. 42-44) from the arguments, already cited, for a later date, it seems to me very unlikely Oil on panel; 109 x 94 cm.; dated above, that the emblematic significance of the to the left: A. SAL XVI. XXXV./AETAT. column should relate to someone other LXXV. than the person depicted.4 Munich, Alte Pinakothek. N0.354. A posthumous dating of this portrait of

Rubens’s first wife would also explain why p r o v e n a n c e : Jan Brant the Younger, he based it on a drawing of some five who in 1637 bequeathed this portrait to CATALOGUE NO. 78 his grandson Albert Rubens; ? bequest of Bavaria at Schleissheim, describes it as Albert Rubens, 1657; first mentioned in ‘Portrait eines gelehrten Niederländers, the collections of the Electors of Bavaria der in seinem 75.Jährigen Alter gemah­ at Schleissheim, in 1748; removed to the len worden’.2 The identification with Hofgartengalerie, Munich, 1781 ; exhibited Brant was first made by Max Rooses in in the Alte Pinakothek since 1836. 1900 on the strength of the inscription and the book-titles. e x h i b i t e d : Brussels, 1948, N0.94; London, In the same article Rooses, also for the 1949, No. 100. first time, suggested the identification of l i t e r a t u r e : Smith, Catalogue Raisonné, this work with a portrait of Jan Brant II, p,75, N0.227; IX, p.265, No.85; D illis, painted by Rubens and bequeathed by Cat. Munich, No.275; Parthey, Bildersaal, II, Brant in 1637 to his grandson Albert Ru­ p.435, N0.377; Marggraff, Cat. Munich, bens. In making this bequest Jan Brant N0.268 ; Reber, Cat. Munich, N0.799 ; Rooses, was no doubt influenced by the fact that IV, p.301, N0.1109 (as Un Savant); M.Roo­ Albert Rubens had begun to study the ses, ‘Het portret van Jan Brant in de Pina- law and was, in a sense, following in his kotheek van München’, Rubens-Bulletijn, grandfather’s footsteps. Brant accordingly V, 1900, pp.115-120; K.d.K., ed. Rosen­ wished him to have not only the portrait berg, p.373; Dillon, Rubens, pp. 174, 202, but also all his scholarly books and manu­ pi. CCCXCII; K .d .K ., p.360; Cat. Munich, scripts.3 Finally, Rooses pointed out in 1946, No,354; Seilern, Flemish Paintings, his article of 1900 that the same painting p.66, under No.37, fig.38; Sonnenburg, may well have figured in the inventory, Bildaufbau, p.81 ; an der Heiden, Bildnisse, drawn up between 3 and 6 December pp.18-19 (repr.); U[lla] K[rempel], in Cat. 1657, of the estate of Albert Rubens, who M u n ich , 1983, pp.432-433, No.354 (repr.). had died two months earlier.4 It is not known what happened to the portrait be­ tween that date and its acquisition for the Jan Brant the Younger (1559-1639), Ru­ Bavarian Electoral Collection. bens’s first father-in-law, was a classical 1. Jan Brain's importance as a humanist was described scholar, lawyer, alderman and town clerk in detail by Rooses in ‘Het portret van Jan Brant’, of Antwerp. He is here shown at the age 1er. cit. He edited a C.Jiihi Caesaris opera (Frankfurt, 1600) and an Elogia Ciceroniana (A ntw erp, 1612). of 75, knee-length, in a seated position. Philip Rubens, in his Electorum labri I! (Antwerp, He wears a black costume with a white 1608, p. 10), praises B rant’s textual criticism ot ruff, and holds a book in his left hand. C aesar’s Commentaries. 2. Schleissheim M ahlerv Beschreibung de Anno 1761, N o.74 Behind him, on the wall to the right, is (Mss., Bayerische Staatsgemäldesammlungen, Mu­ a shelf with four other books. The titles nich; this information was kindly given to me by Dr. R, an der Heiden, Munich). of two can be seen: c o m e n t a r i a / 4. B rant’s w ill o f 27 July 1047 provided as follow s: C. IVLII I CAESARIS and M. T. CICERO / 'Begeirende voorts dat de \oorsc. Albertus naer = n is o p e r a / o m n i a . These relate to myns testateurs alflyxicheydt voor vuyt hebben zal the humanist’s sphere of activity: Brant alle myne boecken, soo geschreven als gedruckt, pampieren, geschritten, ende andere stucken ende was celebrated inter alia for editions of munimenten myne Studien eenichsints aengaende Caesar and Cicero.1 oft rakende, ende daerenboven myn contreleytsel For a long time it was not known whom by zynen heer \ader geschildert tot mynder ge- dencknisse...’ (P.Génard. ‘Het testament van Jan this portrait represented. The 1761 inven­ Brant en Clara de Moy’, Kubens-liiillelijn. IV, 1846, tory of the collection of the Elector of p.227)- 59 CATALOGUE NO. 79

4. More particularly, Rooses identified the portrait 72, fig.n ; (3) Painting, without the figure with the inventory item ‘contrefeytsel van den of Jan Brueghel, whereabouts unknown; grootvader van Mynheer’ (P.Génard, ‘Clara del Monte en Deodatus van der Mont', Rubens-Bulletijn, canvas, p r o v . Sale, London (Christie’s), V, 1897, p .30); it should be pointed out, however, 22 December 1916, lot 132 (as ford a en s). that the inventory says nothing about the author­ l i t . Seilern, Flemish Paintings, p.30, under ship of the portrait. No. 18; (4) Gouache by Sarah Malden, 1789, whereabouts unknown; vellum.

79. Jan Brueghel the Elder and his p r o v . Earl of Essex; Donough O’Brien.

Family (Figs. 46-50) l i t . D.O ’Brien, Miniatures in the XVIIIth and XlXth Centuries, London, [1951], p.98, Oil on panel; 124.5 x 94.5 cm. pi.20, fig.i (as Rubens and his Family); (5) London, Courtauld Institute of Art, Princes Gouache, probably 18th century, Waalre, Gate Collection. Inv. No. 18. Tinus van Bakel; vellum, 130x 98 mm.

p r o v . Sale, Amsterdam (Sotheby’s-Mak p r o v e n a n c e : Jan Brueghel the Elder; van Waay), 3 May 1976, lot 183 (repr., as Ambrosius Brueghel; Jan-Baptist Borre­ C. de Vos). E X H . On loan to the Rubens- kens and his wife Catharina Brueghel; huis, Antwerp, 1977. David Teniers II and his wife Anna Brue­ ghel (first mentioned in 1657); Jan Eras­ e x h i b i t e d : Paterson Gallery, London, mus Quellinus, in community of property 1927, N0.288; International Art Trade Ex­ with Teniers’s other descendants (mentio­ hibition, Rijksmuseum, Amsterdam, 1936, ned in 1690 and 1693); sold by the latter No. 136; Sabin Gallery, London, 1937; E x ­ before 14 July 1703; ? Duchess of Cumber­ hibition of Works by Holbein and other Mas­ land, 1789 ; W. A. Coats, Skelmorlie Castle, ters of the 16th and ijth Centuries, Royal Scotland, sale, London (Christie’s), 10 June Academy, London, 1950-51, N0.230. 1927, lot 132; J.A.Coats, sale, London l i t e r a t u r e : Catalogue o f the Collection of (Christie’s), 12 April 1935, lot 82 (repr., as Pictures ... belonging to W . A. Coats, Glas­ A Family Group); Frank Sabin, London; gow, 1904, No.X (repr.); A.Scharf, in purchased from the latter by Count Sei­ [S. F. Sabin, ed.] Gems of Painting, London, lern, 1949. [1935?], not paginated (repr.); E.Greindl,

c o p i e s : ( i ) Painting, Boston, Mass., Mu­ Corneille de Vos, Brussels, 1944, p.56; Sei­ seum of Fine Arts, Inv. N0.2789; canvas, lern, Flemish Paintings, pp.30-31, No.18, 130 x 97 cm. P R O V . ?Marquis de Blaisel, pl.XL-XLIV; C. Norris, ‘Count Seilern’s sale, Paris (Drouot), 16-17 March 1870, Flemish Paintings and Drawings’, The B ur­ lot 113 (as ? Rubens, Sneyders et sa famille); lington Magazine, XCVII, 1955, p.397; Ger- purchased by Sedelmeyer; Miss Elizabeth son-ter Kuile, p.193, n.2 (as C. de Vos); Howard Bartol; purchased by the Boston J. Müller Hofstede, [Review of G erson-ter Museum from the latter’s estate, in 1927. Kuile], Zeitschrift fü r Kunstgeschichte, XXVII,

l i t . Goris-Held, p.47, No. A24; Seilern, Ad­ 1964, p.90; H.Vlieghe, ‘Het portret van denda, p.24; (2) Painting, Mexico City, Jan Breughel en zijn gezin door P.P.Ru­ Academia de San Carlos; panel, 126x bens’, Bulletin des Musées Royaux des Beaux-

94.5 cm. l i t . M. Diaz Padrón, ‘Precisiones Arts de Belgique, XV, 1966, pp.177-188 y adiciones a la pintura flamenca del siglo (repr.) ; G,Winkelmann-Rhein, B lum en- XVII en el Museo de San Carlos en Méjico’, Brueghel, Cologne, 1968, p.26, fig.i ;J. Mül­ Archivo Espanol de Arte, LIV, 1981, pp.69, ler Hofstede, ‘Rubens und Jan Brueghel:

60 CATALOGUE NO. 79

Diana und ihre Nymphen’, Jahrbuch der Brueghel’s hat was originally broader than Berliner Museen, X, 1968, p.224; Seilern, in the final version. It is striking how the A dd end a , pp.24-25 ; Köhler-Lutterbeck, family bond between the sitters is sug­ pp.126-129; Ertç, Brueghel, pp.442-443, gested: Jan Brueghel’s left arm rests pro­ fig.530; Braham, Princes Gale, p.44, N0.66, tectively on his wife’s shoulder; she in pl. XI ; C. Brown, ‘The Princes Gate Collec­ turn rests her left hand on the little boy’s tions at Courtauld’, The Burlington Maga­ shoulder, and holds the girl’s left hand in zin e, CXXIII ,1981, p.562. her right. The children’s ages can be estimated at six and about five respectively, which The painter Jan Brueghel, second son of suggests a date ofc.1612-13 for the family Pieter Brueghel the Rider, was born in group. The strongly plastic modelling and Brussels in 1568. He married his second smooth impasto are characteristic of Ru­ wife, Catharina van Mariënberghe,1 in bens’s style at that time. Burchard, Hulin 1605. His features as we know them from de Loo4 and, originally, (ierson5 were not a portrait by Van Dyck (Fig.45) can be convinced that the painting was by Ru­ clearly recognized here in the bearded bens, and saw in it the hand of Cornelis man on the left dressed in black, with a de Vos. However, these authors were not white goffered collar and a tall black hat. acquainted with the documents published His wife is seated and is turned slightly to by me, indicating that a portrait by Ru­ the left but looks directly towards the bens of ‘Velvet’ Brueghel with his wife spectator, as does her husband. The se­ and two children was successively owned verity of her black bodice is relieved by a by Jan Brueghel’s youngest son Ambro­ stomacher embroidered with gold bro­ sius, by Jan’s son-in-law Jan-Baptist Bor­ cade. She wears a large cartwheel ruff and rekens, and finally by Anna Brueghel, her hair is held at the back by a headband. daughter of Jan and wife of David Te­ On each wrist she wears a gold bracelet niers II, whose descendants owned it until set with jewels: according to Walter Me- the early eighteenth century.6 Moreover lion, these also appear in several still lives it is well known that Rubens was a close and allegorical scenes by Jan Brueghel.2 friend of Jan Brueghel, with whom he The two children in the foreground must collaborated even before 1600.7 be the eldest surviving issue of the mar­ The painting may have found its way to riage. On the left, in profile facing right, England as early as the eighteenth cen­ is Elisabeth, born c. 1608-9. She wears a tury. The miniaturist Sarah Malden, later silk dress with a flat upturned lace collar; Countess of Essex, made a copy of the her hair is bound with a white lace dia­ composition in 1789 and wrote under it dem, On the right is Pieter, borne. 1607-8, that she had seen the original in the col­ in a scarlet costume with a flat white col­ lection of the Duchess of Cumberland. lar and a greyish-brown cape. He is in She may, however, have worked front the three-quarter view, looking directly at the copy now in the Boston Museum: see spectator.3 Some pentim enti show that Ru­ above, Copies (1) and (4). bens originally dressed his sitters some­ The typical arrangement of the family what differently. Catharina was to have group, with the artificial, diagonal pose had a lace diadem on the back of her head, of the paterfamilias enclosing his wife and like her daughter’s, and the crown of Jan offspring in a broad embrace, could be of

61 CATALOGUE NO. 8o

Dutch origin. It is already found in a of a doubtful signature. Burchard also believed it Family Portrait dated 1608, formerly in the to be De Vos’s work. 9. K.d.K., VanDyck,p.112; formore recent information Thyssen collection at Lugano, which is see A.McNairn, The Young Van Dyck, Cat. Exh., Na­ probably the work of a Mannerist master tional G allery o f Canada, O ttaw a, 1980, p p .158-160, of Haarlem.8 On the other hand, Rubens’s no.73 (repr.). portrait may have started a fashion. This is suggested by the very similar pose of 80. George Villiers, Duke of the figures in the Family Portrait painted Buckingham by A. Van Dyck before 1620, now with the London art firm Somerville and Simp­ Oil on panel; c.63 x c.48 cm. son.9 Whereabouts unknown; presumably lost.

1. See J.D enucé, Brieven en documenten betreffende Jan c o p y : Painting (Fig.51), Florence, Palazzo Breugel I en II, A ntw erp , 1934, supplem ent: Pitti, Inv. Palatina No.324; panel, 63 x Genealogische schets van de fam ilie Breugel, 2. Cf. Braham, Princes Gate, loc, cit., though specific 48 cm. PROV. First mentioned in the col­ examples are not mentioned. The female personi­ lection of Cardinal Leopoldo de’ Medici, fication o f Hearing, executed by Rubens, in the paint­ in 1675. Le portrait dans I’art flamand ing of that name in the Prado (Ertç, Brueghel, p.351, e x h . fig.420) has a similar jewel on her left upper arm. de Memling à Van Dyck, Orangerie, Paris, 3. From a letter by Jan Brueghel’s eldest son of his 1952-1953, N0.75 (repr.); Elewijt, 1962, first marriage. Jan the Younger, it appears that when N0.38 (repr.); Firenze e I’Inghilterra,Palaz­ their father died in 1625 Pieter was aged 17 and Eli­ sabeth 16 : see G.Crivelli, Giovanni Brueghel, pittor zo Pitti, Florence, 1971, N0.30(repr.); Flo­ fia m m in g o , M ilan, 1868, p .340. rence, i<)jj, N0.99 (repr.). l i t . L.Bardi, 4. Cf. Seilern, Flemish Paintings, p.30. L’Imperiale e Reale Galleria Illustrata, I, Flo­ 5.L o c . c i t . ; however, according to Seilern, Addenda ('loc. c it.) , Gerson later changed his mind and decided rence, 1837, not paginated (repr.); Rooses, that the painting was by Rubens. IV, pp.140-141, N0.906; K.d.K., ed. Rosen­ 6. In his will dated 10 September 1639 Ambrosius berg, p.257 (as R ubens) ; Glück, Review, p.59, Brueghel bequeathed to his brother-in-law Jan­ Baptist Borrekens a portrait by Rubens of ‘zijn reprinted in Glück, Rubens, Van Dyck, testateurs vader ende moeder op paneel’ (published p. 163 ;Dillon, Rubens, pp. 145,215, pl.CCLXX in Denucé, Konstkamers, p.128). As the result of an (as Rubens); Burchard, Nachträge, p.394; exchange - perhaps in 1654, after the death of Borre- kens’s wife Catharina Brueghel - it became the pro­ D.Bodart, in Cat. Exh. Florence, 1977, perty of the Teniers-Brueghel couple. This appears p.232, under N0.99 (repr.). from the inventory drawn up on Anna Brueghel’s death, on 24 December 1657, which stipulated that the children of David and Anna were entitled to 'het conterfeytsel van heuren grootvaeder ende George Villiers (1592-1628), first Duke of grootmoeder met twee kinderen op een paneel ge­ Buckingham, was a favourite of James I schildert bij heer Peeter Paulo Rubens... Dit con­ terfeytsel is aen de kinderen gegeven in recompense and Charles I of England and was Lord van seker teeckeningen ende een stucxken van Jan High Admiral from 1623.1 In this head Breugel bij hunne moeder ten hauwelijk ge­ and shoulders portrait he faces slightly left brocht...’ (H.Vlieghe, loc. c it., with information on the later history of the painting). but looks directly at the spectator. He 7. For the relationship between Brueghel and Rubens wears a dark doublet with white slashes see J.MiillerHofstede, ‘Rubens und Jan Brueghel... ’, and a flat, starched lace collar. o p . c it., pp.222-232, and especially the recent mono­ graph by Klaus Ertz (op. cit., passim). The original prototype of this por­ 8. With the art firm P.de Boer, Amsterdam, 1958 (see trait, mentioned in the inventory of Ru­ their Cat. Exh. Collection 1 938, not paged or num­ bens’s estate,2 is not known. In all prob­ bered, repr.). Edith Greindl (op . c it., p .146, fig.55) attributed this panel to Cornelis de Vos on account ability the studio replica in the Pitti

62 CATALOGUE NO. 8oa

Palace in Florence (Fig.51)— the only e x h i b i t e d : Elew ijt, H)(>2, N0.37 (repr.); known example of this portrait type— is London, u)jz, No.i 1 (repr.); Vienna, Alber­ a faithful copy of it. This was executed tina, 1977, No.39 (repr.). from the preliminary study made in 7625, l i t e r a t u r e : Rooses, V, p.262, N0.1501, now in the Albertina in Vienna (No.8oa; pl.419; Michel, Rubens, pi. facing p.340; Fig.52).3 Schönbrunner-Meder, II, pi.176; G liick - Haberditçl, p.30, No.156 (repr.); Evers, 1. t'ur Buckingham’s biography, see especially C.R. C am m ell, The Great Duke of Buckingham, London, R ubens, p.288, fig. 168; Held, Drawings, 1939. pp.4, 77, 138, No.107, pi.119; K uzn etsov, 2. '127. Le pourtrait du Duc de Boucquingam’ (l)e n u c é , R isu nki, No. 106 (repr.); H.Mitsch, in Cat. Konstkamers, p.62). This may well he identical with 'Le Due de Bucquingam', one o f'2 Esquisses' in the Exh. Vienna, Albertina. 1071, pp.94-95, possession of Arnold Lunden, sonte time after 1040 No.39 (repr.). (see Vlieghe, Lunden, p .198, No. 134). 3. We can only guess as to the genuineness of some examples mentioned in sales of the late 17th and The face is depicted in a plastic and lively the 18th century. A ‘Portrait du Duc de Bukinkam jusqu’à la ceinture, par P.P.Rubens' was in the manner, in red chalk with subtle white Comte de Praula sale, Brussels, 21 July 1738, lot highlights. Undoubtedly this drawing rep­ 16. Its dim ensions (63.9 x 50.1 cm .) are very sim ilar resents the duke’s features as Rubens saw to those of the Florence example. It may also be identical with the panel of the same title from the them on the only occasion when he met collection of Charles Godefroy, sold in Paris on 22 Buckingham, in Paris between 14 May and A pril 1748 (lot 1). Probably it is also identical w ith the portrait of Buckingham sold in Paris 011 18 No­ 2 June 1623. vember 1812 (lot 31), the property of Claude-Joseph Despite the unquestionably sponta­ Clos. Godefroy's son also possessed an example neous impression recorded in this sketch, nearly four tim es as large (121.3X 89.3 cm.). In the a degree of formalism must also be recog­ sale of his possessions 011 15 November 1785 was a panel ascribed to Rubens, ‘Portrait en buste du Duc nized, A certain stiffness in the pose and de Buckingham, vêtu avec une cuirasse traversée contours is noticeable in comparison with d’une écharpe rouge’; the duke must here have other portrait studies of the same kind, been depicted in armour as in the painting formerly at Osterley Park (No.81 ; Fig.53). A 'DukeofBucking- such as the sketch, also in the Albertina, ham, by P.Ruben’ was sold in London on 23 No­ for the Portrait of the Marquis of Leganés vember 1691 (Cardinal Antonio Barberini, Sir James (No. 115a; Fig. 137). This may be because Palmer and others, lot 53); however, thedescription is too scanty to indicate w hether or not it is a h alf­ Rubens, having sketched the duke’s fea­ length portrait of the duke. tures from life, then forced them into a traditional, ready-made portrait pattern. There is indeed a striking resemblance 80a. George Villiers, Duke of between this study and the portrait of Buckingham: Drawing (Fig.52) Buckingham (known from W.J.Delff’s engraving) painted by Michiel Jansz. Black and red chalk, heightened in white; Mierevelt when the duke visited The 383 x 266 mm.; inscribed above in red Hague in 1625.1 I agree with Burchard chalk and by a foreign hand ; hertoch van that Mierevelt’s portrait must have been bockengem. P. P. Rnbbens. f of considerable help to Rubens in finally Vienna, Albertina. Inv. No.8256. deciding on the sitter’s pose. p r o v e n a n c e : Duke Albert o f Sachsen- The inscription over the drawing is in Teschen (Moritzburg near Dresden, 1738 the same hand as that over several others — Vienna, 1822). in the Albertina.2

63 CATALOGUE NO. 8l

1. For this portrait, see especially C.R.Cammell, The (attributing the sea-gods to Jordaens and Great Duke of Buckingham, London, 1939, pi. lacing the landscape to ‘some inferior painter of p .288. 2. See Gliick-Haberdit^l, nos.ig2, 156, 157, 162,164,165; his [i.e. Rubens’sjschool’); ‘Manuscripts of this was first pointed out in Held, Drawings, loc.cit. the Right Honourable the Earl of Jersey, at Osterley Park, in the County of Mid­ dlesex’, 8th Report on the Royal Commission 81. George Villiers, Duke of on Historical Manuscripts, I, London, 1881, Buckingham, on Horseback (Fig. 53) pp.92, 100; Rooses, IV, p.142, N0.907; D il­ lon, Rubens, pp. 145,234 ; G. Glück, ‘Jugend­ Oil on canvas; 307 x 337 cm. werke von Rubens’, Jahrbuch der kunst­ Formerly Osterley Park, Collection o f the Earl historischen Sammlungen des Allerhöchsten of Jersey. Destroyed by fire, 1949. Kaiserhauses, XXXIII, 1915, p.30, reprinted p r o v e n a n c e : First mentioned in York in Glück, Rubens, Van Dyck, p.44; K .d .K ., House, the residence of the Dukes of p.267; C.R.Cammell, The Great Duke of Buckingham at London, in 1635; as it was Buckingham, London, 1939, pp.374-376; not among the items listed in the 1649 in­ S.H.S[teinberg], [Review of C.R.Cam­ ventory of paintings, which George Vil­ mell, op. cit.], The Burlington Magazine, liers, Second Duke of Buckingham and LXXV, 1939, p.218; Evers, Rubens, pp.287, the First Duke’s Son, intended to sell in 310 ; Evers, Neue Forschungen, p.267 ; G.Mar­ Antwerp,1 it may be presumed that this tin, ‘Rubens and Buckingham’s Fayrie Ile’, portrait was no more in the Buckingham The Burlington Magazine, CVII1, 1966, collection by then; purchased in Holland pp.613-618 (repr.); Huemer, Portraits, by Sir Francis Child (1642-1713), during pp. 57-61, fig.32; Held, Oil Sketches, I, pp.393 his travels there between 1697 and 1699; -395, under N0.292; J. Douglas Stewart, listed in the inventory of his collection, [Review of Huemer, Portraits], The Burling­ at Lincoln’s Inn Fields, London; c.1711 ton Magazine, CXXIII, 1981, p.366. moved by him to his newly acquired country seat Osterley Park; by descen- dency into the property of the Earls of The duke is here depicted as Lord High Jersey and Westmoreland. Admiral, to which post he was appointed in 1623. c o p y : Painting, with altered face, Ant­ werp, Rubenshuis, Inv. No. S6; canvas, He is mounted on a bay horse in the levade position, facing left; his black ar­ 103 x 85 cm. p r o v . Gift of Louis Jacobs mour is decorated with gilt ornament and van Merlen, 1938. l i t . A.J.J.Delen, ‘De Antwerpsche Mecenen en het Museum with the insignia of the Garter. He looks directly at the spectator and holds a baton Rubens’, H et Huis van P. P. Rubens, Perio­ disch B ulletin, 1938, pp.87,89 (repr., as T .van in his right hand, the reins in his left. He Thulden, Maurice of Orange on Horseback). is attended by two female allegorical fig­ ures on clouds, each accompanied by a e x h i b i t e d : British Institution, London, Wind God. On the left is Victoria with a 1815, No.106; British Institution, London, laurel wreath and cornucopia;2 on the 1856, No.i; Royal Academy, London, right, seen from behind, is Caritas with a 1888, No.148; London, 1938, No.58. flaming heart, triumphing over Envy.3 l i t e r a t u r e : Smith, Catalogue Raisonné, Frances Huemer sought to interpret this II, p.272, N0.918; Waagen, Galleries, p.272 portrait as an allegory of Fortitudo (em­

64 CATALOGUE NO. 8l bodied in the duke) and Caritas (the two so-called Riding School formerly in Berlin female figures), but I see no ground for (see above, under No.58; Fig.4). In fact, as this. The intention is clearly to glorify the Held pointed out, we have here the ear­ duke as Commander of the Royal Navy, liest known instance of the use by Rubens and this is still more evident from further of that type, which later served in a modi­ details of the composition. The duke is fied form for the equestrian portraits of seen riding on a beach strewn with shelled P hilip I V 9 and the Cardinal Infante Ferdi­ creatures, starfish and so on. Below on the nand (N0.93; Fig.76). left, Neptune and a naiad look up at him. The depiction of the duke on horseback In the background is seen the British fleet with a fleet at sea in the background fol­ in vigorous action, while the Wind Gods lows an English tradition. In 1625, shortly promise it a favourable course. before Rubens set to work, Willem de This portrait may have been commis­ Passe had fengrared an equestrian portrait sioned during Buckingham’s stay in Paris of the duke in a similar setting,10 and a from 14 May to 2 June 1625: Rubens was former Lord High Admiral, the Earl of also there at the time, delivering the paint­ Nottingham, had also been depicted in ings of the Medici cycle.4 In any case he this way.11 was working hard on the portrait in the Burchard and Held both pointed out autumn of that year, as can be inferred that the finished painting could not be from a letter of October or November to entirely by Rubens. More particularly, Balthasar Gerbier, in which he wrote that Burchard believed that the rather dry and his work on the portrait had been inter­ precise handling of the ornamentation on rupted by a journey on the Infanta’s be­ the armour was the work of Paul de Vos. half.5 We also know that in the same As far as can be judged from a photograph, year he received £500 for the design of an this seems quite possible: a comparison equestrian portrait of Buckingham.6 The with the armour in Amor vincit omnia, painting may have been completed by signed by Paul de Vos, in the Kunsthistori­ 18 September 1627, as on that day Rubens sches Museum in Vienna seems to me mentioned that several pictures painted convincing.14 by him for the duke were ready to be sent off,7 The earliest known record of the 1. See B. Fairfax, .1 Catalogue o f the Curious Collection of Pictures of George Yilliers, Puke of Buckingham, finished painting is in the inventory of London, 1758. York House, Buckingham’s London re­ 2. Cesare Ripa describes Victoria as a woman with a sidence, drawn up in 1635 (the duke had palm-branch in one hand and .1 cornucopia in the other, one symbolizing honour and the other been murdered in 1628).8 wealth and prosperity (see C. Ripa, konologia of Rubens had previously recorded the uvtbeeldinghe des Verstants ... nvt liet Italiaens ver- duke’s features in a drawing that must taelt door D.Pieters*. Pers, A m sterdam , 1644, p.403). Rubens’s personification is dose to this; the palm- have been done from life in Paris between branch is replaced by a laurel wreath, with the 14 May and 2 June 1625. That drawing, same meaning. Gregory Martin sought to inter­ now in the Albertina in Vienna (No.80a; pret the figure as Concord: the horn of plenty is appropriate to this, but not the laurel wreath. Fig.52) was, as already mentioned, a study Held rightly saw the figure as a 'victory goddess'. for a head and shoulders portrait of the 4. For the flaming heart as a symbol of Caritas see duke (No.80). The equestrian levade pose e.g. C.Ripa, o p .c it ., p .203. M artin ( o p .c it.) inter­ preted these figures as in the text; Held (H e ld , O il derives from an earlier portrait type es­ S ketch es, I, p.394) seems to have some reservations tablished by Rubens in about 1615 in the on this point.

65 CATALOGUE NO. 8ia

4 . Cf. R o o se s, III, pp.262-263. galerie zu Schwerin, Schwerin, 1882, N0.905 5. The contents of this letter are known only from a (as Archduke Albert of Austria); J. S. Held, summary in the sale catalogue of Thomas Thorpe, London, 1833; see The Letters of Peter Paul Rubens, ‘Rubens’s Sketch of Buckingham Redis­ transi, and ed. by Ruth S.Magurn, Cambridge, covered’, The Burlington Magazine, CXVIII, Mass., p. 119, N0.69. 6. 'Given to Mr.Rubens for drawing his Lps picture 1976, pp.548-549, fig.4; Held, Oil Sketches, on horseback, 5oo£’ (W.N.Sainsbury, Original un­ I, p.394, under N0.292 ; (2) Painting, Zanes­ published papers illustrative o f the life o f Sir Peter Paid ville, Ohio, Zanesville Art Institute ; panel, R u b e n s .. ., London, 1859, p.68,11.107a. p r o v . H.M.Clark, 1929; 7. ‘De schilderyen van mynheere de Hertoch syn alle 46.5 x 44.5 cm. gaeder ghereet...' (Rooses-Ruelens, IV, p .126). T h e Dr. Hans Bermann; Detroit, Mrs. Con­ editors (op. cit., p.24) mistakenly took this to refer stance Haas McMath. e x h . D etroit, 19j 6, to certain pictures that Rubens had sold to N0.27 (repr., as Rubens); Brussels, 1937, Buckingham from his own collection. On the basis ofdata in Rooses-Ruelens, IV, p.23, Burchard point­ No.50 (repr., as Rubens); New York, 1942, ed out in a note that these pictures had already No.18 (as Rubens); Los Angeles, 1946, N0.28 reached Calais in D ecem ber 1626. He therefore concluded, that in all probability the equestrian (as Rubens); Cincinnati, 1948, N0.6 (repr., portrait was one of the pictures mentioned on as R ubens), l i t . Van Pwyvelde, Esquisses, iSSeptember 1627. Gregory Martin (op. c it., p .614) pp.80-81, under No.52 (as Rubens); Valen­ came to the same conclusion as Burchard. tinen, Rubens in America, p.163, N0.84 (as 8. ‘In the Great Cham ber... Reuben. —My Lord Duke on H orseback’ (R. Davies, ‘A n Inventory of theD uke Rubens); Larsen, Rubens, p.217, N0.66 (as of Buckingham’s Pictures, etc., at York House in Rubens); Goris-Held, p.45, No. A3; J.S. 1635’, The Burlington Magazine, X, 1907, p .379). 9. See Huemer, Portraits, N o.30. Held, ‘Rubens’s Sketch of Buckingham 10. Ibid., pp.57-58, fig.33. Rediscovered’, The Burlington Magazine, i t . Ibid., p .58, fig.34. CXVIII, 1976, pp.548-549, fig.3; H eld, O il 12. See Cat. Vienna, 1973, p .200, Inv, N o.3554, fig.94. Sketches, I, p.394, under N0.292; (3) Paint­ ing, whereabouts unknown; panel, 47.5x

58.5 cm. p r o v . Sale, London (Christie’s),

81a. George Villiers, Duke of 27 April 1934, lot 23. l i t . H eld, O il Sketches, Buckingham, on Horseback: I, p.395, under N0.292; (4) Drawing, Kar­ Oil Sketch (Fig. 54) lovy Vary, Méstké Muzeum; 445 x

570 mm. p r o v . Vienna-Prague, Count

Oil on panel; 44.3 x 49.2 cm. Thun. l i t . Held, Oil Sketches, I, p.395; (5) Fort Worth, Texas, The Kimbell Art Mu­ Drawing, whereabouts unknown; 240 x seum . Inv. No. AP76. 8. 300 mm. p r o v . Brussels, sale (G.Giroux), ii May 1925, lot 106 (repr., as A. van Die- p r o v e n a n c e : ?Longford Castle, The penbeeck); Brussels, J. De Coen. Earl of Radnor; Roxard de la Salle, sale,

Paris (Drouot), 28 March 1881, lot 29; Mme e x h i b i t e d : Bilder vom Menschen in der Louis Stern, Paris; Mme Sylvie de Lang­ Kunst des Abendlandes, Neue National­ lade, Paris; purchased for the museum in galerie, West Berlin, 1980, N0.8 (repr.). 1976. l i t e r a t u r e : Les A rts, X, November, c o p i e s : ( i ) Painting, Schwerin, Gemälde­ 1911, p.17 (repr., as Don Juan d’Autriche); galerie, N0.905; canvas, mounted on pan­ J. S. Held, ‘Rubens’s Sketch of Buckingham el, 46 x 51.3 cm. p r o v . Grand Dukes of Rediscovered’, The Burlington Magazine,

Mecklenburg-Schwerin, l i t . F.Schlie, Be­ CXVIII, 1976, pp.547~55i,fig.i ; J.T. Butler, schreibendes Verzeichnis der Werke älterer ‘Acquisition of Major Rubens Painting by Meister in der Grossherzoglichen Gemälde­ Kimbell Art Museum’, The Connoisseur, 66 CATALOGI!H NO. 82 CXCIII, 1976, p. 147 (repr.); Held, Oil Sket­ CITVS ARCHISTRATEGVS, / TORMEN­ ches, I, pp.393-395, N0.292, pl.294; Kimbell TOR VM BELLICORVM / IN B E L G IO Art Museum. Handbook of the Collection, PRAEFECTVS, COMIT. / HANNONIAE Forr Worth, Texas, 1981, p.76 (repr.). GVBERNATOR ETC.

l i t e r a t u r e : Hecquet, Rubens, pp.78-79, The chief difference between the oil mo- N0.5; Basan, p. 147, N0.61 ; Smith, Catalogue dello and the finished canvas is that the R aisonné, II, p.312, N0.1163; V.S., p.184, Victoria figure to the left of the duke does N0.257; Dutuit, Manuel, p.194, No.61; H y­ not yet appear in the composition. Thus mans, Gravure, p.220; Rooses, IV, pp.206- in the original design the equestrian figure 207, under No.979, pi.301 ; Rooses-Ruelens, could be placed more centrally and not II, pp.204-205; Hymans, Vorsterman, pp. 178 to the right as in the final version. The -179, No.184; Van den Wijngaert, Prent­ Caritas figure on the right does not appear kun st, p. 103, N0.733; Evers, Neue Forschun­ in the sketch either: in its place is a Wind gen, pp.178,181 ;J. Müller Hofstede, ‘Neue God with wings and puffed-out cheeks. Oelskizzen von Rubens’, Städel Jahrbuch, This Wind God is also the ‘genius’ of II, 1969, pp.237-238; J.S.Held, 'Rubens Buckingham’s fame : in his right hand he and Vorsterman’, The Art Quarterly, holds a trumpet, and with his left he holds XXXII, 1969, pp.116-125 (repr.), reprinted a crown above the hero’s head. The head in Held, Rubens, pp.120-125 (repr.); Ren- of this deity strongly resembles that of the ger, Rubens Dedit, I, pp.i6o-i6i; V arshav­ Wind God in the final canvas, who is rep­ skaya, Rubens, pp.143-144, under N0.21 resented only by a head and wings. The (repr.); K.Rfenger], in Cat. Hxh. R ubens in twist of the body and the posture of the der Grafik, Göttingen-Hanno ver-Nürn- legs of this ‘genius’ were, broadly speak­ berg, 1977, pp.108, no, N0.75; D.Bodart, ing, taken over by Rubens for the Caritas in Cat. Exh. Rubens e l’Incisione, Rome, figure in the finished canvas. Another dif­ 1977. p.77, No. 140 (repr.) ; Held, Oil Sketches, ference from the finished work is that the I, pp.396-398. figures of Neptune and the naiad, below left, are intersected further up by the edge of the panel. The naiad is also more fore­ Charles de Longueval, Count of Bucquoy shortened in the sketch than in the final and Grand Bailiff of Hainault, was born version. at Arras in 1561. As Commanding General of the Netherlands troops in the service of Emperor Ferdinand II he played an im­ 82. Charles de Longueval, Count of portant part in the initial phase of the Bucquoy (Fig. 55) Thirty Years’ War. He won many victories for the Hapsburg cause until his death in Engraving; 635 x 585 mm.; inscribed, be­ battle on 3 July 1621 at Erseküjvâr (Neu­ low on the left : P. P. Rubens invent. ; below häusel, Nové Zâmky) in Hungary (now in the middle: Cum privileges; below on Western Slovakia).1 the right: Lucas Vorsterman sculp, et excud; He is here depicted in an oval laurel on the cartouche: CAROLVS DE LONG- wreath, dressed as a commander in full VEVALI EQUES VELLERIS AVREI / CO­ armour, with baton and officer’s scarf. MES DE BVSQVOY, CAESAREI / EXER- He wears the chain of the Order of the

67 CATALOGUE NO. 82 Golden Fleece, given to him by Philip III female attendants. Like the figures in the of Spain. Fie is seen in the traditional mar­ upper part of the composition, these sym­ tial pose that goes back to Titian:2 one bolize Bucquoy’s conquest of cities and hand holding the baton, the other on his whole regions. The figures on the plinth hip, the body in three-quarter view, fixing glorify the hero’s virtue and courage, the spectator with a resolute gaze. while those below illustrate the fate of Around the medallion are several alle­ his enemies. In the centre, between the gorical figures. On the left is a melancholy- River Gods and the City Goddess, is a fu­ looking Hercules with his club, striking neral altar with an inscription citing Buc­ down the Medusa and the many-headed quoy’s titles and surmounted by his coat Hydra, symbols of rebellion and discord. of arms. The altar is supported by two Behind him, Concordia holds up a stand­ lions with a festoon of fruit in their jaws. ard crowned by a laurel wreath encircling Two overturned torches are an additional her emblem of clasped hands.3 She holds symbol of mourning.5 out the terrestrial globe to an eagle which Held in his Oil Sketches made the inter­ dominates the whole scheme from above. esting remark that Rubens has here de­ A wreath is held over the eagle’s head by picted three separate levels of glorification. two putti with a chalice and a cross re­ The lowest zone illustrates Bucquoy’s con­ spectively. The eagle is evidently a symbol quests and also his mortality; the central of the imperial Hapsburg power, more zone displays his moral qualities as a lead­ especially as protector of the Catholic faith er; while the upper zone symbolizes his represented by the cross and chalice. On supreme merit of contributing to the the right a mourning female figure with triumph of the Roman faith.6 a trophaeum leans against the edge of the Who commissioned the work is not medallion : Rooses identified her as Securi­ known. Miiller Hofstede thought it might tas, Hymans as Victoria. Held in his O il have been the Archduke Albert, but no Sketches also inclined to this identification. proof of this can be found. Albert himself It seems to me correct, in view of the died a few days after Bucquoy, on 13 July attribute4 and the link between her and 1621, which makes the supposition rather the helmeted female warrior behind, who improbable. Varshavskaya suggests Buc­ holds out a palm of victory to the eagle. quoy’s own son, Charles Albert de Lon- Rooses identified this figure as Bellona, gueval (died 1663), to whom a later state Goddess of War. Held thought this un­ of the engraving is dedicated. In any case likely, as Bellona— who is really another Bucquoy’s death was the direct occasion manifestation of Minerva— does not gen­ of the work, as appears from the mourn­ erally have wings; he thought the figure ing symbolism that is so prominent in the might represent the concept of Valor allegory. The work must also have been Militaris. commissioned immediately after his All these figures are represented on a death: on 19 August 1621 Robert Schil­ plinth in front of a background resem­ ders, canon of Cambrai, wrote to Peiresc bling a triumphal arch. At the base of the that ‘M. Rubens a charge de faire un des­ plinth, on the right, are two mourning sein d’emblème qui doibt estre imprimé River Gods, one of them shackled, beside en taille-doulce avec le pourtraict et éloge an urn; on the left, also shackled, is the du défunt [i.e. the Count of Bucquoy]’.7 tutelary Goddess of a city with mourning Moreover the oil sketch bears the date 68 CATALOGUE NO. 82

1621 (see No.82a; Fig.56). On 2 September 1637.“ Hymans has pointed out in his 1627 Rubens wrote to Dupuy that he would monograph onVorsterman that two other send him a portrait of Bucquoy at the states of the present engraving exist, first opportunity; Hymans wrongly infer­ though they are rare. The first bears no red from this that Vorsterman was still inscription and is to be regarded as a at work on the engraving in that year.8 proof; Hymans cites examples of it in the Müller Hofstede is right in saying that Print Room at Dresden and the Dutuit Rubens’s design is based on the portrait collection in Rouen. There is also one in engraving of the count by Egidius Sadeler the Stedelijk Prentenkabinet in Antwerp, (Fig.57), also executed in 1621. In fact, the where the inscription was added in pen iconography of that engraving makes no by Vorsterman himself. The last state allusion to Bucquoy’s death in battle or bears, besides the inscription in honour of to the mourning observed for him. The Bucquoy, a dedication to his son, Charles inscription states that the portrait was Albert de Longueval. done from life, which implies a date shortly before the general’s death. Rubens 1. Seeforhisbiography :Ch.Ralilenbeck,'Longueval', in Biographie nationale 1 le Belgique, XII, Brussels, also drew inspiration from Sadeler’s print 1802-93, cols. 359-308. for the allegorical framework. The main 2. Cf. also N o s . 1 1 4 and 115. lines of the composition, especially the 3. Cf. Henkel-Schöne, I, cols.1013-1015. oval medallion, the angels above and the 4. See e.g. the description in Cesare Ripa, Iconologia of uytbeelJinghe des Verstants ... cd. D. P. Pers, A m ster­ defeated enemies below, as well as the d am , 1644, pp.403-404. Held pointed out in his O il architectural background, are all clearly S ketches that this same figure appears, unclothed, in the Apotheosis of Henri IV in the Medici cycle, borrowed from Sadeler. However, in one and that the earliest known documents describe important respect Rubens differs from her as a Victoria. his model: while Sadeler depicted the 5. A similar funerary altar with inverted torches fig­ ured in the Temple o f [anus, one of the decorations count with curly hair, Rubens shows him carried out to Rubens's design for the Pompa with grizzled hair, straight and combed Introitus berdinandi in 1035: see Martin, Pompa, backwards. An explanation might be that p .165, fig.82. 6. This graduated representation of various stages of Sadeler showed the general with a curly moral perfection is rooted in Renaissance funerary wig, as fashion was beginning to require, symbolism. The most famous example is offered while Rubens or his client may have by Michelangelo’s initial ideas for Pope Julius IPs tomb (see E.Panofsky's well-known interpretation thought this too frivolous for a portrait of this funerary monument in a neo-piatonic sense, intended to express sorrow and to honour in his Studies in konology, Ne w York, 1439, pp. 171ft'.). the dead.9 Compared to Sadeler’s engrav­ 7. Rooses-Ruelens, II, p.280. H. '... ne mancaro di mandar .1 V.S. colla prima occa­ ing, the face of the general looks so vivid sione una imagine del conte de Bucquoy' (h.Ca­ and realistic that it is difficult to suppose chet, lettres inédites de Pierre-Paul Rubens, Brussels, that Rubens had simply painted this por­ 1840, p .139). See also H y m a n s, Gravure, loc. cit. 9. Curly wigs must have tome into fashion, perhaps trait from an older prototype. He must first in Prance, in the lirst half of the 17th century: certainly have had the opportunity to see J.H. der Kmderen-Besier, Spelevaart der Mode, meet Bucquoy, during the latter’s pro­ Amsterdam, 1950, pp. 136-137. Another typical example of the use ol the peruke can be seen in the longed stay in Brussels between 1616 and portraits of Erycius Puteanus. In that of 1014 by 1618.10 Pieter de jode (VS.. p. 186, N o.270) he is shown as The surrounding elements of the por­ bald, but in Van Dyck's portrait of c. 1027-32 in the North Carolina Museum of Art at Raleigh he has a trait were later used again for that of the luxuriant head of hair which must be ,1 wig: see Emperor Ferdinand II on his death in K.d.K., Van Dyck, p.270, left.

69 CATALOGUE NOS. 82a-83

10. See Ch. Rahlenbeck, o p . c it ., cols. 363-364. This m oâello agrees in detail with Vorster­ 11. V.S., p.170, No.147; see also D. Bodart, o p .c it ., man’s engraving. It is mainly in grisaille N0.466 (repr.). but with some touches of colour, espe­ cially pink in the face and scarf. This is undoubtedly the ‘dessein d’emblème’ on 82a. Charles de Longueval, Count of which Rubens was engaged in August Bucquoy: Oil Sketch (Fig.56) 1621 (see above, under N0.82). Held was the first to draw attention to Oil on panel; 62.1 x 49.5 cm.; inscribed the note scribbled by Vorsterman in 1621, inside the garland, at the right of the por­ during the process of preparation, on the trait, presumably with a fine pen: P.P. background of Rubens’s grisaille sketch. R u b en s / fecit Et I Pinxit / A ° 16 2 1; at the left, It may be translated : ‘This cost me, be­ in the same manner : D it cost / my door’t j cause of the bad verdict, worry and vex­ quaet vonnis / sor[gh?] en noot / veel / nach­ ation, many nights of waking and great ten j Waken en / ongerust / heyt / groot, fol­ aggravation’. Held convincingly related lowed by Lucas Vorsterman’s monogram this to the personal conflict between Ru­ N. bens and Vorsterman that had dragged Leningrad, Hermitage. Inv. No.508. on for some time and reached an explo­ p r o v e n a n c e : Count Karl Cobenzl sive point in 1621. Held also suggests, and (Ljubljana, 1712—Brussels, 1770) ; acquired I agree, that the note refers particularly by Empress Catherine II, the Great, in to the short time within which Vorster­ 1768. man was required to complete the alle­ gorical portrait. In addition, as Held ob­ e x h i b i t e d : Leningrad, içj8, No.34. serves, Vorsterman was being asked for l i t e r a t u r e : Rooses, IV, p.206, N0.979; the first time in his career to make a burin Hymans, Vorsterman, p.179; A.Somof, E r­ engraving after an oil m odello which, care­ mitage Impérial. Catalogue de la galerie des fully executed though it was, of necessity tableaux, II, St Petersburg, 1901, p.365, had something free and sketch-like about No.574; K.d.K., ed. Rosenberg, p.129; D illon, it. In his Oil Sketches Held enlarges on this R ubens, p.206, No.10, pl. CXL; K .d .K ., difficulty confronting Vorsterman, and p.152; VanPuyvelde,Esquisses,p.73, No.27; also suggests that he may have had Evers, R ubens, p.254; Burchard-d’Hulst, trouble transposing colours into grey to­ D ra w in gs, I, p.293, under No. 188 ; J. S. Held, nes. Perhaps it was for these reasons that ‘Rubens and Vorsterman’, The Art Quar­ Vorsterman made the separate drawing terly, XXXII, 1969, pp.m-129, 460 (repr.), of Bucquoy’s head, now in the British Mu­ reprinted in Held, Rubens, pp.86, 118-121, seum in London (Fig.58).1 fig. X, 1; Renger, Rubens Dedit, I, p.161; Varshavskaya, Rubens, pp.136-144, No.21 I. Hind, Rubens, p .146, N0.6; see also for this drawing Renger, Rubens Dedit, I, b e . cit., and Held, Oil Sketches, (repr.); Huemer, Portraits, pp.44-45, fig. 10; I, p.396. Jajfé, Exhibitions, p.626; Judson-Van de V elde, pp. 191-192 ; Held, Oil Sketches, pp. 395 -398, No.294, pl.291 ; Musée de l’Ermitage. 83. Jacomo de Cachiopin Peinture de l’Europe Occidentale. Catalogue, II, Leningrad, 1981, pp.02, 64, N0.508, The inventory of Jan-Baptista Cachiopin fig.120. de la Redo, Lord of Kalloo, dated 2 May

70 CATALOGUE NO. 84

1662, included a 'contrefeytsel vanJoncker l i t e r a t u r e : W.Heil, ‘Portrait of a Jacomo de Cachiopin, van Rubens’ as well Gentleman, by Rubens’, The Art Quarterly, as a pair of portraits of Cachiopin and his XVI, 1953, pp.368-369,371 (repr.); M.Jafie, wife by Van Dyck.1 This Jacomo de Cachio­ ‘Rubens’s “Portrait of Rogier Clarisse’” , pin (1578-1642) was Jan-Baptista’s father. The Burlington Magazine, XCV, 1953, pp.387 He was a merchant and art collector of -390 (repr.); ‘Editorial Note’, ibid.,p.390; Spanish descent and was for a time Cap­ M.Jaffé, ‘The Companion to Rubens's tain of the Antwerp Civic Guard, as was “ Portrait of Rogier Clarisse’” , The Burling­ his son after him.2 ton Magazine, CIU, 1961, pp.4-6 (repr.); Rubens’s portrait has not survived. A H. Vlieghe, ‘Het portret van Jan Breughel portrait engraved by Vorsterman after en zijn gezin door P. P. Rubens’, Bulletin Van Dyck is included in the latter’s Icono­ des Musées Royaux des Beaux-Arts de Belgi­

graphy and is inscribed a m a t o r a r t i s que, XV, 1966, p. 184 (repr.); Midler Hof­

p i c t o r i a e a n t v E R P i A E .3 In the Kunst­ stede, Damenporträts, p.321, n.57 (repr.). historisches Museum in Vienna is the por­ trait of a man, also by Van Dyck, resem­ bling Cachiopin in Vorsterman’s print. The sitter is identified by his coat of arms, For these reasons Gliick, though with which could be seen in the right upper some reservation (rightly, in my opinion), corner before the picture was cleaned in believed it to represent the features of about 1953. Rubens did not himself paint the Antwerp-Spanish merchant.4 in the arms; however, the fact that the companion portrait (N0.85; Fig.óo) shows 1. Denucé, Konstkamers, p.231. 2. See I. von Szwykowski, 'Anton van Dycks Bildnisse what are believed to be the arms of the bekannter Personen’, Naumanns Archiv für die family of Sara Breyll, Rogier Clarisse’s Zeichnenden Künste, 1V -V , 1858, p.127. Thar he was wife, makes it improbable that the two a merchant and art collector is proved, in ter a h a , by Adriaan B rou w er’s certificate o f 4 Marcii 1032 to the paintings represent anyone but this coup­ effect that a small picture shown to him by De le.1 Rogier Clarisse and his brother Louijs Cachiopin was an early work by his own hand (see owned a silk business which had made P.J. Van den Branden, Geschiedenis der Antwerpsche Schilderschool, A ntw erp , 1883, p.848). them the richest and most influential mer­ 3. See Mauquoy-Hendrickx, N0.75. chants in Antwerp in the first decades of 4. K.d.K., Van Dyck, pp.340 (repr.) and 556 (for G lu c k ’s the seventeenth century. The family’s com m ent). connections with Rubens are well known. In about 1617 Louijs Clarisse paid for the 84-85. TWO PENDANTS: ROGIER Scourging o f Christ, one of the fifteen Mys­ CLARISSE AND HIS CONSORT, teries of the Rosary painted for St Paul’s SARA BREYLL Church in Antwerp, where it still is. Marie Clarisse, the sister of Louijs and Rogier, 84. Rogier Clarisse (Figs. 59,61,62) married Johannes Woverius, the well- know'n pupil of Lipsius and friend of Oil on panel; 118 x 90.8 cm. Rubens. Rubens dedicated to the two San Francisco, California, The M. I I. de Young brothers Vorsterman’s engraving after his Memorial Museum. Inv. No.53.12. St Francis receiving the Stigmata, a work p r o v e n a n c e ; Private collection, France ; painted for the Capuchin Church in Ant­ purchased for the M. H. de Young Memo­ werp. Rogier Clarisse’s date of birth is not rial Museum in 1953. known; he died in 1622.2 This portrait is

71 CATALOGUE NO. 85

1. The arms consist of four quarters: the ist and 4th to be dated i 6 i i , a date that appears on ‘d’argent à la fasce d'azur’, the and and 3rd 'd’azur its counterpart (N0.85; Fig.6o). à la croix de sable bordée d’argent’. They are repro­ Rogier Clarisse is shown to knee-length duced in Graf- en Gedenkschriften, V, p .328. in three-quarter view, seated in an arm­ 2. For biographical data about the Clarisses and their firm see J.Denucé, De Insolvente Boedelkamer als kern chair and looking towards the spectator. voor een Antwerpsch economisch archief met inventaris, His arms rest on the arms of the chair. He Antwerp, [1927], pp.23iff. For their connection with wears a black costume and a cloak edged Rubens, see especially M.Rooses, Rubens’ leven en w e rk , A ntw erp, 1903, pp.99, 216; Rooses-Ruelens.l, with brown fur, a large cartwheel ruff and p p .14, 56 ; II, pp.205-206; V , p p.239-242. fluted cuffs. 3. See C. G ould, Raphael's Portrait o f Pope Julius II. The The sitter’s oblique position, with its Re-Emergence o f the Original, London, s.d., pp.1-14, strong effect of space and plasticity, derives fig.3. 4. See W ethey, Titian, III, pp. 122-124, Nos.72 and 73, pis. from Italian High Renaissance ceremonial 115-118. portraiture. Jaffé rightly pointed out the 5. K .d .K ., p .85. similarity to Raphael’s portrait of Pope 6. See J.F[oucart], in Cat. Exh. P a r is , 1977-78, pp.153- 155, N os.iii and 112 (repr.). Ju liu s II, the best example of which is in the National Gallery in London.3 Unlike Clarisse, the Pope in that portrait does not look straight towards the spectator, 85. Sara Breyll (Fig. 60) but he does so in Titian’s well-known paraphrase of it, Pope Paul III, the best Oil on panel; 118 x 92 cm.; above, in the example of which is in the Museo di Capo- left corner, under the coat of arms, the dimonte, Naples.4 It thus appears to me date 1 6 11. that the portrait of Clarisse is most closely San Francisco, California, The M . H. de Young connected with Titian’s work. Memorial Museum. Inv. No. 60.27. When this portrait came to notice in

1952 in the possession of the art dealer p r o v e n a n c e : Viscount Ridley, Blaydon Lebel in Paris, Burchard regarded it as an (1910); Davenport Bromley, sale, London autograph work by Rubens and was able (Christie’s), 28-29 July 1926, lot 165; pur­ to identify the coat of arms. However, chased by A. L. Nicholson, London ; Arthur after it was published a year later by Jaffé, U. N ewton Galleries, New York, February- Burchard changed his mind and was in­ March, 1936; again in the possession of clined to attribute it to Van Dyck. For my A. L. Nicholson, London, and offered for part I cannot see any hand but that of Ru­ sale, October 1936; O.Klein, New York bens in this brilliant portrait. The strongly (1952); B.N.Maltz, Beverly Hills, Cali­ modelled light on the face and hands is fornia; purchased for the M.H. de Young very similar to that in such works as the Memorial Museum, in 1964. Portrait of Jan Brueghel and his Family of

1612-13 in the Princes Gate collection in e x h i b i t e d : Detroit, 1936, N0.20. London (N0.79; Fig.46); the portrait of

Nicolaas Rockox on the left panel of the l i t e r a t u r e : C.Hofstede de Groot, in Rockox epitaph in the Royal Museum, Rubens-Bulletijn, V, 1910, p.275; Valentiner, Antwerp,5 dating from 1613-15; or the Rubens in America, p.156, N0.24; G o ris- portrait of a man at Aix-en-Provence, H eld, p.30, No.28; Larsen, Rubens, pp. 154, which also dates from very soon after 215, No. 18; Van Puyvelde, Rubens, p.105; 1610.6 M.Jaffé, ‘The Companion to Rubens’s

72 CATALOGUE NO. 86

“ Portrait of Rogier Clarisse” The Burling­ 86. Charlotte-Marguerite ton Magazine, CIII, 1961, pp.4-6 (repr.); de Montmorency, Princess of Condé 'Accessions of American and Canadian (Fig-63) Museums’, The Art Quarterly, XXVII, 1964, pp.205, 209 (repr.); H.Vlieghe, ‘Het por­ Oil on canvas; 108.5 x 86.5 cm.; below, on tret van Jan Breughel en zijn gezin door the left, in yellow, the old Leganés inven­ P. P. Rubens’, Bulletin des Musées Royaux tory number 326. des Beaux-Arts de Belgique, XV, 1966, p.184; Pittsburgh, Pennsylvania, The Frick Art Mu­ Müller Hofstede, Damenporträts, pp.316, seum. Inv. No. 1970.49. 321, n.57 (repr.). p r o v e n a n c e : Don Diego de Guzman, Marquess of Leganés, Madrid, mentioned in 1642 and 1655; Marquess of Salamanca, The sitter is shown to just below the knees sale, Paris, 3-6 June 1867, lot 203 (as School and is seated obliquely to the picture sur­ o f R ub en s); the Morrisson Family, Font­ face, in the same pose as her husband in hill ; Lord Maryadale of Islay, sale, London the companion piece (N0.84; Fig.59). Like (Christie’s), 2July 1965, lot 69 (repr.); pur­ him, she looks directly at the spectator. chased for the Frick Art Museum in 1970. She wears a high-necked black gown, re­ lieved only by a row of gold buttons, and c o p i e s : (1) Painting, whereabouts un­

a white cartwheel ruff with cuffs to match. known; canvas, e.no x c.95 cm. p r o v . She wears no jewellery except for two Madrid, Dukes of Infantado ; Madrid, Don gold bracelets on each wrist and a ring on Enrique Gomez; still in a private collec­ her left hand, in which she holds a white tion at Madrid, in 1934. e x h . E xposition handkerchief. She has on a black cap with Historico-Europea, Madrid, 1892, No.215

a tongue-shaped projection in front. (repr., as School o f Rubens), l i t . H. Hymans, The picture agrees with its counterpart ‘Notes sur quelques œuvres d’art conser­ as regards dimensions, the sitter’s pose vées en Espagne’, Gaçette des Beaux-Arts, and her relation to the picture surface. A 1894, pp. 157-167, reprinted in H. Hymans, restoration in 1959 made visible a coat of Œ uvres, III, Brussels, 1920, pp.434-436 (as arms, upper left, in the colours of the Rubens); Michel, Rubens, pp.86, 89 (repr., arms of the Breyll family.1 Jaffé concluded as R ubens); H.Hymans, ‘Un Rubens mé­ from this, rightly in my opinion, that the connu’, Chronique des Beaux-Arts, 1906, portrait was the pendant to that of Rogier pp. 168-169 (repr.), reprinted in H. Hy­ Clarisse. mans, Œ uvres, III, Brussels, 1920, pp.823- Burchard did not agree with the attri­ 826 (as R ubens, confusing it with the ori­ bution to Rubens, accepted by all other ginal, now at Pittsburgh); C.Phillips, ‘No­ critics. I consider it justified, however, by tes on two Portraits’, The Burlington Maga­ comparison with other portraits dating zin e, XXVI, 1915, p. 158, n.1; L.Hourticq, from sometime between 1610 and 1615: R ubens, Paris, 1924, p.30 (repr., as R ubens); cf. those mentioned under the previous (2) Painting, with variations, especially in entry. the pose of the right arm, whereabouts

unknown; 104 x 94 cm., oval. p r o v . Grit- tleton House, near Chippenham, Wilt­ I. Described in Rietstap, Armorial, I, as follows; 'd'ar­ shire, L.W.Neeld, sale, London (Chris­ gent à trois pols d’azur’, which corresponds to the coat of arms in the painting discussed here. tie’s), 13 July 1945, lot 86. 73 CATALOGUE NO. 86

e x h i b i t e d : Guildhall, London, 1906, seventeenth century,1 in a low-cut red sa­ N0.99 (as F.Pourbus the Younger); Brussels, tin gown with gold embroidery. The split 1910 , No.282 (as F.Pourbus the Younger); sleeves open to show white undersleeves Pictures front Basildon Park and Fonthill, with a red flame motif. Behind her head Grosvenor Gallery, London, 1914-15, is a broad stand-up lace collar, and her N0.13 (as F.Pourbus the Younger); London, cuffs are also of lace. Ropes of pearls en­ 192J, No. 141 ; Vlaamse Kunst uit Brits beçit, circle her neck and lie on her breast, and Groeningemuseum, Bruges, 1956, N0.63 ; she has a pearl hanging from each ear. Her London, 1961, No. 5. hair is crimped, combed back and deco­ rated with red bows. She holds a fan in l i t e r a t u r e : H.Hymans, ‘Un Rubens her right hand, and the left rests on a méconnu’, Chronique des Beaux-Arts, 1906, console. The flat background is decorated pp. 168-169 (repr.), reprinted in H. Hy­ with pomegranate motifs in Cordoban mans, Œ uvres, III, Brussels, 1920, pp.823- leather. 826; id., ‘L’Exposition de l’art belge du Originally thought to be Maria de’ Me­ XVIIe siècle à Bruxelles en 1910’, G a le tte dici, the sitter was first identified by Henri des Beaux-Arts, 1910, pp.333-334, reprinted Hymans in 1906 as Charlotte-Marguerite in H. Hymans, Œ uvres, III, Brussels, 1920, de Montmorency, Princess of Condé. Hy­ p.898; Fierens-Gevaert, I, p. 12; Ch.-L. Car­ mans pointed out the striking resemblance don, ibid., p.136, under No. LVIII (repr., to an anonymous eighteenth-century por­ as F.Pourbus the Younger, Maria de’ Me­ trait of the princess (Fig.64) in the Château dici [?]); C. Phillips, ‘Notes on two Por­ de Chantilly.2 Charlotte-Marguerite, who traits’, The Burlington Magazine, XXVI, died in 1650, married Henri II de Bourbon, 1915, pp.157-163 (repr.); K .d .K ., p.18, left; Prince of Condé, on 30 March 1609, and [T.Borenius], in Conway, Memorial Volume, the couple stayed at the archducal court p.62, N0.141; H.Schneider, ‘Die Ausstel­ in Brussels in 1609-10. She was the mother lung flämischer und belgischer Kunst in of Louis II, ‘le grand Condé’, the famous London’, Zeitschrift für bildende Kunst, General of Louis XIV.3 Hymans also point­ LXI, 1927-28, p.43; P.G.Konody, ‘Flemish ed out the likeness between this portrait and Belgian Art: A Precious Souvenir of and one of the ladies in the Ball at the Court the Royal Academy Exhibition of 1927’, o f Albert and Isabella, now in the Maurits- A pollo, 1928, p.88; F. Grossmann, ‘Flemish huis at The Hague (Fig.65),4 which was Paintings at Bruges’, The Burlington Maga­ painted by Frans Francken II and Frans zin e, XCIX, 1957, pp.5-6, fig.3; W.R.Ho- Pourbus II. Burchard accepted this iden­ vey, Treasures of the Frick Art Museum, tification and found further documentary Pittsburgh, 1975, pp.82-83 (repr., as Eléo- evidence for it. He pointed out that the nore de Condé); Muller Hofstede, Damen­ portrait was in the sale, in 1867, of the p orträts, pp.312-314, 321, n.45 (repr., as collection of the Marquis of Salamanca. Eléonore de Condé). This was important, as the catalogue of the sale expressly stated that the portrait — listed vaguely as ‘school of Rubens’ and The young lady is shown to below the with no indication of the sitter’s identity— waist, in three-quarter view, looking di­ had been in the collection of the Marquis rectly towards the spectator. She is richly of Leganés. This led Burchard to suggest dressed in the French fashion of the early that it might be identical with ‘un retrato 74 CATALOGUE NO. 87 de poco mas de medio cuerpo de la Prin- it is easy to disprove. Eléonore de Condé cesa de Condé, de mano de Rubens’, lis­ became Princess of Orange in 1606 by her ted in 1655 in the inventory of the Leganés marriage to Philip-William of Nassau, and collection.5 Burchard’s supposition can she would undoubtedly have been refer­ now be confirmed: a recent cleaning re­ red to by that title in the Marquis of Le- vealed the figure 326 in the lower left cor­ ganés’s inventory. ner, this being the inventory number of the portrait of the Princess of Condé in 1. For the French fashion of this era see e.g. A. Blum, Costume of the Western World. Early Bourbon, 1590- the Leganés collection.6 A more recent 16 4 J , London, 105t. investigation by Mary Crawford Volk has 2. Described in F.A.Gruyer, Notice ties Peintures. shown that the painting was in that col­ Chantilly, Musée Comté, Paris, 1890, p .388, N o.397- 27. lection as early as 1642, when it was listed 3. For the Prince and Princess of Condé see P.Hen- under the above number.7 rard, Henri IV et la princesse île Comté, Brussels, 1883, Initially the portrait was believed, by and E.Gossart, L’auberge des princes en exil,Brussels, 1943 (first ed. 1905), p p .td ï. Hymans and Oldenbourg in particular, 4. Cf. [H.R.HoetinkJ, M auntshuis, Illustrated General to be an early work of Rubens’s Italian C a ta lo g u e , The H ague, 1077, pp.92-93, N o.244 period, but the princess’s dates make this (repr.). 5. As published by M.Rooses. 'La Galérie dll Marquis very unlikely. Burchard rightly dated it de Léganès', Rubens-Bulletijn, V, 1900, p .170. In the C.1610. The warm, glowing coloration is more recent edition of the Leganés inventory by characteristic of the first years after Ru­ López Navió, based on .1 different manuscript from that published by Rooses, more general bens’s return from Italy: more especially, reference is made to ‘un retrait) de medio cuerpo the red gown has the same intensity as de la Princesa de Condé, de mano de Rubens' the reds in, for example, Samson and Deli­ (Lôpeç Narw. p.284). o. 1 lovey (lec. c it.) says that ‘An inventory of the Mar­ lah in the National Gallery in London8 or quis de Leganés collection in Madrid of 1955 men­ the Raising of the Cross triptych in Ant­ tions this painting as being in that collection and werp Cathedral,9 both dating from the “de mano de Rubens” ’. 1 lowever, he does not mention any connection with the inventory num­ same period. ber 320 on the canvas. Burchard also thought that Rubens 7. See Mary Crawford Volk, 'New Light on a Seven- painted this portrait after a prototype by teenth-Centurv Collector: The Marquis of Le- ganés'. The Art Bulletin, LXIL 19K0, p.208. Frans Pourbus II.10 He was no doubt in­ 8. See C. Brown, Rubens. Samson and Delilah, London, fluenced by the severe, formal pose, which 1983 (repr.). indeed conforms to the international style 9. h '.d .K ., p .39. 10. Burchard referred to a copy of the present work of court portraiture of which Pourbus was showing the hands in adilferent position (see above, a principal exponent around 1600. This Copy [2J, which,however, for not very clear reasons would also explain why, in the past, the he regarded as a version of a lost portrait by Pour­ bus (photograph: C ooper 133342, in the R ubellia­ portrait was attributed to Pourbus him­ num). self. Hovey, relying no doubt on the cata­ logues of the Bruges exhibition of 1956 87. Jean de la Court (Fig. 66) and the London sale of 1965, describes the portrait as that of Eleonore de Condé Oil on canvas; 80 x 64 cm. (1587-1619), who was Charlotte-Margue- Whereabouts unknown. rite’s sister-in-law. Müller Hofstede also recently adopted this suggestion. How­ p r o v e n a n c e : Eugene Bolton, London; ever, the reasons for it are not clear and Goudstikker, Amsterdam, C.1924-C.1933; 75 CATALOGUE NO. 88 private collection, Holland, c.1933; sale, 1969 by the Revd Father Jean de la Croix: Copenhagen (A.Bruun Rasmussen), 5 De­ it is clearly a reverse image of the present cember 1973, lot 22. portrait, wrongly attributed to Rubens. Burchard, who had not seen the draw­ copy: Drawing in reverse (Fig.67), in the ing in the Antwerp City Archives, thought Chronographia Sacra Carmeli, c. 1746, Ant­ he recognized De la Court’s features in werp, Stadsarchief, Ms. N0.576. l i t . J. de another portrait, a genuine Rubens, in the la Croix, ‘La Glorification de l'Eucharistie British Plunket collection.2 His argument de Rubens et les Carmes’, Metropolitan was largely based on the fact that that Museum Journal, II, 1969, p. 184, fig.5. portrait can be dated, on stylistic grounds, e x h i b i t e d : Collection Goudstikker, The to the period of De la Court’s priorship. Hague, 1924, not numbered (as Rubens); Jean de la Croix also accepted this identi­ Collection Goudstikker, Amsterdam, 1928, fication, despite the clear differences of N0.30 (repr., as R ubens); Vienna, 1930, physiognomy between the Plunket por­ No. 167 (as R ubens) ; Amsterdam, 1933, N0.48 trait and the drawing in the Antwerp City (repr., as R ubens). Archives.3 Indeed theidentification is ruled out by the fact that the monk in the Plun­ ket portrait is not bald, unlike the man in Head and shoulders portrait, in three- the drawing. Moreover the former has a quarter view facing right, of a monk wear­ much sharper face with a hawk nose, quite ing the brown habit, white scapular and different from the round face with a short mantle of the Carmelite Order. He holds straight nose depicted in the drawing and a book in his right hand and is standing in in the present painting. front of a table on which lies another book. Hofstede de Groot and Bode, as well as 1. Cf. Graf- en Gedenkschriften, V , p .342. Burchard, issued certificates attributing 2. Oil on panel, 81x66.5 cm.; exhibited, on the strength of Burchard's interpretation, in L o n d o n , the work to Rubens, but this cannot be 1 9 5 3 - 5 4 , N o .165, as De la C o u rt’s portrait. justified. It is a feebly painted seventeenth- 3. Jean de la Croix, o p . c it., p .184, fig.6. century portrait which seems to me to have no connection with Rubens or his studio. As to the sitter, it has not hitherto 88. The Duchess of Croy been observed that he is to be identified as Jean de la Court, who from 1610 to 1622 The inventory of the Duke of Bucking­ was the twentieth prior of the Antwerp ham’s collection, drawn up in 1635, refers monastery of Caked Carmelites.1 His suc­ to a portrait of ‘the Dutchess of Crin’ by cessor was Gaspar Rinckens, a possible Rubens.1 As Burchard supposed, this work portrait of whom is discussed below (cf. and others including the Duke o f Bucking­ No.130; Fig.162). The identification with ham on Horseback (No.81; Fig.53) must De la Court is proved by the drawing in have been among a number of paintings an eighteenth-century collection of por­ that Rubens had ready to send to the duke traits of priors of the Antwerp Carmelites, on 18 September 1627. the Chronographia Sacra Carmeli of c. 1746. Burchard connected the reference in the This is preserved in the Antwerp City Ar­ inventory with a portrait in the Baltimore chives, and the portrait of Jean de la Court Museum, traditionally known as ‘Portrait (Fig.67), among others, was reproduced in of the Duchess of Cruye’,2 which he re­

76 CATALOGUE NO. 89 garded as an authentic Rubens of 1626-27. tion, Fort Worth, Texas, 1972, pp.64-65 I cannot recognize Rubens’s hand in that (repr., as A. van D yck) ; E. Larsen, ‘New Sug­ work, however, nor do I see in it the fea­ gestions concerning George Jamesone’, tures of Geneviève d’Urfé, Duchess of Gazette des Beaux-Arts, 1979, p. 16, n.32 Croy.3 It will be further discussed in (as G Jamesone); A. McNairn, in Cat. Exh. Part XIX Volume 3, on unidentified por­ The Young Van Dyck, Ottawa, 1980, traits. pp.36-37, No.2 (repr., as A. van D yck); Kimbell Art Museum. Handbook o f the Collec­ 1. See R. Davies, 'An Inventory of the Duke of Bucking­ ham's Pictures, etc., at York House in 1635', T h e tion, Fort Worth, Texas, 1981, p.78 (repr., Burlington M agazine, X, 1907, p .379. as A. van D yck). 2. See Goris-Held, pp.47-48, N0.A.26. 3. See Van Dyck's engraved portrait of her, in Mau- Shoulder-length portrait ; the youthful sit­ quoy-Hendrickx, I, p p.203-204, N o.39; for a painted version, see K.d.K., Van Dyck, p.283 (repr.). ter, in three-quarter view, looks directly at the spectator. He wears a tall, broad- brimmed hat, a broad flat white collar 89. Anthony van Dyck (Fig. 69) and a grey cloak. The identification with Van Dyck is ori­ Oil on panel; 36.5 x 25.8 cm. ginally based on a drawn copy of this por­ Fort Worth, Texas, The Kimbell Art Museum. trait in the Albertina inVienna, with the in­ Inv. No. ACF 55.1. scription Anthony VDyck in an eighteenth- p r o v e n a n c e : ?Private Collection, Ma­ century hand (Fig.70). First proposed by drid; Frederick W.Mont (Newhouse Gal­ Burchard and subsequently endorsed by leries), New York, c.1954; selected by Mr Jaflfé, it is acceptable on iconographie and and Mrs Kay and Velma Kimbell and ac­ stylistic grounds. Comparison with later quired by the Kimbell Art Foundation in portraits and self-portraits of Van Dyck 1955- confirms the inscription on the drawing: the long, straight nose, wavy blond hair c o p y : Drawing (Fig.70), 17th century, and full lips are seen there also.1 Van Dyck Vienna, Albertina, Inv. No.8655; i 3 7 x appears here to be a lad of sixteen or so, 119 mm. l i t . J.Guiffrey, Van D yck, Paris, 1882, p.157 (repr., as A. van Dyck); M. Jaffe, which would date the portrait c.1615-16: this is consistent with the plastic style and Van Dyck's Antwerp Sketchbook, London, 1966, I, pp.48, 106, n.90 (repr., as A . van opaque impasto of the painting. Critics other than Burchard have gener­ D yck). ally attributed this portrait to Van Dyck e x h i b i t e d : The Young Van Dyck, Natio­ himself. However, the spontaneous de­ nal Gallery of Canada, Ottawa, 1980, N0.2 sign, the style and the somewhat unfin­ (repr., as A. van Dyck). ished effect, in particular the rapidly

l i t e r a t u r e : M.Jaffé, Van Dyck’s Ant­ sketched clothing, are very similar to Ru­ werp Sketchbook, London, 1966,1, pp.47-48, bens’s equally informal portrait of his 105, n.89,115, fig.i (as A. van D yck) ; M a rtin , other collaborator Jan Wildens (No. 157; Cat. National Gallery, p.33, n.22 (as A . van Fig.234), painted at about the same time. D yck); G.Eckhardt, Selbstbildnisse nieder­ There is also a remarkable similarity of ländischer Maler des 17.Jahrhunderts, Ber­ style with Jan Brueghel’s little son in the lin, 1971, pp.70,180, pl.62 (as A, van Dyck); somewhat earlier family portrait in the Kimbell A rt Museum. Catalogue o f the Collec­ Princes Gate Collection (N0.79; Fig.46). 77 CATALOGUE NO. 90

A technical examination in 1971 led to e x h i b i t e d : British Institution, London, the conclusion that the young man’s hat 1820, N0.72; British Institution, London, was not part of the original painting, 1827, No.i. though he must have had a hat of some sort, to judge from the shadow on his l i t e r a t u r e : W.Bathoe, A Catalogue of forehead. It cannot be ascertained whether Pictures belonging to the King James the Sec­ the drawing in Vienna (Fig.70) was made ond, London, 1758, p.11, No.116; G.Ver­ from the unrestored painting. According tue, Note Books [ed. Walpole Society, XXIV, to the 1971 examination the ‘second’ hat 1936, p.92.]; Smith, Catalogue Raisonné, II, was painted out and replaced by a third p.312, No. 1160; Waagen, Treasures, II, one. p.429, No. 17 (as A. van D yck); J.Guiffrey, This work may be identical with the Antoine van Dyck, Paris, 1882, p. 174, N0.904 ‘Contrefeytsel van myn broeder dat Rub- (as A. van Dyck); Rooses, IV, pp.277-278, bens gemaeckt heeft’ which in 1660-65 N0.1071; E.Law, Vandyck’s Pictures at was in the collection of Anthony’s brother Windsor Castle, London-Munich, 1899, I, Theodoor Van Dyck, parish priest of Min­ pp. 1-4 (repr.); K.d.K., Van Dyck, p. XXII; derhout.2 G. Glück, ‘Self-Portraits by Van Dyck and Jordaens’, The Burlington Magazine, LXV,

1. See, besides N0.90 (Fig.71), the other self-portraits 1934, p.196, pl. Ilia; C.H.Collins Baker, reproduced by G lück in his K.d.K., VanDyck, p p .i 19, Catalogue of the Principal Pictures in the 121, 122, 496 and title-page; cf. also G.Glück, ‘Self­ Royal Collection at Windsor Castle, London, Portraits by Van Dyck and Jordaens', The Burlington M a g a z in e , LXV, 1934, pp.195-201. 1937. p.99 (as after A. van Dyck); A.Blunt 2. Published by H.Vey, ‘Die Kunstsammlung Pastor and M.Whinney, The Nation’s Pictures, Theodoor Van Dycks', Bulletin des Musées Royaux London, 1950, p.20; H.Vey, ‘Die Kunst­ des Beaux-Arts de Belgique, X, 1961, p.21. Vey, who only knew of the portrait at Windsor (N0.90 ; Fig.71), sammlung Pastor Theodor van Dycks’, rightly supposed that this referred to another por­ Bulletin des Musées Royaux des Beaux-Arts trait unknown to him. de Belgique, X, 1961, pp.23-24 (repr.) ; O.Mil- lar, The Queen s Pictures, London, 1977, p.158; Huemer, Portraits, p.93, fig.40. 90. Anthony van Dyck (Fig.71)

Oil on panel; 64 x 48 cm. The painter is seen in three-quarter view, Windsor Castle, Collection ofH. M. the Q ueen. looking to the left. He wears a black cos­ tume with a dark cape under which his p r o v e n a n c e : First mentioned in the right arm is hidden, leaving only the hand possession of the British Crown, in the visible. A similar feature, despite the dif­ 1687-88 inventory of King James If s col­ ference of pose, can also be seen in Ru­ lection at Whitehall; Queen Anne’s Gal­ bens’s portrait of his fellow-painter Frans lery, Kensington Palace; Carleton House, Francken the Elder (N0.105; Fig.116). The 1817. motif goes back to classical portrait sculp­ c o p i e s : ( i ) Painting, whereabouts un­ ture and was revived from the sixteenth known; 73 x60 cm. p r o v . Antwerp, century onwards in ceremonial Renais­ F. Oppenheimer, 1929; (2) Mezzotint en­ sance and Baroque portraits. It seems to graving by W.Dickinson, 1780 (VS., have been especially popular in portraits p.182, N0.246). of poets and art lovers, which may have 78 CAT A LOG UL! NO. 90 prompted Rubens to use it for portraits disturbing additions,3 showed that the of painters also.1 The background consists firm characterization and smooth brush- of an arched recess. work were altogether in Rubens’s style— This portrait has been in the British especially in the late 1620s, when his ori­ Royal Collection at least since the time ginal sculptural mannergradually evolved of James II. It is first described in the in­ into a softer and more purely pictorial ventory drawn up on the King’s death in technique. Thus Rubens's portrait of his 1701: ‘In Whitehall, N0.116. By Rubens, most talented pupil can be dated c.1627- Van Dyck’s Picture in a Dutch Habit’. The 28. It cannot be earlier than November inventory of Queen Anne’s collection, who 1627, when Van Dyck returned to Ant­ died in 1714, describes it as ‘Vandyke’s werp after years in Italy; and, as Burchard Head by Rubens’. The sitter’s identity has pointed out, it cannot be later than 1628, never been questioned, and there is no since in that year it was used by Willem reason to do so in view of the striking re­ van Haecht to represent Van Dyck in the semblance to Van Dyck’s features in other former’s Picture Gallerv ofCornelis van der comparable portraits, in particular the G eest, now in the Rubens House in Ant­ self-portrait of c.1630, engraved by Vors- werp (Fig.68). terman : the wavy hair, high forehead and The original purpose of the painting is straight nose, the curled moustache and not known, but Van Dyck may have taken the full fleshy lips are all features that it with him to Hngland in 1632. It may make the sitter easy to identify.2 have been acquired directly from Van However, critics have not always agreed Dyck by Charles I, either during the for­ as to the authorship of the painting. The mer’s life or at his death. seventeenth-century tradition ascribing it to Rubens was maintained in the eigh­ I. The antique prototype is perhaps to be found in the famous statues ot Sophocles and Aeschines, both of teenth century: the caption to the print the 4th century b .c ., but known from Roman copies made after it by William Dickinson be­ of the 2nd century cf. K.Schefold, Die Bildnisse fore 1780 expressly mentions Rubens as der antiken Dichter, Redner und Denker, Basle, [1943], pp.92,102 (repr.). A very early Renaissance example the author of the prototype. None the less, isHans Holbein's portrait of the poet Henry Howard, in nineteenth-century literature the por­ Earl of Surrey, dating from 1542-43, formerly at trait was generally ascribed to Van Dyck Wildenstein's, New York; cf. R.Cianz, 'the Paintings of Hans Holbein, London, 1950, N o.122, pl.161. From himself. As far as I can discover, this was Rubens’s own time there is, e.g., Bernini’s marble first done in John Smith’s catalogue rai­ bust of the English connoisseur Thomas Baker sonné of 1830. Thereafter it was generally (London, Victoria and Albert Museum; cf. R.Witt- k ow er, Gian I.orenzo Bernini. The Sculptor of the accepted on his authority, until Max Roo­ Roman Baroque, O xford, 1981, pp.208-209, N o.40, ses in 1890 again defended Rubens’s pls.64, 66). Rubens m ay also have been aw are o f authorship. Subsequent critics have gener­ Pliny the Elder's well-known description of the painter Famulus who used to wear a toga, because ally followed Rooses’s revival of the old this seemed to him to be more in keeping with the attribution, with the exception of Collins high rank of his profession (see in this connection Baker, who in his catalogue of the Wind­ J.Muylle, ‘Pieter Bruegel en de kunsttheorie...’, Jaarboek Koninklijk Museum voor Schone Kunsten Ant­ sor Castle Collection of 1937 referred to it w e r p e n , 1984, p p .189-202). A nyw ay, in his typical as a work ‘after Van Dyck’. humanist approach, Rubens can be seen as a fore­ There is in fact no reason to contest the runner of Van Dyck who, in his Iconographie, gave the 'rhetorical pose’ of the artist and the virtuoso attribution to Rubens. The restoration of its more definite form, which in its turn was to be 1950, which cleared the work of several of lasting influence on northern art of later genera- 79 CATALOGUE NO. 91

tions (cf. H .-J.Raupp, Untersuchungen çu Künstler­ 1864, p.434; R ooses, IV, p.236, No. 127 (as bildnis und Kiinstlerdarstellungen in den Niederlanden Philip IV, King of Spain). im 17.Jahrhundert, H ildesheim , 1984, pp.45ff.). 2. Cf. Mauquoy-Hendrickx, N0.79 (repr.). 3. The portrait originally m easured 84.5 x 62 cm .; a vertical strip, about 14 cm. wide, was added on the The Cardinal Infante is painted to knee- left, and a horizontal one at the bottom, about 20 cm . in w idth. length; he stands facing left, but looks directly at the spectator. He is attired as an officer, in full armour and with a red sash across his breast. He wears leather 91. Ferdinand, Cardinal Infante of gloves; his right hand rests on his baton, Spain (Fig. 72) and the left on his hip. The warlike note is somewhat softened by the fact that he Oil on canvas; 114 x 90 cm. wears a broad-brimmed hat instead of the Hamburg, Collection o f Margret Käser. helmet which rests on a small table to the

p r o v e n a n c e : Smirnoff Collection, St. left. The background is formed by a col­ Petersburg, c.1864; Semeonoff Tian-Sha- umn on the left and an ornamental cur­ risky, St Petersburg; August Neuerburg, tain on the right. As with Rubens’s other Hamburg. ceremonial portraits of rulers, the pose seems to be based on Titian’s Charles V c o p i e s : (i ) Painting, Budapest, Szépmü- with Drawn Sword, a picture of which Ru­ vészeti Muzeum, N0.720; canvas, n i x bens himself made a copy and which was 96.5 cm. p r o v . Prince Nicholas Esterhazy afterwards engraved by Vorsterman.1 (d.1833). l i t . A.Pigler, Katalog der Galerie Although I did not have the opportunity Alter Meister, Budapest, 1967, p.596, No. of studying the Köser version in the ori­ 720; (2)Painting, whereabouts unknown; ginal, it seems to be of higher pictorial canvas, 121 x 101 cm. p r o v . Vienna, quality than the other known versions, Princes of Liechtenstein; sold to the including the partially autograph painting Viennese dealer Glückselig, in 1922. l i t . at Sarasota (N0.92; Fig.73). The lively, Description des tableaux et des pièces de rapid brushwork, the sharp and expres­ sculpture ... Liechtenstein, Vienna, 1780, sive highlights on the armour, and the p.223, N0.676 (as A. van Dyck, Archduke dark, glowing tonality that pervades the Albert of Austria); Katalog der fürstlich whole are unmistakable signs of Rubens’s LiechtensteinischenBildergallerie... ^u Wien, ultima maniera. A good stylistic point of Vienna, 1873, p.19, No.147 (as A. van Dyck, comparison may be found in the P ortra it Archduke Albert of Austria); K.d.K., Van o f the Earl ofArundel in the Isabella Stewart Dyck, ed. Schäffer, p.452 (as A. van Dyck) ; Gardner Museum in Boston.2 The latter, (3) Painting, Hunstanton Hall, Norfolk; however, is a somewhat earlier work, dat­ panel, l i t . Prince Singh, Portraits in Nor­ ing from c. 1629-30. It is quite possible, as folk Houses, I, sd., s.d., p.315, No.i 1 ; (4) En­ Burchard suggested, that we have here graving of the bust of the Cardinal Infante the official portrait of the new governor, (VS., p.179, N0S.219-220). painted by Rubens at or shortly after the

l i t e r a t u r e : G.F.Waagen, Die Gemälde­ time of his appointment as Ferdinand’s sammlung in der kaiserlichen Ermitage çu court painter, on 15 April 1636. Its superior St. Petersburg nebst Bemerkungen über an­ quality compared to the other versions of dere dortige Kunstsammlungen, Munich, the same portrait type may suggest that

80 CATALOGUE NO. 92 this copy was destined for the Cardinal e x h i b i t e d : British Institution, London, Infante himself. It may, however, have 1815, No.110; W in ter E xhibition, Royal Aca­ also been the editio princeps which was demy, London, 1902, No. 103; Brussels, kept in Rubens’s studio.3 1910, No.324; A Loan E xhibition of Mr A half-length portrait of the Cardinal Morgan’s Paintings, Metropolitan Mu­ Infante, which may be identical with this seum, New York, 1913—14 ; Collection of or with the next example, was in Cardinal J. P. Morgan, Knoedler, New York, 1943, Mazarin’s collection in Paris in 1653 and No. 12; Paintings by the Masters, Fine Arts 1661.4 Center, Colorado Springs, 1946; Los Angeles, 1946, No.37 (repr.); N ew York, 1. Cf. Wethey, Titian, II, figs.48, 49. 1951, N0.31 (repr.); Austin Memorial Exhi­ 2. Cf. Huemer, Portraits, N o .5, fig.52. bition, Wadsworth Atheneum, Hartford, 3. ‘Un pourtrait du Prince Cardinal Infant, sur toile’ (Denucé, Konstkamers, p.ói, No.ioi). Conn., 1958, N0.69; The Pierpont Morgan 4. From the Inventaire M açarin, dressé par J.B. Colbert, Treasures, Wadsworth Atheneum, Hart­ commencé le 12 septembre îfiïj (ed. by Henri d'Orlé­ ford, Conn., i960, No.94; Masterpieces of ans, Duc d’Aumale), London, 1861, p.314: ‘180. Le portrait du feu Cardinal Infant en dentye figure A r t, World’s Fair, Seattle, 1962, No.31; avec sa bordure noire et or, Rubens’; from the Arts o f Ma n , Dallas Museum of Fine Arts, Inventaire M açarin, 31 M arch-22 July, 16O1, ed. by- Dallas, 1962; Prom El Greco to Pollock: Early Comte de Cosnac, in Les Richesses du Palais M açarin, Paris, 1884, p p .304, 307; ‘ 1014. — Un autre faict par and Late Works by European and American Rubens, sur toiile, représentant le feu Cardinal In­ A rtists, Baltimore Museum of Art, Balti­ fant en demy figure, hault de trois piedz unce poul- more, 1968; A n tw erp , 1977, No.94 (repr.). ces, large de trois piedz, garny de sa bordure de bois doré, prisé la somme de soixante-quinze livres’.

Burchard rightly remarked that the measurements l i t e r a t u r e : Smith, Catalogue Raisonné, in the 1661 inventory can only be related to the type n, p.272, N0.917; The Seventh Hundred of of portrait discussed here: the portrait in cardinal’s robes is smaller and the equestrian portrait is much Paintings by Old Masters belonging to the larger. Sedelmeyer Gallery, Paris, 1901, p.42, No.35 ; K.d.K., ed. Rosenberg, p.359; T.H.Ward and W. Roberts, Pictures in the Collection of 92. Ferdinand, Cardinal Infante of J. Pierpont Morgan, Prince’s Gate and Dover Spain (Fig. 73) H ouse, London, 1907 (repr.);Dillon,Rubens, pp. 173,234, pl.CCCXC ; H, Hymans, ‘L’Ex­ Oil on canvas; 116 x 94 cm. position de l’art belge au XVIIe siècle’, Sarasota, Florida, The John and Mahle Ring- Galette des Beaux-Arts, 1910, p.334 ; M. Roo­ ling Museum of Art. N0.34. ses, in Rubens-Bulletijn, V, 1910, pp.279, 330; L.Dumont-Wilden, ‘Exposition de p r o v e n a n c e : Purchased by Sir Joshua l’art belge au XVIIe siècle à Bruxelles’, Les Reynolds in 1771 ; The Earl of Upper Os- A r ts, October, 1910, p.16; Rooses, Vlaam­ sory ; Robert Vernon, First Baron Ly veden ; sche Kunst, pp.ii-12; Fierens-Gevaert, I, Greville Richard Vernon; purchased by p.98 (repr.); Bryson Burroughs, ‘A Loan J. Pierpont Morgan in 1898, and exhibited Exhibition of Mr Morgan’s Paintings’, The in1 his residence Dover House, London; Bulletin of the Metropolitan Museum of Art, Charles Sedelmeyer, Paris, 1901 ; New January, 1913, p.5; K .d .K ., p.376; Valen­ York, Knoedler; purchased for the Ring- tiner, Rubens in America, p.167, No.134; ling Museum in 1948, Goris-Held, p.26, No.3; J. S. Held, ‘A Ru­

c o p i e s : See under N0.91. bens Portrait for Sarasota’, Ringling M u­ 81 CATALOGUE NO. 93 seum Annual, 1951, not paginated; Larsen, BLICO; in the right corner below, the old R ubens, p.219, No. 104; Martin, Pompa, inventory number lj y o . pp. 152-153, under No.39 ; Jaffé, Exhibitions, Madrid, Prado. No. 1687. p.624; F.W. Robinson and W.H.Wilson, p r o v e n a n c e : Purchased from Rubens’s Catalogue o f the Flemish and Dutch Paintings estate in 1641, by Miguel de Olivares, 14 0 0 -1900. TheJohn and Mable Ringling M u­ probably on behalf of Philip IV, King of seum o f Art, Sarasota, Florida, 1980, N0.34 Spain; mentioned in the Alcazar at Ma­ (repr.). drid, in 1666,1686 (Inv. N0.442) and 1700; in the Archiépiscopal Palace at Madrid in 1734 (Inv. N0.101); mentioned in the Pa- This faithful replica of the preceding por­ lacio Nuevo at Madrid, in 1772 and 1794; trait (No,9i; Fig.72) was certainly re­ transferred to the Prado after 1819. touched by Rubens in parts: the painting of the sash and highlights, for instance, is c o p i e s : (1) Painting, without the genius clearly by the same hand as in that work. above, Munich, Bayerische Staatsgemälde­ Nevertheless, the execution of the present sammlungen, Inv. N0.7518; canvas, 269 x portrait must be largely ascribed to Ru­ 220 cm. PRO v. Düsseldorf, Collections of bens’s studio. The contours do not have the Elector Palatine, l i t . Van Gooi, Nieuwe the flowing, atmospheric quality of the Schouburg, II, p.544 (as R ubens); M ichel, painting in the Köser collection, and the H istoire, p.298 (as R ub en s) ; Smith, Catalogue subject’s features are too drily and pre­ Raisonné, II, p.76, No.233 (as Rubens); Roo­ cisely drawn to be Rubens’s own work. ses, IV, p.157, under N0.93 (as partially re­ Jaffé has already pointed out the inferior touched by Rubens); (2) Painting, without quality of this painting. the genius above, whereabouts unknown. prov. Marquis de Montglat; private col­ lection, Southern Germany, 1927; (3) 93, Ferdinand, Cardinal Infante of Painting (Fig.78), Saarbrücken, private Spain, on Horseback (Figs. 74,76) collection; for references, see under No.93b; (4) Painting, whereabouts un­ Oil on canvas; 335 x258 cm.; inscribed known; panel, c.8ox c.50 cm. p r o v . Paris, below, in the centre, on a cartello: FERDI- André de Hevesy, 1930; (5) Painting, NANDVSI DEI GRATIA HISPANIARVM whereabouts unknown ; panel, 74 x 56 cm. INFANS I PHILIPPI FILIVS PII PHILIPPI p r o v . Eugène Kraemer, sale, Paris (G.Pe­ PRVDENTIS. NEPOS INVICTI CAROLI tit), 2-5 June 1913, lot 61 (as R ubens); (6) PRONEPOS, j PHILIPPI MAGNI FRATRIS Painting of the bust of the Cardinal In­ AVSPICIIS, AQUILA CES ARE A COMITE, fante, by Theodoor van Thulden, Brussels, VLTIONIS DIVINAE FVLMEN / DVM Musées Royaux des Beaux-Arts de Bel­ VMM SIBI FERRO AD BELGAS APERIT gique, N0.476; panel, 70 x 52 cm. p r o v . SVECIS ET PER DVELIBVS ROMANI Dr Fraikin and L. de T ..., sale, Brussels, IMPERII DELETIS / CAMPIS NEROLIN- 28-29 December 1858. l i t . Fierens-Ge- GAE AD ARAS FLAVIAS VIII ID VS SEP­ vaert and A.Laes, Musée Royal des Beaux- TEMBRIS I XXVI ANNO AETATIS SVAE Arts de Belgique. Catalogue de la peinture an­ NATVS MDCIX AERAE CHRISTI XII KAL. cienne, Brussels, 1922, p.216, N0.467; (7) IVN. HORA 2,jo POST M. - IN REGIA Painting of the bust of the Cardinal In­ S. LAVRETII AD SCORIALE DONO PV- fante (Fig.82), New York, Metropolitan

82 CATALOGUE NO. 93

Museum of Art, Inv. No.56.172.; for refer­ reprinted in Glück, Rubens, Van Dyck, ences, see under N0.93C; (8) Painting of p.44; K .d .K ., p.377; Evers, Neue Forschun­ the bust of the Cardinal Infante, San Fran­ gen, p.310; Gerson-ter Kuile, p.105; M a rtin , cisco, The California Palace of the Legion Pom pa, p.222; Diaç Padrón, Cat. Prado, of Honor; canvas, 72.5 x 53.5 cm. p r o v . pp.276-277, No.1687 (repr.); Field, O il George Lindsay Holford; London, A. L. Sketches, I, p.647. Nicholson, l i t , Goris-Held, p.45, No. A4; (9) Painting of the bust of the Cardinal Infante, in an oval medallion, whereabouts The Cardinal Infante, in armour and with unknown; canvas, 68x58cm. p r o v . a broad-brimmed hat, is mounted on a Counts of Schönborn, until 1804; sale, Pa­ rearing bay horse, facing left. As the in­ ris (Drouot), 23 May 1906, lot 18 (repr.); scription (see above) makes clear, the pic­ Munich, Julius Böhler, 1915; (10) Painting ture glorifies his greatest feat of arms, the of the head and shoulders of the Cardinal victory at Nördlingen over the Swedish Infante, whereabouts unknown; canvas, and German Protestant armies under 44x34.5cm. p r o v . C.-L.Cardon, sale, Bernhard of Saxe-Weimar, This took place Brussels (Fiévez), 27-30 June 1921, lot 113 on 6 September 1634: Ferdinand was then (as R ubens); sale, Brussels (Fiévez), 10 De­ on his way to the Netherlands, where he cember 1928, lot 65 (as R ubens); sale, Brus­ was due to hold his ‘Joyous Entry’ into the sels (Giroux), 4 February 1930, lot 75 different provinces. He arrived there in (repr.); (11) Engraving by Paulus Pontius November of that year. The inscription (VS, p.179, No.218); (12) Copper dish, declares that Ferdinand is here seen as the probably after (11), 71635, Averbode, Nor­ thunderbolt of divine vengeance and is bertine Abbey; diameter 95 cm. p r o v . aided in this task by the imperial eagle— Antwerp, St. Michael’s Abbey.exH.Kerke- clearly a reference to the union between lijke Kunst, Stedelijke Feestzaal, Antwerp, the armies of the Spanish and Austrian 1948, N0.473 (repr.); Scaldis, Antwerp, Hapsburgs which made the victory pos­ 1956, No.1069. sible. Held suggested that the text might have been composed by Gevartius; this is LiTERATURE:N.dela Cruz y Bahamonde, quite possible, though it cannot be proved. Conde de Maule, Viaje Artistico de Espana, The imperial eagle and the female figure Francia y Portugal, IX, Cadiz, 1806-1813, of Ultio Divina can be seen at the top of p.2i; Madraço, Cat. Prado, No.1350; C ru- the picture; the battle is symbolized by a çada Villaamil, Rubens, pp.367-368, No.32; cavalry fight in the background.1 As Held C.Justi, ‘Rubens und der Kardinal Infant pointed out, Rubens here repeated a mo­ Ferdinand’, Zeitschrift für bildende Kunst, tif from his Victims of War (c.1628), per­ 1880, p.228, reprinted in C.Justi, M iscella- haps a design for an unexecuted tapestry neen aus drei Jahrhunderten spanischen completing the Henri IV cycle for the Pa­ Kunstlebens, II, Berlin, 1908, pp.280-281 lais du Luxembourg in Paris.2 (repr.); Rooses, IV, pp. 156-158, N0.930; The composition of this portrait is K.d.K., ed. Rosenberg, p.406; Dillon, Rubens, broadly similar to that of the now lost pp. 173, 198, pl.CCCXCI; G. Glück, ‘Ju­ Equestrian Portrait of Philip IV, painted in gendwerke von Rubens’, Jahrbuch der 1628,3 but there are some fundamental kunsthistorischen Sammlungen des Aller­ differences in the pose of both horse and höchsten Kfliseriwuses, XXXIII, 1916, p.30, rider. In the present work there is less

83 CATALOGUE NO. 93a variation in the position of the horse’s kinsman Gaspar de Guzmän, Count of feet: the two forefeet are neatly parallel Olivares and Duke of Sanlûcar. to each other, as are the two hind feet, giving a schematic effect. The horse is 1. For the Cardinal Infante's journey and his part in the battle of Nördlingen see A. Van der Essen, Le more nearly parallel to the picture sur­ Cardinal-Infant et la politique européenne de l'Espagne face than in the portrait of Philip IV, 1 6 0 9 - 1 6 4 1 , Brussels, 1944, pp.373fr. where it seems to spring out diagonally 2. See Held, Oil Sketches, II, p i.263. 3. See Huemer, Portraits, p p .150-154, N o.30, figs.90-92. towards the spectator and gives a greater 4. See for Titian's portrait: Wethey, Titian, II, p p.87-90, impression of space and movement to the N0.21, pls.141-144; as to the ‘inner connection' whole composition. From this point of between this portrait and Rubens's Philip IV on H o rseb a ck, see H u em er, P o r tr a its ,p.153,with reference view the portrait of Ferdinand is closer to to older similar statements, especially Lope de that of Buckingham on horseback and Vega’s allusion to the correspondence between the consequently to the prototype which, as I two equestrian portraits. 5. ‘Van Sr Michiel Dolivares, oock tweelfif hondert pointed out, is to be found in the so-called güldenen ontfangen voor een contrefeytsel van Riding School of c.1615 (Fig.4). Another dif­ SyneHoocheyt te peerde, hem vercocht, comt — gl. ference from the portrait of Philip IV is 1200' (Denucé, Konstkamers, p.72). This Miguel de Olivares, who was undoubtedly related to the fa­ that Ferdinand rests his right hand on his mous statesman, was also concerned with the pur­ baton instead of pointing with it as the chase of the other paintings acquired by Philip IV King does. In short, compared to the royal from Rubens’s estate: see Denucé, Konstkamers, p.83. Held seems to confuse him with the celebrated portrait on which it is clearly based, that Count-Duke, of Ferdinand is tamer, quieter and more schematic in construction. The portrait of Philip IV is much more dynamic and spa­ tially elaborate : this was no doubt due to 93a. Ferdinand, Cardinal Infante of the similar composition of Titian’s Eques­ Spain, on Horseback: Oil Sketch trian Portrait o f Charles V, to which that of (Figs. 75,77,79,80) Philip IV was intended to form a pen­ dant.4 Oil on panel; 120.5 x 91.5 cm. The painting of Ferdinand is generally Detroit, The Detroit Institute o f Arts. dated c.1635, after the battle of Nörd- Inv. No.47.58. lingen and around the time of his ‘Joyous p r o v e n a n c e : Marquess of Bristol; Sir Entry’ as Governor of the Netherlands. Audley Neeld; L.W.Neeld, Grittleton However, at the time of Rubens’s death House, Wiltshire, sale, London (Christie’s), in 1640 it was still in the studio (where it 13 July 1945, lot 84; purchased byKoetser’s, was bought for 12,00 guilders by Miguel London and New York; acquired in 1947 de Olivares), and it therefore seems to me for the Detroit Museum as a gift of the more likely that it was commissioned Ralph H. Booth Fund. shortly before that date, presumably by

Philip IV.5 Madrazo states, without quot­ exhibited: L os Angeles, 1946, No.38; N ew ing any source, that the canvas reached York, 1951, No.30 (repr.); Cambridge-New the King through the intermediary of the York, 1956, N0.47 (repr.); Style, Truth and Marquis of Leganés. I have not been able the Portrait, Cleveland Museum of Art, to check this statement, but it may rest Cleveland, Ohio, 1963, N0.22 (repr.); on the fact that Miguel de Olivares was Gods and Heroes, Wildenstein and Co., related to the Marquis— as was his famous New York, 1968, N0.48 ; D etroit, 1 978, N0.7.

84 CATALOGUE NO. 93b l i t e r a t u r e : Smith, Catalogue Raisonné, In my opinion there can be no doubt of II, p.309, N0.1139; Rooses, IV, p.157, under its authenticity. The visible pentimenti, es­ N0.930; Valentiner, Rubens in America, pecially around the horse’s hoofs (Fig.80), p.168, N0.136; Goris-Held, p.26, N0.4 are themselves revealing in this respect. (repr.) ; E. P. Richardson, ‘Rubens’ Portrait Held, in his recent catalogue of the Fle­ of the Cardinal-Infante Ferdinand’, Bulle­ mish and German seventeenth-century tin of the Detroit Institute of Arts, XXVII, paintings in Detroit, pointed out that 1947, pp. 1-4; id., ‘A Rediscovered Sketch there is also an important pentim ento in by Rubens of the Cardinal-Infante Ferdi­ the neighbourhood of the prince’s torso, nand’, in Miscellanea L. van Puyvelde, Brus­ though it is only visible in X-rays (Fig.79): sels, 1949, pp.135-138 ;J. S. Held,‘A Rubens this shows that Ferdinand was originally Portrait for Sarasota’, The Ringling Mu­ placed about 5 cm. further to the left and seum Annual, 1951, not paginated; Larsen, that he looked straight towards the spec­ R ubens, p.219, N0.105; Treasures from the tator. The official nature of the commis­ Detroit Institute of Arts, Detroit, i960, sion may no doubt explain w'hy the figure p.120; Gerson-ter Kuile, pp.105, 189, n.4; of the Cardinal Infante, and especially his J. S. Held, ‘Other Works by Rubens in the features, are executed in more detail than Collection of the Detroit Institute of Arts’, the rest of the sketch. The pictorial treat­ Bulletin o f the Detroit Institute o f Arts, XLIII, ment of the group of horsemen in the 1964, pp.54, 57 (repr.); Held, Oil Sketches, background (Fig.80) compares well with p.395, N0.293, pi.295; J. S. Held, The Collec­ the execution of similar figures in other tions of the Detroit Institute of Arts. Flemish late compositions by Rubens ; for example, and German Paintings of the îyth Century, those in the foreground of the fragment Detroit, 1982, pp.91-94 (repr.). of a Battle for the Henri IV cycle, now in the Rubens House in Antwerp (Fig.81). There is also some resemblance to the This modello for the great equestrian por­ horsemen in the Tournament in Front of a trait in the Prado (N0.93 ; Fig.76) agrees in Castle in the Louvre, Paris.1 detail with the final version. It appears from Burchard’s notes that I. See Adler, Landscapes, N0.&5, tig. 148. when he first saw the work at a sale in London in 1945, he had reservations about its attribution to Rubens. However, he 93b. Ferdinand, Cardinal Infante of changed his mind completely after the Spain, on Horseback (Fig. 78) canvas, which had been very dirty, was thoroughly cleaned in 1946: in a letter of Oil on canvas; 129.5 x 113.5 cm. 15 February 1947 to the then owner, the Saarbrücken, Private Collection. art dealer David M.Koetser, he described it as a ‘most marvellous and spirited p r o v e n a n c e : Joseph Strutt, Esq., 1889; sketch, painted entirely by Rubens hint- Major Howard Galton, Hazdor House; self’. This view has since been shared by P. de Boer, Amsterdam, c. 1930 ; Mortimer all critics except Larsen, who did not re­ Brandt, New York, r.1945; C.L.Morley, gard the painting as a study for that in the sale, London (Christie’s), 16 March 1956, Prado, and thought it partly the work of lot 39 (repr.); Heinz Kisters, Kreuzlin- studio assistants. gen.

85 CATALOGUE NO, 93C e x h i b i t e d : Worcestershire, 1882; P. de 93c. Ferdinand, Cardinal Infante of Boer, Amsterdam, 1931, N0.91 (repr.); Spain (Fig. 82) John Herron Art Institute, Indianapolis, 1942; New York, 1942, No.13; Men in Arms, Oil on panel; 59x 50cm. - V erso: two Wadsworth Atheneum, Hartford, Conn., brands, respectively the city mark of Ant­ 1943 (repr.); Meisterwerke der Malerei aus werp and a six-pointed star. Privatsammlungen im Bodenseegebiet, Palais New York, Metropolitan Museum of Art. Thurn und Taxis, Bregenz, 1965, No,87 Inv. No.56.172. (repr.). p r o v e n a n c e : James Hope Wallace, Featherstone Castle, Northumberland, l i t e r a t u r e : Waagen, Treasures, III, p.221 sale, London (Christie’s), 31 October 1952, (as Velâçqueç); Held, Oil Sketches, I, p.395, lot 30; Leonard Koetser, London; be­ under N0.293 (as a copy). queathed to the Metropolitan Museum by Mrs Ralph J. Hines in 1956.

l i t e r a t u r e : Baetjer, Cat. New York, I, p. 161; III, p.374 (repr.); Liedtke, Cat. New Assessments by Burchard, Valentiner and York, pp.229-230, pl.87 (as a Studio Copy Glück have treated this as a second preli­ after Rubens). minary study for the equestrian portrait in the Prado (N0.93 ; Fig.76). However, the execution shows no sign of Rubens’s qual­ This half-length bust shows the Cardinal ity. This must be a copy, made after the Infante in the same pose as the equestrian final version in the Prado and not after the portrait, and Burchard regarded it as a Detroit sketch (No,93a; Fig.77) or any study for the large canvas in the Prado other, lost preliminary study. Only the (No,93; Fig.76). The two are clearly con­ two allegorical figures at the top are mis­ nected, but, to judge from the photo­ sing; it can be seen with the naked eye graph, I do not believe the present paint­ that they were originally there but have ing is Rubens’s own work: it seems ex­ been overpainted. The execution is for tremely flat and dull, with no trace of the most part detailed and elaborate, not Rubens’s plastic style. I therefore agree as in a sketch. The hand of the copyist is with Liedtke that it is a copy— not, how­ most clearly seen in the essentially linear ever, of a lost original study, but executed treatment: the horse and rider are evi­ after the final version of the equestrian dently conceived as outline figures. The portrait. This seems to me to be indicated various details show no sign of Rubens’s by the fact that in this work the Cardinal characteristic feeling for organic nature: Infante’s collar, especially on the left, ap­ the foliage is uncertainly painted, the ana­ pears to be stirred by the wind, as it is in tomy of the horse and rider is not correct. the final version. A detail of this kind is The naked body of a dead soldier appears natural in the full composition, which on the left of this painting, as in the canvas shows the prince in a dynamic pose, but in the Prado; this detail is not visible in not in a separate study of detail. The for­ the oil sketch at Detroit. Held is also of ward movement of the sitter’s arms sug­ the opinion that this work is a copy after gests that he is holding the reins of a horse. the portrait in the Prado. It is unthinkable that in a sketch of the CATALOGUE NOS. 94~95

head only Rubens would have included listic quality is very poor, the painting of features thus determined by the compo­ the hands is weak and the cardinal’s sit­ sition as a whole. ting posture is awkward. I can see nothing in this work but a pastiche, by an uniden­ tifiable Flemish master, of Rubens’s por­ 94. Ferdinand, Cardinal Infante of trait type of 1628-29. Spain (Fig. 83) I. Of. Hu enter, Portraits, Nos. 12, 13, ligs.60-62. Oil on canvas; 100.5 x 84 cm. Berlin(DDR), Bode Museum. Inv. N0.B.132. 95. Hélène Fourment (Fig. 84)

p r o v e n a n c e : Galerie Rothmann, Ber­ lin, 1930; Mrs Caspari, Munich; Dresdener Oil on panel; 96.5 x 69.5 cm. Bank, Berlin; deposited at the former Munich, Alte Pinakothek. Inv. No.349. Kaiser-Friedrich-Museum at Berlin by the p r o v e n a n c e : Gisbert van Colen (Ant­ GermanGovernment in 1936 ; temporarily werp, d.1703); purchasedfrom the former removed to the Soviet Union, 1946-58. by Max Emanuel, Elector of Bavaria, for

l i t e r a t u r e : [Irène Geismeier], H olländi­ his Castle at Schleissheim, 1698; trans­ sche und flämische Gemälde des siebzehnten ferred to the Hofgartengalerie, Munich, Jahrhunderts im Bode-Museum, East-Berlin, in 1781; transferred to the Alte Pinako­ 1976, pp.71, 132 (repr., as Rubens). thek in 1836, the year of its foundation.

e x h i b i t e d : Schleissheim, u)]6, N0.783 (repr.); A n tw erp , 1977, No.84 (repr.). Ferdinand, wearing the red cassock and

biretta of a cardinal, is shown to knee- l i t e r a t u r e : Smith, Catalogue Raisonné, length, seated in a chair and facing some­ If, p.68, No.97; Dillis, Cat. Munich, No.281 ; what to the left. In the left background is Parthey, Bildersaal, II, p.434, No.360; M a rg- the base of a pilaster, and on the right a graff, Cat. Munich, N0.275 ; Reber, Cat. M u­ coffered niche. nich, No.795; Easllake, Motes, pp.191-192, As Irène Geismeier pointed out, there is No.795; Rooses, IV, p. 162, No.937; K .d .K ., a close resemblance between this portrait ed. Rosenberg, p.319, right; Dillon, Rubens, and those of 1628-29 showing Ferdinand pp. 163, 202, pl.CCCXLVHI; Glück, Liebes- in cardinal’s robes, now at Althorp and ga rten, pp.73, 77 (repr.), reprinted in Munich.1 The treatment of the cassock Glück, Rubens, Van Dyck, p. 122, fig.71; and biretta, and the pilaster and niche, K .d .K ., p.331; Cat. Munich, 1936, N0.344; indeed derive from that earlier type, but Van Puyvelde, Portraits, p. 16 (repr.); Evers, the Cardinal Infante is here shown as con­ R ubens, pp.450-451, 508, fig.252; L.Bur­ siderably older. His facial appearance, chard, ‘Rubens’ “ Feast of Herod” at Port with moustache and goatee, is that of his Sunlight’, The Burlington Magazine, XCV, time as Governor of the Netherlands from 1953, p.387; {.Held, ‘Rubens’ “ Feast of 1635 onwards. Herod’” , The Burlington Magazine, XCVI, In an assessment of 1930, Burchard re­ 1954, p.122; Krempel, M ax Emanuel, pp.222 garded this as an entirely autograph work -223; U[lla] Kfrempel], in Cat. Exh. by Rubens, and Geismeier recently ac­ Schleissheim, 1936, II, p.340, under No.783; cepted this attribution. However, the sty­ an der Heiden, Bildnisse, pp.23-24 (repr.);

87 CATALOGUE NO. 96

R. a[n] d[er] H[eiden], in Cat. Munich, 1983, c o p i e s : (1) Painting of the upper part of pp.434-435, N0.349 (repr.). the body (Fig.87), Amsterdam, Rijks­ museum; panel, 75 x 56 cm.; for refer­ ences, see under No.96b; (2) Painting of Hélène Fourment is seated, almost facing the upper part of the body, Mora (Swe­ the spectator. Her dark, low-cut dress is den), Collection Zorn; panel, 70.5 x 55 cm. adorned in front with four rows of jewels, p r o v . Lund, Harry Karlsson; presented with a large red bow beneath. Her neck by the former in 1976. l i t . H.Karlsson, and shoulders are partly covered by a Den Idnga vägen, Lund, 1973, p.134 (repr.); transparent white scarf. She wears a dark H.H.Brummer, ‘Ett porträtt av Rubens’ cap with white feathers and a red bow. hustru i Zornsamlingarna’, in R ubens i She holds a fur glove in her right hand, Sverige, Stockholm, 1977, pp.141-145 and seems about to put it on her left. (repr.) ; (3) Painting of the upper part of the This painting is generally dated, by Bur­ body, whereabouts unknown; panel, 63 x chard and others, around 1630-32. Only 48 cm. prov. London, S.Woodburn, sale, Held proposed a later date, c.1636-38, on London (Christie’s), 15 May 1854 et seq., the grounds that a similar head-dress ap­ lot829;Hickman, sale, London (Christie’s), pears in Jordaens’s As the Old Sang... in 5 April 1856, lot 83; Henry Harvey (1868); the Royal Museum, Antwerp, a painting, Antwerp, Roland Baudouin, sale, Ant­ signed and dated 1638.1 This, however, werp (Cercle Artistique), 23 November does not seem to me a solid enough argu­ 1925, lot 6 (repr., as R ubens), e x h . N ational ment for the later date. On the other Exhibition of Works of Art, Leeds, 1868, hand, a date around 1630, the year of No.647; (4) Painting of the head and shoul­ Hélène’s marriage to Rubens, may find ders, Rome, Palazzo Rospigliosi-Pallavi- some corroboration in the fact that Hélè­ cini. l i t . L. Van Puy velde, La peinture fla­ ne’s glove can possibly be interpreted as mande à Rome, Brussels, 1950, p. 158 (as a marriage symbol.2 possibly by Rubens); C.Norris, in The B ur­ lington Magazine, XCV, 1953, p.108; H.H. 1. See R.-A.d'HuIst,Jacob Jordaens, Antwerp-London, Brummer, op. cit., pp.141, 143 (repr.); (5) 1982, p.167, fig.137’ Drawing of the head and shoulders, Lon­ 2. See D .R . Sm ith, Masks of Wedlock. Seventeenth-Cen­ tury Dutch Marriage Portraiture, Ann A rbor, 1982, don, British Museum, Inv, No. 1895.9.15. pp. 72-81. 1082; black chalk and ink, 162 x 146 mm.

p r o v . Hoofman; Leembruggen; Mal­

colm; purchased in 1895. l i t . Hind, Rubens, 96. Hélène Fourment (Fig. 85) pp.135-136, N0.1 (repr., as attributed to Pieter Soutman); (6) Drawing of the head, Oil on panel; 163.5 * 137 cm. Danzig, Muzeum Narodowe, Inv. No. Munich, Alte Pinakothek. Inv. N0.340. MNG/SD/723/R.; black and red chalk, p r o v e n a n c e : Gisbert van Colen (Ant­ 193 x 175 mm. p r o v . Collection Kabrun; werp, d.1703); purchased from the for­ presented to the City of Danzig in 1814; mer by Max Emanuel, Elector of Ba­ in the Danzig museum since 1872. e x h . varia, for his Castle at Schleissheim, 1698; Zeichnungen alter Meister aus polnischen transferred to the Hofgartengalerie, Mu­ Sammlungen, Herzog Anton Ulrich-Mu­ nich, in 1781 ; transferred to the Alte Pina­ seum,Brunswick, and Kunstsammlungen, kothek in 1836, the year of its foundation. Veste Coburg, 1981-82, N0.88 (repr., as CATALOGUE NO. 96

R ubens), l i t . J.C.Block and Dr. von Duis­ ing slightly forward, an effect enhanced burg, Katalog einer Sammlung von Kupfer­ by the fact that, as von Sonnenburg has stichen, Holzschnitten, Lithographien und chown, the portrait was originally knee- Hand^eichnungen, welche von dem Anno 1814 length and afterwards enlarged. Rubens hier verstorbenen Herren Jakob Kabrun der began with a nucleus which, as the work Kaufmannschaft hieselbst hinterlassen wor­ proceeded, was extended on either side den sind,Danzig, 1861, p.167; H.Sieveking, and especially at the bottom: the com­ ‘Zeichnungen alter Meister aus polnischen position of the panel is very revealing in Sammlungen’, Die Weltkunst, LI, 1981, this respect.' In the original more intimate p.3813 (repr.); (7) Engraving after (i) by portrait, Hélène’s pose appears more nat­ P.Fontana (1762-1837) (Choix de gravures ural. She wears a while dress with gold- à l’eau forte d'après les peintures originales et coloured embroidery, and over it a black les marbres, de la galerie de Lucien Bonaparte, sleeveless cloak. Her wide, puffed sleeves London, 1812, No.72). are of white material. Her dress is cut low and she wears a semicircular, standing exhibited: Brussels, 1948, No.89; London, lace collar. Her hair is adorned with a 1949, N0.99. diadem, a spray of orange-blossom and l i t e r a t u r e : Smith, Catalogue Raisonné, fruit. She wears a string of pearls round II,p.73,No.2i9;Dillis, Cat. M unich,No.265; her neck, and a large necklace of jewels Parthey, Bildersaal, II, p.434, No.353; M arg- hangs on her breast. In her left hand she graff, Cat. Munich, No.260 ; Reber, Cat. Mu­ holds an ostrich-feather. The carpet under nich, No.794; Eastlake, Notes, pp.190-191, her chair is of oriental design. Above her N0.794; Rooses, IV, p.163, N0.940; K .d .K ., a scarlet canopy is suspended from two ed. Rosenberg, p.321; Glück, Liebesgarlen, columns. Bettveen these columns is a ba­ pp,72, 77 (repr.), reprinted in G lü ck , R u ­ lustrade, with a distant landscape beyond. bens, Van Dyck, pp.120-121, fig.70; K .d .K ., Oldenbourg was the first to interpret p.328; Cat. Munich, 1936, No.340; Van P u y ­ this work as a portrait of Hélène Fourment velde, Portraits, pp.8, io, 12 (repr.); Evers, in bridal dress, and accordingly dated it Rtifens, pp.443-446, 448-449, 307, hgs.247 c. 1630-1. He based his opinion on the oran­ -249; Held, Drawings, I, p. 141, under ge blossom, which he rightly took as a No.115; L.Dittmann, 'Versuch über die symbol of marriage. Most critics, including Farbe bei Rubens’, in [E.Hubala, ed.], R u ­ Burchard, have since accepted this inter­ bens. Kunstgeschichtliche Beiträge, Konstanz, pretation, but Julius Held and Kerry Dowr- 1979. pp.57-58; Krempel, Max Emanuel, nes did not agree that the picture showed pp.222-223 ; Sonnenburg, Bildaufbau, pp.78, Rubens’s second wife on her wedding day. 80-83 (repr.); K.Downes, R ubens, London, Personally I share their doubts: Hélène is 1980, pp.46, 48 (repr.); an der Heiden, Bild­ not wearing a typical w'edding dress, nisse, pp.21-24 (repr.); U[lla] K[rempel], in merely a luxurious gown in the fashion Cat. Munich, 1984, pp.433-434, No.340 of the tinte. I would rather suggest that (repr.). she is here shown during her first preg- nance. The blossom in her headdress may express either chastity, love or fertility;2 Hélène Fourment is shown full-length in and in any case her figure seems to me a wide armchair, turned slightly away indicative of her condition. That it is not from the spectator. She seems to be lean­ a subsequent pregnancy may perhaps be

89 CATALOGUE nos. 96a-96b argued from the fact that no children are l i t e r a t u r e : M .Rooses, in Rubens-Bulle- present, as they are in all later portraits tijn, V , 1900-10, pp.196, 329, N0.1505; of her, except of course, the Pelsken. Since Glück-Haberditçl, p.56, No. 193 (repr.); Clara-Johanna, the first child of the mar­ Evers, Rubens, p.507, n.460; Held, Draw­ riage, was born on 18 January 1632, it ings, pp.140-141, N0.115, pl.129; E.Haver­ seems to me likely that the picture was kamp Begemann, ‘Rubens in Rotter­ painted in the second half of 1631. dam’, A p ollo , LXXXVI, 1967, pp.42-43 (repr.). i. See Sonnenburg, Bildaufbau, p.83 (repr.). 1 . See e.g. M, Levi d’Ancona, The Garden of the Renaissance. Botanical symbolism in Italian painting, Florence, pp. 272-275. In this study for the elaborate portrait in Munich (N0.96; Fig.85) Hélène Fourment is still in a relaxed pose. Differently from the finished work, she gazes to the left in 96a. Hélène Fourment: Drawing a dreamy fashion and allows her left arm (Fig. 86) to hang at her side. She is not dressed in the fine clothes seen in the painting: no Black, white and red chalk; 488 x 320mm. jewels or embroidery, no décolleté and Rotterdam, Museum Boymans-van Be unin­ only a simple flat collar over her shoul­ gen. Inv. No. V.45. ders. p r o v e n a n c e : G.Huquier, Paris (1695­ 1772); Count Moriz von Fries, Vienna (1777-1826); Sir Thomas Lawrence, Lon­ 96b. Hélène Fourment (Fig. 87) don (1769-1830); J.P.Heseltine, London (1843-1929); F. Koenigs, Haarlem (1881­ Oil on panel; 75 x 56 cm. 1941); D.G. van Beuningen, Rotterdam Amsterdam, Rijksmuseum. Inv. No. C.295. and Vierhouten (1877-1955). p r o v e n a n c e : First mentioned in the du e x h i b i t e d : London, 1835, No.38; W inter Tartre collection, Paris, in 1787; Du Tartre Exhibition, Royal Academy, London, 1879 sale, Paris, 19 March 1804, lot 18; Lucien -80, N0.443; Antwerp, 192], N0.3; A m ster­ Bonaparte (1812); Fossard; John Smith, dam , 1933, No. 121 (repr.); Brussels, 1938-39, London, 1830; purchased from the latter No. 17 (repr.) ; Meesterwerkenuitviereeuwen, by A. van der Hoop in 1833, and be­ Museum Boymans, Rotterdam, 1938, queathed by him to the city of Amster­ N0.348 (repr.); R otterdam , 1939, N0.20 dam in 1854; on loan to the Rijksmuseum (repr.); Rotterdam, 1948-49, No.131; B rus­ since 1885. sels, 1949, No.100; Paris, 1949, N0.104; e x h ib it e d : Amsterdam, 1 933, No.52 (repr.). R otterdam , 1952, N0.69; Musée Boymans de

Rotterdam. Dessins du XVe au XIXe siècle, l i t e r a t u r e : Thiéry, Guide des amateurs BibliothèqueNationale, Paris, 1952, N0.33 ; et des étrangers voyageurs à Paris, I, Paris, Tri Stoleti Niçoçemské Kresby, 1400-IJ00, 1787, pp.584-585; Choix de gravures à l’eau Kinsky Palace, Prague, 1966, N0.47; D es­ forte, d’après les peintures originales et les sins flamands et hollandais du dix-septième marbres de la galerie de Lucien Bonaparte, siècle, Institut Néerlandais, Paris, 1974, London, 1812, No.72 (repr.); H.W.Wil­ No.100 (repr.). liams, Travels in Italy, Greece and the Ionian

90 CATALOGUE NO. 97

Islands, II, Edinburgh, 1820, p.6o; Sm ith, Imperial Collections at Vienna, in Storf- Catalogue Raisonné, II, p.225, No.800; IX, fer’s painted inventory of 1730.1 PP-3 17~3 i 8 > N0.269; Rooses, IV, p.164, c o p i e s : ( i ) Painting by Adam Braun N0.941; K.d.K., ed. Rosenberg, p.322; D il­ (1748-1827), Warsaw, Museum Narodowe, lon, Rubens, pp.162, 210, pl. CCCXLVIII; Inv.No.131312; panel, sox 33.3cm. p r o v . Glück, Liebesgarten, p,77, n.3, reprinted in King Stanislas-August Poniatowski (1732­ Glück, Rubens, Van Dyck, p. 120 (as a copy); 1798). l i t . National Museum in Warsaw. Van Puyvelde, Portraits, p. 14 (repr.); A lle Catalogue o f Paintings. Foreign Schools, War­ schilderijen van het Rijksmuseum te Amster­ saw, 1969, No.150 (repr.); (2) Etching by dam , Amsterdam-Haarlem, 1976, p.484, F. van Stampart (167s—1750) (V.S., p. 165, No. C.295 (repr.). No.102); (3) Etching by A.J.Premier, 1735 (V.S., p.165, No.103).

This is a partial repetition of the upper e x h i b i t e d : Vienna, 1977, No.57 (repr.). part of the full-length Portrait of Hélène l i t e r a t u r e : Stampart-Prenner, p.7; M i­ Fourm ent in Munich (N0.96; Fig.85). Bur­ chel, Histoire, p.306; Mechel, Verzeichnis, chard thought that the central portion— p.118, N0.6; Smitli, Catalogue Raisonné, II, the face, the décolleté and the upper part p.94, No.300 -,Engerth, Cat. Vienna, No. 1181 ; of the white undergarment with the j ewels Rooses, IV, pp.106-168, Noalw; K.d.K., ed. — were by Rubens’s own hand but that Rosenberg, p.323; Dillon, Rubens, pp. 165, the rest was not. Glück for his part re­ 209, pl.CCCXLV; Glück, Liebesgarten, garded the whole painting as a partial pp.80-83 (repr.), reprinted in Gliick, Ru­ copy, albeit a good one, of the Munich por­ bens, Van Dvck, pp. 123-132, fig.77; K .d .K ., trait. I share this opinion. Not only are p.424; G.Gliick, Die Gemäldegalerie ... in the parts rejected by Burchard, such as W ien, Leipzig, 1923, pp. 163, 176 (repr.); the arms and shoulders, painted in a sum­ Cat. Vienna, 192X, No.829; Burchard, Nach­ mary fashion, but even the actual features träge, p.387; Cat. Vienna, ujß, N0.829; seem to me the work of a copyist. The Evers, RM!>ens,pp.45i,454-4'58,3o8,fig.256; round, full face of Rubens’s young bride, Evers, Neue Forschungen, pp.287-288, 330; as we see it in the other authentic por­ Gerson-ter Kuile, p. 106; J. S. Held, ‘Rubens’ traits of her, here looks much older and “ Het Pelsken’” , in Essays in the History of is much more oval in shape. The hair-style Art Presented to Rudolf Wittkower, Lon­ also lacks the vibrant brush-work of the don, 1967, pp.188-192 (repr.), reprinted in Munich portrait. Held, Rubens, pp. 106-113 (repr.); C.Pe- dretti, ‘The “Pointing Lady’’ ’, The Burling­ ton Maga^ine, CXI, 1969, pp.345-346; D u - verger, Van Hecke, pp. 133-156; Cat. Vienna, 97. Hélène Fourment in a Fur Coat 1973, P-14B; Warnke, Rubens, pp.142, 144 (‘Het Pelsken’) (Fig. 88, 89) (repr.); A.-M.Schwarzenberg, in Cat. Exh. Vienna, 1977, PP-L33-I 35. N0.37 Oil on panel; 176 x 83 cm. (repr.); E.K.J.Reznicek, ‘Opmerkingen Vienna, Kunsthistorisches Museum. bij Rembrandt’, Oud Holland, XCI, 1977, Inv. N0.688. pp.97-99 (repr.); Vlieghe, Lunden, p.174, p R o V E N a N c E : Bequeathed by Rubens to n.io; J.Muller, [Review of Held, Rubens] Hélène Fourment; first mentioned in the in Sim iolus, XIV, 1984, pp. 229-230.

91 CATALOGUE NO. 97 Hélène Fourment stands naked, with a the famous pose of the antique Venus Pu­ fur coat loosely wrapped around her. She dica. Rubens’s desire to depict his wife as is in three-quarter view but looks directly the goddess of love may be further indica­ towards the spectator. Her hair is bound ted by the existence of two paraphrases with white ribbons. She stands on a red of the ‘Pelsken’, formerly at Potsdam and carpet on which a red cushion is lying. In in a private collection in Madrid, which the right background is a fountain with a were painted by followers of Rubens and lion mask: this can hardly be seen with can clearly be seen to represent Venus, as the naked eye, but is clear in the X-ray they include the classical attributes of Cu­ (Fig.89). It has rightly always been assumed pid and the looking-glass (Figs.90, 91). that this work is identical with 'de schil- ‘Het Pelsken’, moreover, is not the only derije genaemt het pelsken’ which Ru­ work in which Rubens depicted his wife bens bequeathed to Hélène, specifying as Venus. He did so in the Judgement of that she owed nothing to the other heirs Paris, now in the Prado,3 as is confirmed by way of compensation.2 Duverger, it is in a letter from the Cardinal Infante to true, recently suggested that the present Philip IV dated 27 February 1639.4 In the work, or another version of it, was iden­ present work, apart from the antique tical with 'een contrefijtsel wesende een Venus Pudica, he followed another famous vrouw van Rubens geschildert naer Ti- example which lay closer to hand. This tiaen’ which in 1646 belonged to Pieter was Titian’s Young Lady in a Fur, now in van Hecke, and perhaps also with 'eene Vienna, which was in the collection of schilderije wesende een naeckt vrouwken Charles I during Rubens’s stay in London, met eenen pels van d’Heer Rubens naer and of which, as we know, he then made Titian’, owned by Frans Snyders in 1655, a copy.5 From it he borrowed the idea of and a ‘Vrouken met bonte pels van Ru­ the subtle contrast between the smooth, bens naer Titsiaen’ which in 1691 was in naked body and the fur cloak. The simi­ the collection of J.-B.Anthoine in Ant­ larity to Titian’s painting was first pointed werp. However, it has been shown by out by Gliick in 1911. This similarity even Anna-Maria Schwarzenberg and myself led Jeffrey Muller to think that the main that Duverger was confusing the work destination of this painting was to be an with Rubens’s copy of Titian’s famous erotic‘bedroom nude’ and that as such it Young Lady in a Fur, now in Vienna, to was in the tradition originating in six­ which we shall return. teenth-century Venice.6 On the other Until recently it was generally supposed hand, Carlo Pedretti’s supposition that that Rubens had here painted an intimate Rubens may have been inspired by Da portrait of his second wife when she was Vinci’s drawing of a Pointing Lady at about to take a bath or had just done so. Windsor7 is not convincing: its improb­ However, in 1967 Held argued on convinc­ ability has already been indicated by ing grounds that this anecdotal inter­ Anna-Maria Schwarzenberg. pretation is incorrect and that ‘Het Pels­ The portrait has always been dated in ken’ is a portrait historié: to be precise, a the 1630s. Rooses placed it at about 1630, representation of Venus with the features Oldenbourg c. 1638-40, Glück in 1638 and of Hélène Fourment. Held pointed out Evers before that year. Evers also sug­ that the gesture with which Hélène holds gested that the work was the basis for the her cloak in front of her body derives from figure of Eurydice in Orpheus and Eurydice,

92 CATALOGUE NO. 98 one of the scenes executed in 1636-38 for l it e r a t u r e : Michel, Histoire, p.311; the Torre de la Parada.8 Schwarzenberg Smith, Catalogue Raisonné, IX, p.272, advanced a more approximate dating in No.102; Dillis, Cat. Munich, N0.285; Par­ the second half of the 1630s, pointing out they, Bildersaal, II, p.434, No.359; M arg- that during this period Rubens twice used graff. Cat. Munich, No.279; Rooses, IV, the Venus Pudica motif as a starting-point, pp. 169-170, N0.947; Reher, Cat. Munich, in the E urydice already mentioned and for No.797; Eastlake, Soles, p. 192, No.797; the Magdalene in Madonna with Saints in K.d.K., ed. Rosenberg, p.372; Dillon, Rubens, St James’s church, Antwerp.9 This view pp. 163, 202; Gliick, Liebesgarten, pp.76, 80 seems to me very plausible. (repr.), reprinted in Gliick, Rubens, Van D yck, p.122, fig.74; K .d .K ., p.346; Burchard, 1. F. a Storffer, Neu Eingerichtetes Inventarium der Kavl.- Bilder in der Stallburg..., II, 1730; m anuscript in the N achträge, p.387; Cat. Munich, 1936, Kunsthistorisches Museum, Vienna. No.315; Evers, Rubens, pp.45r, 454, 508, 2. Denucé, Konstkamers, p.8o, No.CVI, fig.255; Köhler-Lutterbeck, pp.73-78; Krem ­ 3. K .d .K ., p.432. 4. ‘También esta acabada la del Juicio de Paris... La pel, Max Emanuel, pp.223, 228; W arnke, Venus que es de enmedio es retrato muy pareddo R ubens, pp.27-29, hg. 12; Sonnenburg, Bild­ a su misma m ujer...' (Rooses-Ruelens, VI. p.228). a u fb a u , pp.78, 81, 84, 191, 195 (repr.); an 5. Cf. Wethey, Titian, II, pp.106-107, No.48. Rubens’s copy, formerly in the Eustace Hoare Collection in der Heiden, Bildnisse, pp.25-28 (repr.); London, is now in the Queensland Art Gallery, R. a[n]d[er]H[eidenj, in Cat. Munich, 1984, Brisbane, Australia (Cf. Queensland Art Gallery, p.436, N0.315 (repr.). Selected W orks, Brisbane, 1982, p .22 (repr.). 6. J. M u ller (loc. cit.) thereby refers to Charles Hope, ‘Problems of interpretation in Titian's erotic pain­ tings', in Titiano e Venecia, Vicenza, 1980, pp. 111­ Hélène Fourment is seated 011 a bench 124. 7. A .E.Popham, T h e Drawings of Leonardo da Vinci, with her little son Frans on her lap. They London, 1946, p i.123. are both turned three-quarters towards 8. Cf. Alpers, Torre, N o.46, fig. 155. the spectator and are looking straight at 9. K .d .K ., p.426. him. Hélène wears a blue skirt withgolden flower motifs, a green jacket over it, and a wide feathered hat. Her little son sits 98. Hélène Fourment with Frans on a white cloth on her lap; he is quite Rubens (Figs. 92,93) naked except for a plumed cap. The pair Oil on panel; 145 x 102 cm. are seated on a terrace, separated by a bal­ Munich, Alte Pinakothek. Inv. No.315. cony and a column from a background with foliage. A rambler rose encircles the p r o v e n a n c e : Gisbert van Colen (Ant­ werp, d. 1703); purchased from the former column, and an orange-brown curtain is by Max Emanuel, Elector of Bavaria, for draped around it. In more than one respect this painting his Castle at Schleissheim, 1698; trans­ closely resembles the Portrait of Hélène ferred to the Hofgartengalerie, Munich, in 1781; transferred to the Alte Pinako­ Fourm ent and Iter C hildren of c.1636 in the Louvre in Paris (N0.99; Fig.97). The simi­ thek in 1836, the year of its foundation. lar pose and headgear, the features of the c o p y : Painting, Sankt-Pölten, private col­ mother and child, and the unfinished lection; canvas, c.162 x c.n3 cm. character of the work, are common to e x h i b i t e d : Brussels, 1948, N0.90 (repr.); both portraits, which were undoubtedly London, 1949, N0.101. painted at more or less the same time. In 93 CATALOGUE NO. 98 view of their unfinished state we may quis del Vasto), his model here was more wonder whether it was not the intention, of a religious kind. As Warnke already in both cases, to include the two other pointed out, there is here an analogy with children, Clara-Johanna and Isabella- a representation of the Madonna. The Helena, for whom there would be room Madonna pose which, since the time of on the right-hand side of the panel. Per­ the Italian High Renaissance, had been haps Rubens intended to represent him­ the classic expression of the love between self also, as the dominating paterfamilias, mother and child, was transposed by Ru­ as in the sketch at Philadelphia, painted bens into a secular setting. The deliber­ a fewyears earlier (No. 140 ; Fig. 194), where ateness of his intention is clearly shown Hélène Fourment appears in a very simi­ by the nakedness of his son in the picture, lar pose and is wearing a jacket of almost imitating that of the Christ Child. In my the same type. view, this portrait is expressly based on In this connection it is interesting to one of the most famous and influential note that Rubens originally intended the Madonna types of the whole Renaissance, portrait to be smaller. As von Sonnen­ Raphael’s Madonna della Sedia in the Pitti burg recently pointed out, he enlarged Palace in Florence,2 which became cele­ the ‘nuclear portrait’ at the bottom and brated at an early date and was much on the right, as is shown by the compo­ copied. The way in which the spectator is sition of the planks of the panel. These brought into the intimacy of the scene, changes are perhaps partly the reason for and the mutual affection expressed in the the later overpainting to which von Son­ poses of mother and child, seem to be di­ nenburg also drew attention. In certain rectly borrowed by Rubens from this places, such as the whole left-hand part work of Raphael’s. of Hélène’s figure, Rubens himself made In the same connection we should con­ ‘retouchings’ in the still wet paint, pro­ sider once again the Philadelphia sketch ducing great clefts as a result. (No.140; Fig.194). Not only, as we have This portrait too is symbolic of love. seen, is Hélène Fourment shown in a pose The rambler rose clinging to the pillar, and costume very similar to those in the which may have been added as part of the present painting, but in that work there enlargement, is a well-known motif of is, as here, a direct typological link with a this kind.1 More important, however, is representation of the Madonna. It seems that for the composition of this group, to me not improbable that while, as far which so successfully depicts the loving as can be judged, the Philadelphia sketch bond between mother and child, Rubens was not developed into a finished work, drew inspiration, as for the group portrait the present painting represents a modi­ in the Louvre (N0.99 ; Fig.97), from a theme fied version of the original idea. of the Italian High Renaissance in which In a thorough restoration in 1922, the family love was depicted in a composition work was cleared of a good deal of eigh­ of figures intertwined, as it were, in a teenth-century overpainting and enlarge­ harmonious contrapposto. While Rubens ment. It was cut down by 22 cm. at the based his group portrait in the Louvre on top and about 18 cm. on the left. Titian’s allegory of married love (also in the Louvre, better known under the in­ 1. Cf. de Jongh, Zinne- en minnebeelden, pp.22ff. correct title Allegorical Portrait o f the M ar­ 2. L.D ussler, R a p h a e l, London, 1971, fig.84. 94 CATALOGUE NOS. 983-99

98a. Frans Rubens: Drawing (Fig.94) the British Museum (Fig.95). But there the boy is seen in a plumed beret: the copyist Black and red chalk; 148 x 122 mm. Be­ was probably acquainted with the Mu­ low, by a later hand, the inscription R u ­ nich painting. Burchard rightly pointed bens. out that this copy is by the same hand as Dresden, Kupferstichkabinett. Inv.N0.C962. the copy in Rotterdam (Fig.99) after Ru­ bens’s lost study for Frans in the group p r o v e n a n c e : Acquiredfor the Electoral portrait in Paris. Both drawings, more­ Collections at Dresden before 1756. over, have a common pedigree, bearing c o p y : Drawing (Fig.95), London, British the collectors’ marks of J. Richardson Museum, Inv. No. 1895-9-15-1047; black Senior and Thomas Hudson. and red chalk, p r o v . London, J.Richard­ son Senior (1665-1745); London, T.Hud­ son (1701-1779) ; London, Dr W. Malcolm ; 99. Hélène Fourment with Clara­ purchased in 1895. e x h . London, 1974, Johanna and Frans Rubens N0.92 (as Rubens); London, 1977, No. 156 (Figs. 96,97)

(repr., as R ubens), l i t . Hind, Rubens, p.30, N0.95 (repr., as Rubens); Rowlands, Rubens Oil on panel; 115 x 85 cm. D ra w in gs, p.117, No.156 (repr., as R ubens); Paris, Musée du Louvre. Inv. No. 1795. K.Renger, [Review of Cat. Exh. London, p r o v e n a n c e : De la Live de Jully, sale, 1977], in Kunstchronik, XXXI, 1978, p.135 Paris, 5 March 1770, lot 6; Randon de (as not by Rubens); D.Freedberg, ‘L’An­ Boisset, sale, Paris, 27 February 1777 et née Rubens, manifestations et publications seq., lot 29; comte de Vaudreuil, sale, en 1977’, Revue de l'Art, 39,1978, p.90, n.19 Paris, 24-25 November 1784, lot 20; pur­ (as not by Rubens). chased for Louis XVI, King of France. exhibited: Der Menschhei t bewa hr t, Staat­ c o p y : Engraving by J.Schmuzer (1733­ lic h e Kunstsammlungen, Dresden, 1959, 1811), after a drawing by F. Gianni (c.1760 No. 13-76. -1823) (VS., p.167, No.120). l i t e r a t u r e : Rooses, V , p.274, N0.213; e x h i b i t e d : A n tw erp , 1930, No.226. Glück-Haber dit fl, p.58, N0.213 (repr.); Held, Drawings, I, p. 143, under No. 127. l i t e r a t u r e : Descamps, Vie, p.316; C ata­ logue historique du Cabinet de peinture et sculpture française de M. D e Lalive, Paris, This drawing, showing the boy’s features 1764, p. 113; Musée Central des Arts. Notice in three-quarter view and slightly from des tableaux des écoles française et flamande, below, is a direct preliminary study, from Paris, j8oi,No.498; Smith, Catalogue Raison­ life, for the figure of Frans in the Munich né, II, pp.i 18-119, No.399; F. Villot, Notice Portrait o f Hélène Fourment (N0.98; Fig.92). des tableaux exposés dans les galeries du Musée Instead of the plumed beret, however, he national du Louvre, II, Paris, 1852, N0.460; wears a white skull-cap and over it a round Rooses, IV, pp.170-171, No,948; K.d.K., ed. piece of headgear, difficult to define ex­ R osenberg, p.396; Dillon, Rubens, pp.163, actly: perhaps simply the lower rim of a 204, pl.CCCLI; Gliick, Liebesgarten, pp.78, beret. A copy of this drawing, made per­ 80 (repr.), reprinted in Glück, Rubens, Van haps in the eighteenth century, is now in D yck, pp.122-124, fig.75; K .d .K ., p.383; 95 CATALOGUE NO. 99 L.Demonts, Musée National du Louvre, in my description of the double portrait Catalogue des peintures exposées dans les ga­ of Albert and Nicolaas Rubens at Vaduz leries, III, Paris, 1922, p.6, N0.2113; Van (No. 142; Fig.200), the bird which a boy Puyvelde, Portraits, pp.21-22 (repr.); Evers, holds by a string symbolizes the child’s R ubens, pp.451-452, 508, fig.253; Köhler­ love for Christ and the Cross. The black Lutterbeck, pp.79-84; Bréjon-Foucart-Rey- mask hanging by Clara-Johanna’s ear can naud, p. 119 (repr.). also be interpreted symbolically, as sug­ gesting that the purity of the child’s soul has no need to conceal itself behind false Hélène Fourment, dressed in white with appearances.1 As to the girl’s gesture, may a red scarf over her shoulders and a she not be fumbling in her apron for some plumed hat, is seated on a stool, in three- food to give to the bird? In that case her quarter view to the left. With her are the action may perhaps be taken as a symbol eldest three children of her marriage to of the unspoilt child fostering divine love. Rubens. On the left is Clara-Johanna, born The motif of a mother seen in three- in 1632. The child is dressed in grey, with quarter view with her children on her lap a white apron that is held with one hand and beside her had already been used by and tugged at with the other. She wears a Rubens, particularly in the Gerbier Family shawl over her head. Her younger brother of c. 1630, of which this picture is a reversed Frans sits on Hélène’s lap and looks to­ variant.2 But the composition of both por­ wards the spectator, He too is dressed in traits derives from an older source, Titian’s grey, and wearing a black hat decorated so-called Allegorical Portrait of the Marquis with flowers. His left fist is clenched, and del Vasto, which is now in the Louvre but he holds a crooked stick in his right. Be­ was in Charles I’s collection during Ru­ low, to the right of the picture, can be bens’s stay in London.3 Rubens did not seen the arms of a small child running simply borrow the compact and concen­ towards its mother— undoubtedly Isa- trated structure of the work, but must bella-Helena, who was born in 1635. also have appreciated the deeper signifi­ The fourth child of Rubens and Hélène cance of Titian’s painting: it was essen­ Fourment was born on 1 March 1637, tially an allegory of love,4 and this por­ which is thus a terminus antequem: the pic­ trait of Hélène Fourment and her chil­ ture was no doubt painted some time in dren can be interpreted in the same way. 1636. It is incomplete, however: only the The concentration of the family group figures of Hélène and the two eldest chil­ stresses the mutual affection of its mem­ dren are fully worked up, especially the bers and gives visible form to the bond of faces. The clothing is clearly unfinished, love that unites them. In addition, the and some details are very sketchy: the symbolic reference to divine love brings stool, the whole background with the out very clearly the deeper meaning of column, and the arms of the youngest the family portrait. child. The pet bird between Clara-Johanna and Frans is also very cursorily sketched. 1. For the mask as a symbol of false appearances see The bird, however, explains the position e.g. Henkel-Schöne, I, pp.1318-1320. For the connec­ of Frans’s hands. It must be attached to tion with the idea of true love see e.g. Otto Vaenius, Amorum Emblemata, A ntw erp , 1608, p p .54-55, n o - a string, not yet painted, which the boy 221. is holding in his clenched fist. As explained 2. See Huemer, Portraits, p p .120-127, N o .14, figs.63,64.

96 CATALOGUE NOS. 99a~99b

3. Ibid.,p.124. ForTitian's painting, see Wethey, Titian, A child similarly dressed, though in quite III, p p .127-129, N o .i, pls,68—7x. a different pose, figures in the Portrait of 4. This has been demonstrated very convincingly by Erwin Panofsky (Problems on Titian, mostly icono­ Rubens and Hélène Fourment with Clara­ g r a p h ie , London, 1969, pp. 127-129). Johanna in the Metropolitan Museum, New York (No.141; Fig. 195). On this ac­ count Rooses took the present drawing to be a study for that work. However, Glück 99a. Isabella-Helena Rubens : and Haberditzl pointed out that the atti­ Drawing (Fig. 98) tude of the arms corresponds exactly to those of the child, not otherwise identifi­ Black, white and red chalk ; 398 x 287 mm.; able, on the extreme right of the portrait below, to the right, the marksof J. Richard­ of Hélène Fourment and her Children in the son Senior (L.2184) and of the Louvre Louvre in Paris (N0.99; Fig.97). As I have (L.2207). The upper corners are trimmed. indicated in the description of that work, Paris, Cabinet des Dessins du Musée du this must be taken to be Isabella-Helena, Louvre. Inv. N0.20.197. born in 1635. p r o v e n a n c e : J.Richardson Senior, London (1665-1745); J.Bernard, London (d.1784); acquired for the Musée National 99b. Frans Rubens: Drawing during the French Revolution. e x h i b i t e d : Brussels, 1938-39, No.21 C.290 x C.200 m m . (repr.); Rotterdam, 1939, N0.40 (repr.); Whereabouts unknown; presumably lost. Paris, 1949, No.107; Brussels, 1949, No.103; c o p i e s : ( i ) Drawing (Fig.99), Rotterdam, Paris, 1934, N0.419; VEnfant dans le dessin Museum Boymans-van Beuningen, Inv. du XVe au XIXe siècle, Musée du Louvre, N0.V.1 ; black, red and some white chalk, Paris, 1957, No. 12 ; Paris, 1939, No. 15 ; Paris, 291x200 mm. p r o vc London, J.Richard­ 1938, N0.30 (repr.). son Senior (1665-1745); London, T. Hud­ l i t e r a t u r e : M . Reiset, Notice des dessins, son (1701-1779); Haarlem, F. Koenigs cartons, pastels, miniatures et émaux ...au (1881-1941); Rotterdam and Vierhouten,

Musée National du Louvre, Paris, 1866, D.G. van Beuningen (1877-1955)- e x h . No.558; Rooses, V, p.274, No. 1525; G lück, Antwerp, 1923, No.4 (as R ubens); Tentoon­ Liebesgarten, pp.79-80 (repr.), reprinted in stelling van oude kunst, Rijksmuseum, Glück, Rubens, Van Dyck, pp. 123-124, fig.76 ; Amsterdam, 1929, No.271 (repr., as Rw- G l iick-H a berd i , p p. 60-61, N o. 227 ( re p r. ) ; bens); Amsterdam, 1933, N0.114 (repr., as

Evers, Rubens, pp.451, 453, fig.254; Lugt, R ubens), l i t . Held, Drawings, pp.33. 143— Cat. Louvre, École flamande, II, pp.17-18, 144, No. 127, pi.137 (as R ubens); (2) Draw­ No. 1026 (repr.); Held, Drawings, p. 144, ing (Fig.ioo), counter proof of (1), Rotter­ No.128, pl.138. dam, Museum Boymans-van Beuningen, Inv. N0.V.62; black and red chalk, 235 x

181 mm. p r o v . London, J.Richardson A full-length drawing, in profile, of a Senior (1665-1745); London, W.Esdaile child in a harness and wearing a protective (1758-1837); Haarlem, F.Koenigs (1881­ head covering, walking to the left with 1941). e x h . Tentoonstelling van oude kunst, outstretched arms. Rijksmuseum, Amsterdam, 1929, N0.272. 97 CATALOGUE NOS. 99C-IOO l i t . Helâ, Rubens, p.144, under No.127; l i t e r a t u r e : Smith, Catalogue Raisonné, (3) Engraving (Fig.ioi) by Maria Cosway II, p.330, under No. 1246 (as A lb er t R ubens); (1759-1838), with the representation of A. E. Popham, ‘Seventeenth-Century Art Hélène Fourment. in Europe at Burlington House’, T he B ur­ lington Magazine, LXXII, 1938, p. 19 (repr.); P.A.Tomory, The Ellesmere Collection of This drawing, which is now lost but can Old Master Drawings, Leicester, 1954, p.38, be judged from an old copy in the Boy- N0.107; Held, Drawings, I, p.144, under mans-van Beuningen Museum (Fig.99) N0.128. and a counterproof, also there (Fig. 100), was the direct model for the pose of Frans Rubensin the family group in Paris (N0.99; Shoulder-length study of a boy wearing Fig.97). In the drawing the boy’s cape a plumed cap ; the flat collar of his cos­ hangs straight down, showing that he was tume is indicated rather sketchily. He is standing upright at the time : the motif of seen nearly full-face but is gazing dream­ his mother embracing him was introduced ily to the right. later, when the final composition based This is Frans, the eldest son of Rubens’s on Titian was decided upon. second marriage, as is clearly seen from his resemblance to the boy on Hélène Fourment’s lap in the group portrait in Paris (N0.99; Fig.97). I believe this draw­ 99c. Frans Rubens: Drawing (Fig. 102) ing to have been made as a study for the family portrait and to be one of a series Black and red chalk; 200 x 149 mm.; in­ of poses, as it seems to have been Rubens’s scribed below to the right, by a later hand : custom in other cases. In the final version, P . P . R ubens; below, to the left, the marks however, he used the motif of the boy of Thomas Lawrence (L.2445) and P. Syl­ looking to the right. vester (L.2108), to the right, the marks of Francis Egerton, first Lord Ellesmere (L., S u p p l, 2710b) and R. Cosway (L.629). London, Collection o f the Duke o f Sutherland. 100. Hélène Fourment with Frans p r o v e n a n c e : P.Sylvester, London (d. Rubens (Figs. 103,104) 1718); P.Sandby, London (1725-1809); R. Cosway, London (1740-1821) ; Sir T.Law- Oil on panel; 195 x 132 cm. rence, London (1769-1830); purchased Paris, Musée du Louvre. Inv. N0.RF1977-13. from the former by Francis Egerton, first

Earl Ellesmere, London (1800-1857) ; Lon­ p r o v e n a n c e : Donated by the City of don, Bridgewater House, Ellesmere Col­ Brussels to John Churchill, first Duke of lection. Marlborough (1650-1722), in 1706; Dukes of Marlborough, Blenheim Castle; pur­ c o p y : Engraving by L.Schiavonetti (1765 chased in 1885 by Baron Alphonse de -1810; V.S., p.168, No.129). Rothschild (Paris, 1827-1905) ; Baron Edou­ e x h i b i t e d : London, 1938, N0.581; O ld ard de Rothschild, Paris (1868-1949); Ba­ Master Drawings, Leicester Museums and ron Guy de Rothschild, Paris; purchased Art Gallery, Leicester, 1952, N0.58. from him by the Louvre, in 1977.

98 CATALOGI!Li NO. 100 c o p i e s : ( i ) Painting (half-length), Mu­ Francis, e x h . London, 1974, No.91 (as Ru­ nich, Bayerische Staatsgemäldesammlun­ bens). l i t . Hind, Rubens, p.30, No.96(repr., gen, Inv. N0.325; canvas, 75 x61cm . as Rubens); Rowlands, Rubens Drawings, p r o v . Purchased by Johann-Wilhelm, p. 10 ; (6) Mezzotint engraving by R. Earlom Elector Palatine, for his gallery at Düssel­ (1742/43-1822) (V.S., p.166, N0.107). dorf, before 17x9; transported to the Hof­ e x h i b i t e d : British Institution, London, gartengalerie, Munich, 1806; transported 1861 ; Les chefs-d'œuvre des collections privées to the Alte Pinakothek in 1836, the year françaises retrouvées en A llem agne, Orange­ of its foundation ; temporarily removed to rie, Paris, 1946, No. 7o(repr.); LeXVIIe siècle the ‘Filialgalerie’ at Augsburg (c.1922). flamand au Louvre. Histoire des collections, l i t . Karsch, Cat. Düsseldorf, No. 173 (as R u ­ Musée du Louvre, Paris, 1977-78, No.195 bens); Van Gooi, Nieuwe Schouburgh, II, (repr.); Défense du patrimoine national, Mu­ p.544 (as Rubens); Cat. Düsseldorf, p.19, sée du Louvre, Paris, 1978, No.2 (repr.); N0.26 (as Rubens); Michel, Histoire, p.301 Cinq années d’enrichissement du patrimoine (as Rubens); Pigage, Cat. Düsseldorf, No.247 national 1975-1980, Grand Palais, Paris, (as Rubens); Smith, Catalogue Raisonné, II, 1980-81, No.31 (repr.). p.68, No. 197 (as Rubens); IX, p.271, No. 100

(as Rubens); Dillis, Cat. Munich, No.328 (as l i t e r a t u r e : Marlborough Jewels and Pic­ R ubens); Parthey, Bildersaal, II, p.434, tures (Manuscript, British Museum, Add. N0.356 (as R ub en s); Marggrajf, Cat. Mu­ Mss. 9125, Coxe Papers, XLVIII), [? 1718], nich, N0.920 (as Rubens); Rooses, IV, p.169, fol.7v.; [T.Martyn], The English Connois­ N0.946 (as Rubens); Reber, Cat. Munich, seur, I, London, 1766, p. 18; Tour from Stow N0.796 (as Rubens); Nachtrag [zum Katalog to Blenheim and Ditchley, the seats o f his Grace der königlichen Gemäldegalerie çu Augsburg], the Duke o f Marlborough and the Rt. Hon. the Augsburg, [1922], p.6, No.325 (as R ubens); Earl of Litchfleld, London, [71770], p.6; (2) Painting (half-length), Schwerin, Staat­ [W.F.Mavor], New Description of Blenheim, liches Museum; canvas, 63 x51.5 cm, London, 1789, p.58; A.Ponz, Viage fuera p r o v . Grand-Dukes of Mecklenburg­ de Espana, I, Madrid, 1791, p.289; Sm ith,

Schwerin. l i t . F.Schlie, Beschreibendes Ver­ Catalogue Raisonné, II, pp.242-243, N0.829; zeichnis der Werke älterer Meister in der Waagen, Kunstwerke, II, p.43; W aagen, Grossherzoglichen Gemälde-Galerie zu Schwe­ Treasures, III, p. 126; Scharf, Cat. Blenheim, rin , Schwerin, 1882, N0.903; (3) Painting p.30; Rooses, IV, pp. 168-169, N0.945; of the head and shoulders, whereabouts K.d.K., ed. Rosenberg, p.444; W. Bode, R em ­ unknown; canvas, 54x49cm . p r o v . brandt und seine Zeitgenossen, Leipzig, 1906, Vienna, Neue Galerie (c. 1934) ; (4) Painting p.287; Dillon, Rubens, pp. 163-164, 223, of the head and shoulders in an oval frame, pl.CCCLIII; Gliick, Liebesgarten, pp.83, whereabouts unknown ; panel, 70 x 60 cm. 87-89 (repr.), reprinted in Gliick, Rubens, p r o v . Count Cavens, sale, Brussels (Le V an D yck, pp.132-134, 181, hg.8o; K .d .K ., Roy), 7 May 1923 et seq., lot 177 (asR ubens). p.425; Van Puyvehle, Portraits, pp.17-18 exh. Les 100 portraits, Collection du Comte (repr.); Evers, Rubens, pp.446-449, 508, Cavens, Galerie Royale, Brussels, 1909, fig.250; J.Foucart, ‘Un nouveau Rubens N0.72 (repr.); (5) Drawing of the au Louvre: Hélène Fourment au carrosse’, head, London, British Museum, Inv. La Revue du Louvre, 1977, pp.343-353 N0.1882-6-10-96; black chalk, heightened (repr.); Bréjon-Foucart-Reynaud, p.121 with white, 432 x 259 mm. p r o v. J. Deffett (repr.). 99 CATALOGUE NO. 100

Hélène Fourment is depicted full-length, Walk in the Garden. Some iconographie de­ standing on a flight of steps in front of a tails may confirm Hélène’s status and qua­ façade with monumental pilasters. She is lities as a married woman. First and fore­ in three-quarter view, looking directly at most, the conspicuous gesture with which the spectator. She wears a low-cut dress she holds up the edge of the cloak is a of black and white satin with violet bows, motif borrowed via the Italian Renais­ a flat lace collar and a large jewel on her sance from the antique Pudicitia, used by breast, to which is attached a double row Rubens on several occasions to symbolize of golden chains. Over her dress is a black female chastity and modesty.* The back­ hooded cloak, one flap of which she holds ground too contains what may be sym­ up in her right hand. Her pose, and this bols of the married state. The monumen­ foreshortened architecture extending ob­ tal architecture on the right clearly re­ liquely into the background, were already sembles that of the sumptuous family used by Rubens in his Italian period : they dwelling at the Wapper, while on the left can be seen in a remarkably similar form can be seen a thoroughfare with a carriage in his Portrait of Brigida Spinola Doria in and two horses (Fig. 104): these are a com­ Washington, dating from 1606.1 mon symbol of concord, including mari­ Standing on the right behind Hélène tal harmony.3 Fourment is a boy with a hat in his hand. Foucart thinks that this portrait did not Rooses identified him as Frans, the eldest belong to the ‘gift’ of paintings, which was son of Rubens’s second marriage, born in more or less extorted from the City of 1633; Oldenbourg and Glück supported Brussels by the Duke of Marlborough, in this opinion, and so recently have Jaffé and 1706. Yet that origin can hardly be doubted. Foucart. On the strength of this, it was Already in the first known inventory of supposed that Rubens executed the paint­ the collection at Blenheim, the ‘Marl­ ing in C.1639, shortly before his death, borough Jewels and Pictures’, probably when the boy was about six years of age. dating from 1718, it is stated explicitly that However, another suggestion— made by ‘Rubens Wife and Boy with a Coach’ to­ Bode and Van Puyvelde— is that the boy gether with two other Rubens paintings is in fact Nicolaas, the youngest son of was given to the duke ‘by the Town of Rubens’s first marriage, who also appears Brussells’. in the so-called Walk in the Garden in Mu­ nich, dating from c.1630 (No. 139; Fig.192). 1. Cf. Huemer, Portraits, No.41, fig.119. Accordingly, in Bode’s and Van Puyvelde’s 2. An unidentified woman holds her veil in a similar manner in the Portrait of a Lady, formerly in the opinion, the portrait discussed here should Rothschild collection in Paris and now in the Metro­ be more or less contemporary with the politan Museum, New York ( K .d .K ., p .58, right). Munich group portrait. Personally, I 3. Harrebomée cites two old Dutch proverbs to the effect that a carriage is best drawn by two even- think that it is Hélène’s eldest son Frans stepping horses: ‘Als de paarden gelijk trekken, dan who is represented here. Indeed the child’s gaat de wagen wel' and 'Gelijke paarden trekken stature and features seem to be those of a best' (P.J. Harrebomée, Spreekwoordenboek der Ne- boy not much older than six years. At derlandsche taal, U trecht, 1856-70, II, p p .160, 162). Erasmus in his Christiani Matrimonii Institutio speaks that very moment Hélène was about of marriage as ‘biga quaedam coniugum' (D e sid e r ii 25 years old. She certainly looks that age Erasmi Roterdami Opera Omnia, V, Leiden, 1704 here, appearing as a mature woman and (facs, e d .,London, 1962), col.625; cf. alsoP .H uvenne, ‘De liefdesallegorie van Pieter Pourbus', Gentse B ij­ not as a girl of seventeen, as in the Munich dragen tot de Kunstgeschiedenis, XXV, 1979-80, p .107. 100 CATALOGUE NO. lOOa

iooa. Hélène Fourment: Drawing Pa intings], in Oud Holland, LXX, 1955, p. 177; (Fig. 105) A. E. Popham, [Review of Seilern, Flemish P a intin gs], in The Burlington Magazine, Black and red chalk, heightened with XCVII ,1955. p-398; Held, Drawings, pp.21, white, partially reinforced with pen and 33, 115, 140, N0.114, pi.125; B u rch a rd - brown ink; the figure has been cut out in d’Hulst, Drawings, pp.322-323, N0.201 silhouette and backed ; the headdress has (repr.); Kuznetsov, Risunki, No. 105 (repr.); been retouched by a later hand with black Seilern, Corrigenda and Addenda, pp.38—39; chalk and brown wash; 612 x 550 mm. Rowlands, Rubens Drawings, p.i 17, No. 155 Fully mounted. (repr.). London, Courtauld Institute of Art, Princes Gate Collection, Inv. N0.64. A half-length frontal portrait of Hélène p r o v e n a n c e : Prince Charles of Lor­ Fourment. She wears the same hooded raine (1712-1780); Count de Cuypers de cloak, and holds in her right hand the edge Rijmenam, Brussels (d.1802); Schamp of a veil falling over her hair, in the same d’Aveschoot, sale, Ghent, 14 September way as in the full-length portrait in the 1840 et seq., lot 192; R.S.Holford, London Louvre (No.100; Fig.103). In her left hand (1808-1892); G.L.Holford, sale, London she holds a small book. Her jeweller)', (Christie’s), 17-18 May 1928, lot 3 (repr.); and the cut of her dress, are much the Count Antoine Seilern (1901-1978); be­ same in this drawing as in the Louvre por­ queathed by the latter to the Courtauld trait; however, in that portrait the sleeves Institute. of the dress are plain, whereas here they are ornamented with ribbons in two dif­ e x h i b i t e d : Pictures ... of Mr. R.Holford, Burlington Fine Arts Club, London, 1921 ferent tints. -22, N0.28; London, 1927, No.570; Selected In his catalogue of 1955, Count Seilern referred to this drawing as an ‘indepen­ Dutch and Flemish Pictures o f the XVIIth Cen­ tury, E. S. Wisselingh and Co., Amsterdam, dent work of art’ and not a preparatory 1932, No. 14 (repr.); London, 1977, No. 155 study. He dated it late, c.1635-38. This was (repr.) ; Mantegna to Césanne. Master Draw­ contested by Van Regteren Altena and ings from the Courtauld Institute, British Held, who both placed it in the early Museum, London, 1983, N0.57. 1630s, on account of the similarity of the costume to that of the Munich full-length l i t e r a t u r e : Waagen, Treasures, II, p.204 portrait of c.1631 (No.96; Fig.85). In the [as A female portrait) ; Dillon, Rubens, p.233 ; light of their criticism Seilern changed his (R. Benson, ed.], The Holford Collection at mind, and in the Corrigenda and Addenda W estonbirtin Gloucestershire, London, 1924, to his catalogue he himself proposed a p.73, N0.73; [C.Dodgson], in Conway, Me­ date of 1630-31. morial Volume, p.203, N0.570, pl.CXX; Held already suggested that this draw­ Glück-Haberditçl, pp.6i-62,No.234(repr.); ing was related to the genesis of the por­ A.J.J. Delen, Flemish Masters of the ijth trait in the Louvre (No. 100; Fig.103). Per­ C en tury, London, 1950, pp.22-23, N0.20 sonally I am convinced that it is indeed a (repr.); Seilern, Flemish Paintings, p. 102, preliminary study for that portrait, al­ N0.64, pls.CXXI-CXXIV; J.Q, van Reg- though the latter shows Hélène not fron­ teren Aletena, [Review of Seilern, Flemish tally but in three-quarter view to the right.

101 CATALOGUE NOS. IOob-IOOC

My chief reason is the resemblance be­ (No. 100; Fig. 103), likewise in three-quar­ tween this drawing and that in the Alber­ ter view. However, the position of the tina, Vienna (No.ioob; Fig.106), on the re­ head and arms is quite different, and in verse of which is a costume study (Fig. 107) these details among others there is a re­ directly intended for the painting in the markable similarity to the Portrait of a Louvre. Lady in the Gulbenkian Foundation, Lis­ bon.1 This was pointed out by Glück and Haberditzl and also by Mitsch, in their 100b. Hélène Fourment: Drawing respective catalogues of Rubens’s draw­ (Fig. 106) ings. Mitsch, accepting the identification Black and red chalk, heightened with of the Lisbon portrait as that of Hélène white chalk; 320 x 410 mm. Fourment, regarded the present drawing Vienna, Albertina. Inv. No.8255. as a direct study for it. Glück and Haber­ ditzl rightly believed that the Lisbon por­ p r o v e n a n c e : Duke Albert of Sachsen- trait was not of Hélène Fourment, but Teschen (Moritzburg near Dresden, 1738- thought, mistakenly, that it was of her Vienna, 1822). sister Suzanna.2 They therefore regarded e x h i b i t e d : Vienna, Albertina, 1977,N0.53 the drawing in Vienna as a costume study (repr.). of Hélène Fourment which was in fact only used later for the supposed portrait l i t e r a t u r e : Rooses, V, pp.280-281, No.1540 (as Portrait à’une jeune femme); of Suzanna. They also assigned a late date Michel, Rubens, p.6oo (repr.); Gliick, Liebes- to the drawing, c. 1636-38. garten, pp.87, 89, pl.XII, reprinted in My own view is that the present draw­ Gliick, Rubens, Van Dyck, p. 133, fig.82; ing is to be regarded— partly on account Glück-Haberditçl, p.61, N0.232 (repr.); of the costume study on the reverse side E.Mitsch, in Cat. Exh. Vienna, Albertina, (No.iooc; Fig. 107)— as a preparatory study 1977, p.122, N0.53 (repr.). for the portrait of Hélène Fourment in the Louvre; but that, at about the same time, it was also used to establish the pose Hélène Fourment is shown slightly turned in the Portrait o f a Lady in the Gulbenkian to the left, looking directly at the specta­ collection, which represents neither Hé­ tor. Although sketchier, this drawing is lène nor her sister Suzanna. clearly related to that in the Princes Gate Collection (No.iooa; Fig. 105). It shows the 1. K .d .K ., p .329. 2. See further under Nos.iot, 102. The reasons for same characteristic round face and full claiming that the portrait in the Gulbenkian Foun­ lips ; the expression is so similar as to sug­ dation cannot be of Suzanna Fourment are given gest that two different poses were re­ under N o .102. corded at about the same time. The con­ nection between the two drawings is still more evident when it is observed that the iooc. Drapery Study: Drawing dress in both of them appears to be the (Fig. 107) same: not only is the cut identical, but the sleeves have the same striped design. Black and some red chalk, heightened The pose is more similar to that of the with white chalk; 410 x 320 mm. portrait of Hélène Fourment in theLouvre Vienna, Albertina. Inv. No.8255.

102 CATALOGUE NO. IOod/SUZANNA FOURMENT p r o v e n a n c e : See under No.ioob. G. F.Waagen, Verzeichnis der Gemälde­ sammlung des königlichen Museums çu Ber­ ex h ib ite d : Vienna, Albertina, 1977, No.52 (repr.). lin, Berlin, 1830, II, N0.294; Parthey, Bilder­ saal, II, p.434, No.361; P. Seidel, ‘Friedrich l i t e r a t u r e : Schönbrunner-Meder, VII, der Grosse als Sammler von Gemälden No.732; Glück, Liebesgarten, p.87, pl.XI, re­ und Skulpturen’, Jahrbuch der königlich printed in G lü ck , Rwfcens, V a n D yck, pp. 133, preussischen Kunstsammlungen, XIII, 1892, 181, figs.81, 100; Burchard, Nackträge, p. 191 ; E. Henschel-Simon, Die Gemälde und pp.388,397; Glück-Haber dit z l p.61, N0.233 Skulpturen in der Bildergalerie von Sans­ (repr.); Evers, Rtibens, p.508; O.Benesch, souci, Berlin, 1930, N0.93 (repr.); id., in Meisterçeichnungen der Albertina, Salzburg, Cicerone, XXII, 1930, p.55; id., ‘Ein un­ 1964, N0.150; E.Mitsch, in Cat. Exh. vollendetes Spätwerk von Rubens’, P a n ­ Vienna, Albertina, 1977, p. 122, No. 52 (repr.). theon, VII, 1931, p.185 (repr.); Burchard, Nachträge, p.388; Evers, Rubens, p.448, fig.251; G.Eckardt, Die Gemälde in der Meder was the first to recognize this Bildergalerie von Sanssouci, Potsdam, 1975, drawing as a direct costume study for pp.68-69, No.52 (repr., as School o f Rubens). Hélène Fourment with Frans Rubens in the Louvre in Paris (N0.100; Fig.103). In this drawing Rubens seems to have St Barbara holds a martyr’s palm in her wished to reproduce the exact fall of the right hand, while the legendary tower folds of Hélène’s dress rather than the de­ with three windows is seen in the left tails of the costume itself, which is treated background. Apart from these attributes, much more summarily. There is also a the picture is an exact repetition of No. 100, slight difference between the drawing and for these reasons has been regarded as and the painting as regards the subject’s authentic. Henschel-Simon and Burchard pose. In the costume study she is seen believed it to be a first version of the Paris more from below, and more in three- portrait, which Rubens’s pupils had quarter view. changed into a St Barbara after his death. Evers too regarded it as a second auto­ graph version, but one executed after the iood. Hélène Fourment as portrait in the Louvre. Götz Eckardt, St Barbara (Fig. 108) who recently made a thorough study of Oil on canvas; 179 x 99 cm. the painting for his catalogue of Sanssouci, Potsdam-Sanssouci, Bildergalerie. concluded that the whole of it was pupils’ Inv. N0.10081. work. I entirely agree with this opinion: it appears to be a feeble, uninspired imi­ p r o v e n a n c e : Purchased for the collec­ tation of the masterpiece in the Louvre. tions of King Frederick II of Prussia, in 1755 or 1756; from 1829 till 1906 in the Royal Museum at Berlin. l i t e r a t u r e : M. Oesterreich, Beschreibung SUZANNA FOURMENT [101-102] der Königlichen Bildergallerie und des Kabi­ netts in Sans-Souci, Potsdam, 1764, No.72; Suzanna Fourment (1599-1628) was an Smith, Catalogue Raisonné, II, p. 106, No.351 ; elder sister of Hélène Fourment. In 1617

103 SUZANNA FOURMENT she married Raymond del Monte, who, possession and that of their respective des­ however, died before 1621. Her second cendants. husband, whom she married in 1622, was An inventory, dating from the 1640s, of Arnold Lunden, a merchant and master pictures belonging to Arnold Lunden of the Antwerp Mint.1 Her daughter by mentions successively: ‘Un portrait de Su­ her first marriage, Clara del Monte, was sanne Rubens’, valued at 150 guilders,7 ‘Le to marry Rubens’s eldest son Albert in portrait de Susanne Rubens’, valued at 1641.2 Portraits of Suzanna Fourment are 250 guilders,8 and ‘2 portraits, sujets de recorded in the possession of Rubens him­ Susanne’, valued together at 120 guilders.9 self, his son Albert and his brother-in-law In view of the price it would seem that Arnold Lunden. these last are identical with the two por­ The earliest mention of portraits of traits that Lunden bought from his Suzanna Fourment by Rubens dates from brother-in-law’s estate in 1641. The in­ 1641. In thatyear Arnold Lunden acquired correct name ‘Susanne Rubens’ may be from Rubens’s estate ‘twee contrefeytsels due to a translator’s error, as the docu­ van syne huysvrouwe voor de somme van ment was originally in Dutch : perhaps it 120 güldenen’.3 A third ‘contrefeytsel van gave only the first name, followed by that Jouffrouwe Lunden’, valued at 300 guil­ of Rubens as the artist. ders, was acquired from the estate by Hé­ Arnold Lunden’s portraits were inher­ lène Fourment.4 Albert Rubens bought ited by his grandson, Arnold Lunden ju­ from his father’s estate no fewer than four nior, whose mother Catharina married portraits of Suzanna Lunden-Fourment, her cousin Willem Lunden. The inven­ but it seems less likely that these were tory drawn up at the latter’s death in 1692 originals by Rubens. A ‘contrefeytsel van described the portraits as: ‘2. Le portrait Jouffrouwe Lunden’ is recorded among a de Susanne Fourment... peint par Rubens series of copies ;s at the same time Albert [valued at 150 guilders] ... 3. Autre por­ purchased ‘dry trognien vande selve op trait de la même par Rubens [valued at doeck’, which were for a long time valued 120 guilders]... 4. Autre de la même en at only 30 guilders in all and were not bergère par le même [valued at 250 guil­ clearly described as Rubens’s own work.6 ders].10 The three valuations agree with All these portraits were stated in the in­ the figures for the respective portraits of ventory to be the undivided property of Suzanna Fourment in the inventory of the Hélène Fourment and her children on the 1640s. It also appears from the inventory one hand and the two children of Rubens’s of 1692 that most of the paintings listed first marriage on the other. It appears there are valued at the same amount as in from this that all the ‘contrefeytsels en the earlier document.11 It thus appears trognien’ were executed before the death very likely that the more explicitly de­ of Rubens’s first wife on 20 June 1626. The scribed portraits in the 1692 inventory are interest taken in them by Arnold Lunden, identical with the portraits of ‘Susanna’ Hélène Fourment and Albert Rubens is or ‘Susanne Rubens’ that bear the same to be explained on family grounds, as they valuations in the inventory of the 1640s. were respectively Suzanna’s widower, There is one difference, however: in the younger sister and son-in-law. The por­ older inventory two portraits of Suzanna traits acquired by Arnold Lunden and are valued together at 120 guilders, Albert Rubens are recorded later in their whereas in 1692 the same figure is given

104 CATALOGUE NO. IOI for a single portrait of Suzanna Fourment. 9. Ibid., p .195, N o .106. 10. Ibid., p.202. Perhaps this discrepancy is due to a clerical 11. Ibid., p.177. error. 12. M .Rooses,‘Staat ende Inventaris van den Sterff- Some works from the original Lunden huyse van Mynheer Albertus Rubens ende Vrouwe collection were owned by his descendants Clara del Monte’, Riibens-Bulletijn, V , 1897, pp.29- 30. until after 1800. J.B. Descamps in 1752, G.P.Mensaert in 1763 and J.F.M.Michel in 1771 mention female portraits owned by members of the family, which can be xoi. Suzanna Fourment (Fig. 109) connected with items in the seventeenth- century inventories and also with paint­ Oil on panel; 68 x 58 cm. ings that are still in existence. This will be Brussels, Private Collection. shown in the discussion of the following provenAxNce: Arnold Lunden (1595— catalogue entries 101 and 102. 1656), Antwerp, after 1640; Willem Lun­ There is also later mention of the por­ den (1624-1692), son-in-law of the former; traits acquired by Albert Rubens. The in­ Arnold-Albert Lunden (born in 1646), son ventory drawn up after his death 0111 Oc­ of the former, Antwerp, 1692; still in the tober 1657 mentions ‘het pourtraict van Lunden family, Antwerp, in 1763; Pilaer de grootmoeder Juffrouwe Susanne del and Beeckmans, dealers at Antwerp, Monte’ and ‘de twee contrefeytsels van de 1785; Schamp d ’Aveschoot, sale, Ghent, moeder van mevrouwe saliger’.u 14 September 1840, lot c (as Hélène Four­ m ent), withdrawn; d’Alcantara family, 1. For her biography see Génard, Rubens, p.411, with descendants of the former. the rathermisleading statement that 'she vvasdead on i i D ecem ber 1643'. This must be based on a c o p i E s : ( i ) Painting, ? 18th century, where­ document of that date, not otherwise known, re­ abouts unknown; panel, 67 x59.5 cm. ferring to her as deceased. Later writers, including m yself ( V lie g h e , L u n d e n , p. 175), have m istakenly p r o v . St.Petersburg, Gliboff Collection, inferred that she died on that date. I am much in­ until 1921; Lausanne, H.N.Broemmé, debted to my colleague Dr Carl Van de Velde for where still in 1959; (2) Hngraving by his discovery in the Antwerp City Archives of a petition on behalf of Suzanna's children indicating Georges Maile, 1817 (V.S., p.160, No.39). that she died 01131 July 1028 ('den lesten der maent July’) (Antwerp, Stadsarchief, PK.727 [Request- e x h i b i t e d ; A ntw erp , /977, No.59 (repr.). boek 1628], f.1491'.). In the light o f this discovery it is also necessary to revise the dating of the Arnold l i t e r a t u r e ; Mensaert, Peintre, 1, p.197; Lunden inventory listing the different portraits of Smith, Catalogue Raisonné, II, p.261, No.882 Suzanna by Rubens. In the studymentioned above, (as Hélène Fourment); IX, p.272, No.103 (as I dated it c.1643-44, believing 1643 to be the date of her death; however, as I pointed out in the same a copy, Hélène Fourment); Rooses, IV, p. 182, article (p. 175). the inventory cannot have been under N0.953; Burchard, Nachträge, p.389; drawn up before 1640. Mols, who included the Vlieghe, Lunden, p.190 (repr.); W.Sauer­ French translation of the inventory in his K11 be- n ia n a , dated it betw een 1039 and 1649 (ibid.). länder, [Review of Cat. Hxh. A ntw erp , 2. Cf. P.Génard, ‘Clara del Monte en Deodatus van 1977], Pantheon, XXXV, 1977, p.340 (as der Mont’, Rubens-Bulletijn, V , 1897, p.o. doubtful); Jaffé, Exhibitions, p.625; J.Fou- 3. Denucé, Konstkamers, pp.77-78, No.LVI. 4. Ibid., p .78, No.LXIlI. cart, ‘Rubens; l’année du quadricente- 5. Ibid., p.78, No.LXIX. naire’, Encyclopaedia Universalis, 1978, 6. Ibid., p.78, No.LXX. p.512 (as doubtful); K.Renger, [Review of 7. Cf. Vlieghe, Lunden, p .188, N o .54. 8. Ibid., p .190, N o.78. Cat. Exh. A n tw erp , 1977], Kunstchronik,

105 CATALOGUE NO. IOI

XXXI, 1978, p.5 (as doubtful); Vlieghe, Re­ However, it is quite possible that this re­ m arks, pp.io8-iio, 114 (repr.). fers to the portrait in the National Gallery (No, 102; Fig. 110). A description of the same portrait by Michel in 1771 is ambi­ A bust-length portrait. The sitter’s body guous; ‘La famille de Lunden à Anvers is seen in profile ; her face, in a sharp light, possède encore plusieurs éclatantes pièces is turned almost towards the spectator. de Rubens... Le second tableau dans la­ Her hair is braided at the back. Her white dite famille est le portrait d’une jeune dress, trimmed with red ribbon, amply Demoiselle, qui dans son tems passa pour displays her bosom. She wears a straw hat la plus belle personne des 17 Provinces, ornamented with wild flowers, and holds elle y est représentée le chapeau de paille a shepherdess’s crook in her right hand. plumé en tête, qui met le visage dans un The identification of the sitter as Su- clair ombrage, & le grand jour donnant zanna Fourment is based on the unmis­ tout son éclat sur sa belle poitrine dé­ takable resemblance to the portrait in the couverte, & sur le reste du corps, produit National Gallery in London (No. 102; l’effet le plus enchantant.. .’.2 There seems Fig. 110) and also to the drawing in the to be a mistake in the description of the Albertina (No.io2a; Fig,ii3), which, ac­ hat. Either Michel took the wild flowers cording to the inscriptions on it, almost for feathers, in which case his painting certainly represents Suzanna’s features. may be identical with the present one, or On the strength of this identification it else he mistook the material of which the also seems likely, as Burchard first pointed hat is made, in which case he probably out, that the present portrait is the one refers to the famous portrait in the Na­ which belonged to Suzanna’s husband tional Gallery. At all events, the Lunden shortly after 1640, which was also in the family possessed many portraits by Ru­ inventory of the estate of her son-in-law bens. Mensaert mentions three others in­ Willem Lunden in 1692, and which then cluding ‘une des femmes de Rubens’ ;3 he passed to her grandson Arnold Lunden also states that they came into the Lunden junior. In 1692 it was expressly described family by inheritance from Rubens. as a portrait ‘en bergère’. It further seems The present work was formerly in the likely that this work is identical with a Schamp d’Aveschoot collection in Ghent portrait by Rubens of a woman ‘... coiffée as a portrait of Hélène Fourment. It is d’un chapeau de paille, mais de façon que perhaps the one referred to by the Ant­ le visage est en reverbération de la clarté werp dealers Pilaer and Beeckmans, who du soleil’, which G.P.Mensaert saw in on 5 August 1785 wrote triumphantly to 1763 in the possession of the descendants Thomas Harvey in Norwich : ‘Nous venons of the Lunden-Fourment couple. de faire la plus belle acquisition possible The present painting may also be iden­ d’un beau Rubens. C’est le portrait de tical with one seen by Descamps before Helena Froment [sic], une des femmes de 1753 in the same collection in Antwerp ce peintre. Elle est vêtue en bergère avec and described by him as : ‘le Portrait d’une un chapeau de Paille, on voit le corps en Demoiselle Lundens: La tête est couverte profil, et elle a la tête tournée aux specta­ d’un chapeau qui y porte l’ombre ensorte teurs...’. The letter adds that Sir Joshua que cette tête n’est éclairée que par la Reynolds was interested in the painting, réflexion des lumières qui l’environnent’.1 but offered too little for it.4 The sitter was

106 CATALOGUE NO. 102 first identified as Suzanna Fourment by 102. Suzanna Fourment (Figs. n o - 112) Burchard in 1933. Her guise as a shepherd­ ess is typical of the style of portraiture Oil on panel; 79 x 34.5 cm. which, from the early seventeenth cen­ London, National Gallerv. N0.852.— Verso: tury onwards, was an aspect of the pas­ the brand mark of the city of Antwerp toral fashion in Dutch and Flemish paint­ and the initials MV (Michicl Vriendt). ing and literature.5 This pastoral symbol­ p r o v e n a n c e : ?Arnold Lunden (1595— ism had associations with eroticism and 1656), Antwerp, after 1640; ?Willem Lun­ fertility, and there may be an allusion to den (1624-1692), son-in-law of the former; this in the revealing décolleté. ?Arnold-Albert Lunden (born in 1646), Like catalogue entry 102, this portrait son of the former, Antwerp, 1692; in the can be dated on stylistic grounds to the Lunden family through the 18th century; early 1620s: the sculptural quality and the Jean-Michel-Joseph van Havre, husband placing of the sitter are comparable to of Cathérine-Anne-Marie Lunden, 1771; such works of this period as the portrait Jean-Michel-Antoine-Joseph van Havre of Isabella Brant at Cleveland (N0.75; (1764-1844), the former’s son, Antwerp; Fig.36). It seems to me possible that this sold to his father-in-law, Henri-Joseph and the following work (No, 102; Fig, no) Stier d’Aertselaer (1743-1821); the latter’s were painted on the occasion of, or in sale, Antwerp, 29 July 1822, lot 1; pur­ connection with, Suzanna’s betrothal and chased by L.J.Nieuwenhuys, J.Foster and marriage to Arnold Lunden in 1622. J.Smith; deposited with King George IV The painting has been extensively at Carlton House, London, 1823; sold by cleaned and has lost much of its original Smith to Robert Peel, in 1824; purchased brilliance. Partly for this reason, recent with the latter’s collection, in 1871. literature (see above) has treated it rather critically; but despite its much impaired copies: (i) Painting by A. van Vsendyck, state I see no reason to doubt its authen­ 1821, whereabouts unknown, p r o v. Paris, ticity. Mme Boursault, 1843; ?Col. J.T.Lutley, Bromyard,Herefordshire, 1941. l i t . J.Im- merzeel, De levens en werken der Holland- sche en Vlaamsche kunstschilders..., III, Amsterdam, 1843, p.250; Martin, Cat. Na­ I. D e sca m p s, Vie, p .324. 1. Miche!, Histoire, p .339. tional Gallerv, pp.176, 181, under No.852; 3. Mensaerl, Peintre, I, loc. cil. (2) Drawing by Antonis Overlaet, 1768, 4. The originals of this and 29 other letters by Pilaer whereabouts unknown, p r o v . ?Van Havre and Beeckmans are preserved in the Rembrandt- huis, Amsterdam; transcriptions of these docu­ family; Lord Norrhwick, sale, London

ments are at the Rubenianum, Antwerp. (Christie’s), 26 May 1838, lot 166. l i t . 5. The portrait of Suzanna Tourment bears a striking Hours in the Picture Gallerv al Thirlestaine resemblance, in particular, to the numerous con­ temporary or somewhat later shepherdesses by House, Cheltenham, 1846, p.82, No.DI; Paulus Moreelse, some of which may be pastoral Martin, Cat. National Gallery, pp.176, 181, portraits (cf. C.H. de Jonge, Paulus Moreelse, Por­ under No.852; (3) Miniature by Madame tret- en genreschilder te Utrecht, Assen, 1938, esp. figs. 167fr.). Comparison may also be made with Hont- de Neuville, whereabouts unknown, l i t . horst’s Shepherdess o f 1622 in the Centraal M useum , ‘Les copies du tableau “ Le Chapeau de Utrecht (cf. J.R.Judson, (Serrit van Honthorst, A Dis­ Paille” par Rubens’, Messager des Sciences cussion of his Position in Dutch Art, The Hague, 1959, pl.23). et des Arts, 1824, p.325; Martin, Cat. Natio-

107 CATALOGUE NO. 102

nal Gallery, pp.i76,181, under N0.852; (4) Liebesgarten, pp.90, 92-93 (repr.), reprin­

Gouache by M. de Meulemeester. l i t . ‘Les ted in Gliick, Rubens, Van Dyck, pp. 142 to copies...’, op. cit., p.325; Martin, Cat. Na­ 144 (repr., as Bildnis einer Dame); K.d.K., tional Gallery, pp.176, 181, under N0.852; p.280; P.Jamot, ‘Chapeau de Paille ou (5) Drawing by J. M.W. Turner, where­ Chapeau de Poil?’, Annuaire des Musées

abouts unknown, l i t . A.J.Finberg, The Royaux des Beaux-Arts de Belgique, 1938, Life o f J. M . W . T u rn er, London, 1939, p.281 ; pp.157-161 (repr.); Evers, Rubens, pp.325, Martin, Cat. National Gallery, pp.176, 181, 487, 499, 507, 510; Evers, Neue Forschungen, under N0.852; (6) Pastel by Andrew Ged- pp.275-288, 356, figs.301, 302; P.B.Core- des (1783-1844), Edinburgh, National Gal­ mans, ‘The Recent Cleaning of Rubens’s lery of Scotland, Inv. No.io73a; 115 x Chapeau de Paille’, The Burlington Maga­

87.5 mm. l i t . K. Andrews and J.R.Brot- zin e, XC, 1948, pp.257-261 (repr.); M a rtin , chie, National Gallery of Scotland. Catalogue Cat. National Gallery, pp.174-182, N0.852; o f Scottish Drawings, Edinburgh, i960, p,93, National Gallery Illustrated General Cata­ No. 1073a; Martin, Cat. National Gallery, logue, London, 1973, p.640, N0.852 (repr.); pp.176,181, under N0.852; (7) Engraving O. Millar, The Queen’s Pictures, London, by R, Cooper, 1823 (V.S., p.167, N0.115, as 1977, p.154. Hélène Fourment); (8) Engraving by S.W. Reynolds, 1823 (V.S., p.167, No.117, as Hélène Fourment). The sitter is seen almost full face, her body very slightly turned to the left. She wears e x h i b i t e d :Mr.Stanley’sRooms,London, a dark bodice with red sleeves. Over her 1823, N0.21 ; An Exhibition of Cleaned Pic­ shoulders is a whitish-grey shawl, which tures, National Gallery, London, 1946-47, she holds in front with crossed hands. She No.52 (repr.). wears lace sleeves, no collar and a low l i t e r a t u r e : Reynolds, Journey, p. 187; décolleté. She has on a broad-brimmed hat Paquet-Syphorien, Voyage historique... pen­ of dark felt with a large ostrich-feather. dant les années 1811,1812 et 1813, II, Paris, She is seen out of doors in bright sunlight, 1813, p.83; Description des quatre superbes suggested even by the transparent shadow tableaux... par Rubens à vendre à l’aimable, beyond her face. 1817, No.i; Smith, Catalogue Raisonné, II, Gregory Martin pointed out various pp.228-231, No,8n; C.J.Nieuwenhuys, A pentimenti: ‘the hat was first sketched in Review of the Lives and Works o f Some o f the slightly higher and more to the left; only Most Eminent Painters, London, 1834, the thumb and forefinger of the sitter’s pp.204-205, 210-213; Waagen, Kunstwerke, left hand were first depicted; the thumb I, pp.278-280; C.M., ‘Collection de Sir of her right hand was originally higher; R.Peel’, in Le Cabinet de l’Amateur et de part of her left cuff was shown; one of the l’Antiquaire, IV, Paris, 1845-46, pp.63-65, gold tips to the bow on her left sleeve has N0.34; C.F.H., in The Tim es, 29 April, been painted out; the shawl originally 1847; Waagen, Treasures, I, pp.398-399; billowed out more to the right, and part Rooses, IV, pp. 175-179, N0.949; K.d.K., ed. of the white chemise on her right shoulder R osenberg, p.224; Dillon, Rubens, pp. 160, has been painted out’. 195, N0.4, pl.CCIX; Seymour de Ricci, The arguments for the identification as ‘Joséphine as a Rubens Buyer’, The Burling­ Suzanna Fourment have been set out ton Magazine, XXII, 1912, p. 170; G liick, above (N0.101 ; Fig.109). This portrait, like CATALOGUE NO. I02A the previous one, is to be dated between ne sais trop d'où lui est tenu le nom de Chapeau de Paille, puisqu'on effet la femme est coiffée d'un C.1620 and C.1625. Only Glück proposed a vrai chapeau de feutre orné d'un plumet blanc’). much later date, 01630, and did not be­ Many attempts have been made to explain the lieve the sitter to be Suzanna Fourment. anomaly, four hypotheses being advanced: (i) the word is a french corruption of the original Dutch In its plasticity and use of space this paint­ 'Spaensch-Hoedeken' (thus Smith, Waagen and ing is also closely comparable to that of Rooses); (2) it is a corruption o f 'chapeau de poil’ Isabella Brant at Cleveland, of the same (first proposed by C.H. f. in 'the Times, op. cit.; later adopted in the National Gallery catalogues of 1911 period (No.75; Fig.36), where we also find and 1912, and by Paul Jamoi); (3) the original the typical luminosity and transparent ‘Chapeau de feutre' was corrupted into 'Chapeau shadows. Like theprecedingwork (No. 101 ; de feurre’, an old french word for 'straw' (thus Vitale Bloch in 1948); (4) ‘ paille’ is to be understood Fig. 109), this portrait is perhaps connected as ‘parasol’ or ‘shelter from the sun’, a meaning with Suzanna’s betrothal and marriage to which it had till the 18th century (Evers). The con­ Arnold Lunden in 1622: Gregory Martin fusion is without doubt due to the fact that from a certain time in the later part of the 18th century, also drew attention to her prominently Mensaert’s description of the real ‘chapeau de displayed engagement or wedding ring. paille’ (see under No. 101) was wrongly applied to In discussing the preceding work I have the present painting. 2. K .d .K ., p .324; for further details, see Vlieghe, Re­ pointed out that this portrait may well be m a r k s, p .108 (repr.). identical with a painting formerly in the possession of the Lunden family, which was described by Descamps in 1753 and by Michel in 1771. For two centuries and 102a. Suzanna Fourment: Drawing until recently the present portrait was (Fig-113) consistently given the erroneous title ‘Cha­ peau de paille’. Gregory Martin, basing Black and red chalk, heightened in white, himself in ter alia on Burchard’s documen­ traces of black ink (the eyes); 344x tation, was able to show that this was due 260mm.; inscribed above in red chalk: to a confusion which arose c. 1770-80, at a Suster van Heer Rubbens; below, to the time when the portrait began to be known right, in brown ink : P. P. Rubens. among connoisseurs.1 Vienna, Albertina. Inv. No. 17.651. Suzanna Fourment’s pose and hat in p r o v e n a n c e : Duke Albert o f Sachsen- this portrait are remarkably similar to Teschen (Moritzburg near Dresden, 1738 those in the Portrait of a Lady in the Gul­ -Vienna, 1822). benkian collection in Lisbon. This is per­ haps why some have identified the sitter e x h i b i t e d : V ienna, 1930, No.202; A n t­ in that portrait as Suzanna Fourment.2 w erp, 1930, N0.435 ; Zürich, 1946-47, N0.93 ; This is not so, however : the figure is of a Old Master Drawings from the Albertina, different type, with a shorter and fatter The Arts Council of Great Britain, Lon­ face. Moreover, Suzanna Fourment had don, 1948,No.71 (repr.) (Paris, 1949, N0.102 been dead some years when the Lisbon (repr.); Brussels, 1949, N0.98 (repr.); Re- portrait was painted. tnekmüvek a Bêcsi Albertindból, Szépmüvés- zeti Muzeum, Budapest, 1966, N0.68; I. T h e follow in g is a brief sum m ary o f G regory M ar­ Vienna, Albertina, 1977, No.43 (repr.). tin's argument. The title 'Chapeau de paille’ was first certainly applied to the work by Sir Joshua l i t e r a t u r e : Rooses, V, pp.264-265, No. Reynolds, in 1781. Its correctness was challenged as early as 1813 by Paquet-Syphorien (op . c it., p.83: ‘je 1506, pl.420; Schönbrunner-Meder, V,

109 CATALOGUE NOS. IO3-IO4 pl.527 ; G lück, Liebesgarten, pp.88-90 (repr.), bens’s death, is also found in several other reprinted in Glück, Rubens, Van Dyck, drawings in the Albertina, Vienna.2 pp.136, 139-141, fig.86; H.Leporini, R u ­ bens. 8 Kupfertiefdrücke, Vienna-Leipzig, 1. E.g. Gliick-Haberditçl: c. 1626-27; O.Benesch, b e . c it.: C.1Ó25; Kuznetsov, Risunki: f.1625; E.M itsch, 1923 ;Glück-Haberditzl, p. 51, No.i62(repr.); be. cit.: c. 1626-27. Held, Drawings, I, pp. 135, 137-138, under 2. Cf. the list published in Held, Drawings, I, p .138; see No. 104 ; O. Benesch, Meisterzeichnungen der also under Nos. 80a and 115a. A lbertina , Salzburg, 1964, XIII ; Martin, Cat. National Gallery, pp.176, 178, n.23; K u z ­ netsov, Risunki, N0.117 (repr.); Vlieghe, 103. A Member of the Fourment Lunden, p.191, n.78; E.Mitsch, in Cat. Exh. Family Vienna, Albertina, 197 7, pp. 102-103, N0.43 (repr.). Whereabouts unknown; presumably lost.

c o p y : Painting (Fig.114), Paris, Musée du Louvre, Inv. N0.RF.2122; for references, The sitter is in three-quarter view facing see under No.104. right; her hair is braided at the back of her head. The expression is so similar to See, for further comment, No. 104. that of the portrait in the National Gal­ lery in London (No.102; Fig.no) that I 104. A Member of the Fourment consider this must be a direct study for the Family (Fig. 114) latter work, drawn from life. Rubens probably made several chalk studies of Oil on panel; 63 x 47.5 cm., oval. Suzanna Fourment from different angles Paris, Musée du Louvre. Inv. No. RF.2122. but with the same expression; one of these was undoubtedly a study of the p r o v e n a n c e : H.J.Stier d’Aertselaer, same pose as the London portrait. I have sale, Antwerp, 29 July 1822, lot 12 (as P or­ already suggested a similar preparatory trait de jeune femme vue de profil); Edward process for the Portrait o f Isabella Brant in Gray; Baron de Schlichting, Paris; be­ Cleveland (N0.75; Fig.36). As I have also queathed to the Louvre by the latter, in pointed out, that work is stylistically very 1914- similar both to the portrait of Suzanna e x h i b i t e d : Brussels, 1910, N0.357. Fourment in the National Gallery and to that in a private collection in Brussels l i t e r a t u r e : Smith, Catalogue Raisonné, (N0.101; Fig.109). The preliminary study II, p.227, N0.806 (as Hélène Fourment); for the Cleveland Isabella Brant in the J. Guiffrey, ‘Collection de M. le Baron de British Museum (No.75a ; Fig.38) also close­ Schlichting’, Les Arts, L, February, 1906, ly resembles the present sheet in style, pp,4, 7 (repr.); Rooses, Vlaamsche Kunst, especially the sculptural modelling of the p. 12 (as not Suzanna Fourment); Fierens- face with red chalk and white highlights, G evaert, I, p.84, pl. XXXIV (as not S uza n n a and the precise rendering of the hair. In Fourment); Glück, Liebesgarten, pp.87,89-90 view of this, the traditional dating of the (repr.), reprinted in Glück, Rubens, Van sheet to about 1625 or 1626-271 must be D y ck, pp.136-139, fig.85; Vlieghe, Lunden, shifted to the early 1620s. The inscription p.191 (repr.); Bréjon-Foucart-Reynaud, in the upper left corner, added after Ru­ p.122 (repr., as a copy).

110 CATALOGUE NO. Id-JA

The sitter is in full profile to the left, with 104a. A Member of the Fourment a low décolleté. The portrait proper is en­ Family: Drawing (Fig. 115) closed in a trompe-l’œil cartouche. Jean Guiffrey first identified the sitter as Black, red and white chalk ; 388 x 280mm. Suzanna Fourment in 1906 ; previously she Formerly, a sheet ot paper was pasted on was thought to be Hélène Fourment. The the mount with the following 17th-cen­ identification as Suzanna was upheld in tury inscription: Mademoiselle fom ent sœur later publications, including an article by de la seconde fem m e de R ubens. myself in 1977. However, the difference Rotterdam, Museum Bovmans-van Beuningen. between this lean face, with markedly Inv. N0.V58. thin lips, and the fuller features of Su­ p r o v e n a n c e : Mrs L. M. Bancroft, sale, zanna as we see them in the portraits in London (Sotheby’s), 16 May 1928, lot 51 a Brussels private collection (N0.101; (repr.); F.W.Koenigs, Haarlem (1881­ Fig.109) and the National Gallery (No.102; 1941); purchased by D.G. van Beuningen, Fig.no) seems to me too great to justify Rotterdam and Vierhouten (1877-1955), this long-standing identification. One of in 1940, and presented by him to the Mu­ the main arguments in support of it is the seum Boymans in 1941. seventeenth-century inscription on the study for this portrait, or the original e x h i b i t e d : Ausstellung aller Malerei aus thereof, in the Boymans-van Beuningen Privatbesitç, Kunstverein, Düsseldorf, Museum in Rotterdam (No. 104a ; Fig. 115), 1929, N0.87 (repr.); Am sterdam , 1933, which reads : ‘Mademoiselle forment sœur No. 123 (repr.); Meestenverken uil vier de la seconde femme de Rubens’. But the eeuwen, 1400-1H00, Museum Boymans, inscription is no longer visible and was in Rotterdam, 1938, No.346 (repr.); Brussels, any case not made on the drawing itself 1938-39, No.19 (repr.); Rotterdam , 1939, but affixed to the mount. I am prepared N0.21 (repr.); Rotterdam, 1943-49, N0.131 ; to accept, with reservation, that the text Paris, 1949, N0.101; Brussels, 1949, N0.97; does apply to the drawing and that what R otterdam , 1932, No.68; A n tw erp , 1936, it says is true; but it is very general, and No. 101 (repr.); Tris toleti NiçoçemskéKresby, could equally refer to one of Hélène’s 140 0 -IJ0 0 , Kinsky Palace, Prague, 1966, other sisters. N0.46 (repr.); Dessins flamands et hollan­ Burchard too regarded the portrait as dais du dix-septième siècle, Institut néer­ original, but its authenticity is no longer landais, Paris, 1974, N0.98 (repr.). accepted in the recent Louvre catalogue, and I agree with this view. l i t e r a t u r e : Glück-Haberditçl, p.51, Rubens used the same female profile on N0.161 (repr.); T.Borenius, in Pantheon, I, the right of the Garden o f Love in Madrid.1 1928, p.167; E.Haverkamp-Begemann, The generally accepted dating of that V ijf eeuwen tekenkunst, tekeningen van Euro­ picture to the early 1630s therefore seems pese meesters in het Museum Boymans te to me appropriate for the original of R otterdam , Rotterdam, 1957. P-^8, N0.31; the present portrait and the preliminary Held, Drawings, p.137, No. 104, pl.114; study in Rotterdam. Bur char d-d’Hulst, Drawings, pp.213-214, N0.136 (repr.); Martin, Cat. National Gal­ lery, pp.178-179, under No.852; Vlieghe,

I. K .d .K ., p.348. Lunden, p,i9i, n.78.

u i CATALOGUE NO. 105

The sitter faces left, in slightly three- co p ie s: (i) Left half of the Portrait of quarter view. Her hair-style is the same Frans Francken the Elder and his W ife, paint­ as in the profile portrait in Paris (N0.104; ing by Cornelis de Vos, whereabouts un­ Fig. 114), but she is differently dressed : in­ known. p r o v . Münster, private collec­ stead of the low décolleté she wears here tion, 1939. exh . Meister holländischer und a bodice fastened to the top and a flat flämischer Malerei aus westfälischem Privat- upright lace collar. besitç, Landesmuseum, Münster, 1939, A strip of paper was formerly attached No.81. li t . K.Langedijk, ‘Ein Bildnis to the mount of this drawing, with the Frans Franckens I., gemalt von Frans above-cited text in a seventeenth-century Pourbus dem Jüngeren, in den Uffizien hand. The strip disappeared after the sale zu Florenz’, Mitteilungen des Kunsthistori­ of 16 May 1928.1 Since the drawing was schen Institutes in Florenç, IX, i960, p.263 first published by Gliick and Haberditzl (repr.); (2) Painting (Fig.117), New York, in 1928 it has always been regarded, partly Metropolitan Museum of Art, Inv. No. on account of the text, as a portrait of 32.100.37;panel,64 x 48.5 cm. p r o v . Leo­ Suzanna Fourment; however, Gregory pold II, King of the Belgians (1835-1909); Martin rightly doubted whether it was a Cronberg, A. de Ridder, sale, Paris (G. Pe­ likeness of her. Under the preceding cata­ tit), 2 June 1924, lot 59 (as R ub en s); pur­ logue entry I have suggested the possibil­ chased by Kleinberger; New York, Mi­ ity of a different interpretation of the chael Friedsam, c. 1926; bequeathed by the text. latter to the Metropolitan Museum in As I suggested with regard to the stu­ 1931, lit . C.J.Holmes, ‘Pictures lately in dies for the portraits of Isabella Brant at the collection of the King of the Belgians’, Cleveland (No.75a; Fig.38) and Suzanna The Burlington Magazine, XV, 1909, p.238 Fourment in the National Gallery, Lon­ (repr.); W.Bode, La galerie de tableaux de don (No.io2a; Fig.113), this drawing was fe u M. A. de R id der, Berlin, 1913, p.19, also, in my opinion, one of a series re­ pl.73 ; R. Oldenbourg, Die flämische Malerei presenting the sitter in different poses. des XVII.Jahrhunderts, Berlin, 1922, p,66, fig.29 (as A. van Dyck); Baetjer, Cat. New i . A facsimile of this text appears below the reproduc­ York, I, p.161; III, p.372 (repr., as W o rk ­ tion of the drawing in the above-mentioned sale shop of Rubens); Liedtke, Cat. New York, catalogue of 16 May 1928. pp.224-225, pl.85 (as Workshop of Rubens); (3) Painting, Frankfurt am Main, Städel- sches Kunstinstitut; panel, 58,5x 42.7 cm. p r o v . Purchased from Dr Grambs, 1817. 105. Frans Francken the Elder lit . H.Weizsäcker, Catalog der Gemälde- (Fig. 116,118) Gallerie des Städelschen Kunstinstituts in Frankfurt am Main, Frankfurt am Main, Oil on panel; 61 x 47 cm., oval. 1900, p.104, N0.133; (4) Painting, where­ Montpellier, Musée Fabre. Inv. N0.833-I-I. abouts unknown; panel, 53.5 x42 cm. p r o v e n a n c e : Chevalier Erard, sale, Pa­ p r o v . Seighford Hall, Staffordshire, Ma­ ris, 7 August 1832, lot 127 (as Portrait du jor R.E.Eld, sale, London (Christie’s), Graveur Boiswert); purchased by François- 12 February i960, lot 52 (as A. van Dyck); Xavier-Pascal Fabre, 1833; bequeathed by (5) Painting, whereabouts unknown. him to the city of Montpellier in 1837. prov. Berlin, Julius Böhler, 1929 ; (6) Etch-

112 CATALOGUE NO. 106 ing by A. van Dyck (Fig.119). l i t . M a u- The sitter can be identified as the painter quoy-Hendrickx, p.15, No.6 (repr.). Frans Francken I (1542-1616) thanks to the portrait etching by Van Dyck (Fig. 119) e x h i b i t e d : Les chefs-d’œuvre du Musée de after Rubens’s prototype, which also ap­ Montpellier, Orangerie, Paris, 1939, No. 122 ; pears in the Iconography. Meisterwerke des Museums in Montpellier, The present portrait may have been Kunsthalle, Bern, 1939, N0.98; London, modified into an oval shape as late as the 1 953- 54, No.206; Le portrait à travers les eighteenth century. The original rectan­ collections du Musée Fabre, Musée Fabre, gular form can be seen in a number of Montpellier, 1979, N0.2; Tokyo, tçSy, copies, the best of which probably is the N0.49 (repr.). example in the Metropolitan Museum, l i t e r a t u r e : Smith, Catalogue Raisonné, New York (Fig. 117). It seems to me quite III, p.225, No.799 (as A. van D yck); A. van likely that Rubens painted this portrait of Hasselt, Histoire de P. P. Rubens, Brussels, his fellow-artist at the time of the latter’s 1840, p.336, No.1078; Inventaire général des death in 1616; at all events, the sculptural richesses d’art de la France. Province. Monu­ use of lighting is a stylistic feature which m ents civils, I, Paris, 1878, p. 258 (as ? Rubens) ; does not conflict with that date. Rooses, IV, pp. 182-183 (as A. van Dyck); H. Weizsäcker, Catalog der Gemälde-Gallerie des Städelschen Kunstinstituts in Frankfurt 106. Jan-Gaspar Gevartius (Fig. 122) am M a in , Frankfurt am Main, 1900, p.104, under No.133 (as A. van Dyck); K.d.K., van Oil on panel; 119 x 98 cm.— Verso: the Dyck, ed. Schaffer, p.144 (as A. van Dyck); monogram MV of Michiel Vriendt and A.Joubin, Musée Fabre, Montpellier. Cata­ the brand of Antwerp. logue des Peintures et Sculptures, Paris, 1926, Antwerp, Koninklijk Museum voor Schone No.276; H.Vey, Van Dyck Zeichnungen, K unsten. No.706. Brussels, 1962, p.319 (as a version of lesser p r o v e n a n c e : Jan-Gaspar Gevartius ; Ca- quality than Copy [2]); K.Langedijk, ‘Ein rel-Jacob de Sivory, Gevartius’s grandson ; Bildnis Frans Franckens I., gemalt von inherited, after the latter’s death, by the Frans Pourbus dem Jüngeren, in den Uffi­ children of Jan Roose and Marie de Kins- zien zu Florenz’, Mitteilungen des Kunst­ schot, daughter of Ambrosius Kinsschot historischen Institutes in Florenç, IX, i960, and Anna Gevaerts, Jan-Gaspar’s sister; pp.259-264 (repr.); Liedtke, Cat. New York, Roose sale, Antwerp, 8 May 1798 (19 Flo­ I, p.225 (as probably a workshop replica); réal VI), lot i, apparently withdrawn; in D. Bodart, in Cat. Exh. T okyo, 19.S3, pp-48 possession of the Roose family until 1830; -49, No.49 (repr.). Philippe Gilles, ’s Gravenwezel; be­ queathed to the Museum by the latter in

A shoulder-length portrait. The sitter is 1874- seen nearly full face and looks directly at c o p i e s : (1) Painting (head and shoulders the spectator. He is dressed in black, with only) by ?T.Willeboirts Bosschaert, Ant­ a flat white collar. He holds his cloak over werp, Museum Plantin-Moretus; canvas, his shoulders with his right hand. I have 64 x 50.5 cm. p r o v . Balthasar Moretus II. discussed the origin of this pose under l i t . M. Rooses, Catalogue du Musée Plantin- N0.90. M o retu s, Antwerp, 1922, pp.13-14, N0.9;

113 CATALOGUE NO. 106 M. Sabbe, De Moretussen en hun kring, Ant­ Johannes (Jan) Gevartius, studied law and werp, 1928, pp.90,116 (repr.); (2) Painting the humanities at Louvain University. He (head and shoulders only), Paris, Musée was internationally famous as a classical Cognacq-Jay, N0.102; panel, 54 x42 cm. scholar, notably for his critical edition of p r o v . P.J. de Marneffe, sale, Brussels, Statius; he also wrote an unpublished 16 May 1809, lot 14; J. Reiset, sale, Paris, commentary on the work of the Stoic 29 April 1870, lot 5 (as A. van Dyck); De Emperor Marcus Aurelius. He was a close Beurnonville, sale, Paris, 12 May 1881, friend of Rubens and provided for the lot 439; J.Dollfuss, sale, Paris (G. Petit), humanistic education of the painter’s 2 March 1912, lot 16. exh . Exposition des eldest son Albert. He held the office of Orphelins à’Alsace-Lorraine, Louvre, Paris, Antwerp town clerk without interruption

1885, N0.437. l i t . E.Jonas, Collections lé­ from 1621 to 1662, and as such was re­ guées à la ville de Paris par Ernest Cognacq, sponsible for the organization of civic fes­ Paris, 1930, p.33, No.102 (as R ubens); (3) tivities on solemn occasions and for the Painting (head and shoulders only), Latin inscriptions connected therewith: whereabouts unknown ; 52 x 43 cm. p r o v. most notably the Pompa Introitus Ferdi- sale, London (Christie’s), 26 October 1973, n an di of 1635, which was also the most lot 115; (4) Engraving by P. Pontius fruitful result of his friendship and co­ (Fig.121; V.S., p.183, N0.249). operation with Rubens.1 The sitter’s identity is made clear by exhibited: Antwerp, 192y, N0.28 ; London, the inscription beneath the engraving 1 9 5 ]- )4 , N0.212; Roem der Belgische Ge­ made posthumously by Paul Pontius m eenten, Palais des Beaux-Arts, Brussels, (Fig.T2i).2 Gevartius is shown to knee- i960, N0.260. length, seated in a chair, in three-quarter literature; D.Papebrochius, A n n a les view— almost in profile, but looking Antwerpienses, [c.1700; ed. F.H.Mertens directly at the spectator. He wears black and E. Buschmann, Antwerp, 1848],pp.259, official costume with a starched fluted 276; Michel, Histoire, pp.254, 255, 360; ruff. He is seen writing, with a quill pen Smith, Catalogue Raisonné, II, p.264, N0.892 ; in his right hand, his left resting on an R ooses, IV, pp.186-187, N0.958; K.d.K., ed. open manuscript. Facing him on the desk Rosenberg, p.302; Dillon, Rubens, pp.152- to the left is a bust of Marcus Aurelius, 153,190, No.22, pl.CCXCIII; K .d .K .,p.304; and behind it, against the wall, a book­ Evers, Neue Forschungen, p.157; G.Gepts, shelf with four books. ‘Tafereelmaker Michiel Vriendt, leveran­ We do not know on what occasion this cier van Rubens’, Jaarboek Koninklijk M u­ work was painted. It was no doubt com­ seum voor Schone Kunsten Antwerpen, 1954­ missioned by Gevartius himself. The ear­ 60, p.84; J. S. Held, Rembrandt’s Aristotle liest known mention of it is by Papebro­ and other Rembrandt Studies, Princeton, chius, who records it, shortly before 1714, 1969, p.36; Jaffé, Rubens and Italy, p.56, as belonging to Gevartius’s grandson pi. 166; Warnke, Rubens, pp.99-100, fig.53. Carel-Jacob de Sivori. As the latter died childless, the portrait was inherited by the Roose family, descendants of Gevar­ Jan-Gaspar Gevaerts or Gevartius (Ant­ tius’s sister Anna, who married Ambro­ werp, 1593-1666), son of the Antwerp sius de Kinsschot and whose daughter lawyer and city secretary of Turnhout, married Jan Roose.3 The painting still be­

114 CATALOGUE NO. Io6 longed to a descendant of the collateral pare the portrait with its probable coun­ line in 1771, when it was mentioned in terpart. In 1944 Hdith Greindl published Michel’s biography of Rubens— the first a portrait, attributed by her to Cornelis record of it since Papebrochius. de Vos, of Jan Gevartius, Jan-Gaspar’s Rooses dated the portrait c. 162.8, and father (Fig.120).6 This closely resembles this has since been generally accepted; Rubens’s portrait in several ways: it is on only Burchard proposed a date c.1631, panel and of the same dimensions, and just after Rubens’s period of extended for­ the sitter is on the same scale in relation eign travel in 1628-30. Rooses’s date seems to the picture surface; his pose is similar, to me in any case the earliest possible: the but in reverse; the details are even more portrait already shows the freer execu­ emphasized than in Rubens’s painting. tion that characterizes Rubens’s ultim a On these grounds, Greindl supposed maniera. However, Rooses may have been that father Gevartius’s portrait may have influenced by the fact that in 1628 Gevar- been a pendant commissioned at a later tius was engaged in research on Marcus date by the younger Gevartius to form a Aurelius. On 24 December of that year kind of diptych with the portrait of him­ Rubens wrote to Gevartius that at the self. The resemblances indeed seem to me latter’s request he had tried, unsuccess­ too striking to be accidental, but I wonder fully, to trace writings by the emperor in if the portrait supposedly by De Vos is not private libraries in Spain.4 The prominence the earlier of the two. It is even more of the bust of Marcus Aurelius in the por­ anecdotic and old-Netherlandish in style trait may have suggested it was painted than the other, and its existence might at or soon after a time when Gevartius was have obliged Rubens, in his own work, to concentrating on the latter’s work. take more account of the old tradition. Unlike many other humanistic portraits Be that as it may, the two portraits to­ by Rubens, this one makes a rather stereo­ gether are highly reminiscent of a famous typed impression. We do not find here Netherlands diptych of the early sixteenth the baroque compositional scheme or century, the portraits of Erasmus and Pe­ Titianesque bravura that lend such direct­ trus Aegidius painted by Quinten Metsijs ness to the portraits of, for example, in 1517 for Sir Thomas More.7 Gevartius Ophovius (N0.126; Fig.155), Van Thul- and Rubens certainly knew this double den (No.152; Fig.220), Nonnius (No.124; portrait or one of its many copies. Jan­ Fig. 152) or Turquet de Mayerne.5 There Gaspar Gevartius, as a humanist, may is also no attempt to suggest a concen­ have felt an affinity with Metsijs’s sitters, trated sculptural effect. The depiction of and moreover Petrus Aegidius, like Ge­ the sitter in semi-profile works against vartius senior and junior, was in his time this, and the anecdotal, descriptive ele­ a city official. ment is strongly emphasized, with loving Despite its old-fashioned style, Rubens’s attention to the books and bust indicating portrait was not without influence, espe­ the humanist’s profession. All these are cially on related works with a humanist stylistic attributes which relate the por­ connection. As Held pointed out, Rem­ trait not so much to the Italian Renais­ brandt must have been influenced by sance as to early Netherlandish proto­ Pontius’s engraving after this portrait in types. his A ristotle (in the Metropolitan Museum, This impression is confirmed if we com­ New York).

115 CATALOGUE NO. I07

1. For Gevartius’s biography see M.Hoc, Le déclin de Jan Gevartius’s epitaph (cf. F. Baudouin, ‘Het epitaaf Humanisme belge. Étude sur Jean-Gaspard Gevaerts, van Jan Gevaerts’, Liber Amicorum Léon Voet, Brus­ philologue et poète (1593-1666), Brussels, 1922. sels, 1985, p.490 [repr.]). G evartius’s features can be 2. A s H eld (loc. cit.) rightly pointed out, this work compared to those in the bust portraitof the scholar, cannot have been executed before 1644, in which by which the epitaph is decorated. Furthermore, we year Gevartius became 'Counsellor and historio­ see there the arms and the emblematical dove of grapher' to the Emperor Ferdinand III (cf. M.Hoc, peace, which also appear in the Turnhout painting. op . c it., p.54). In the engraving he wears a portrait 7. See for thes eportraits, their replicas, copies and pe­ medallion of the emperor and is described in the digree : Friedländer, VII, p .64, N os.36-37, pls.40-41. inscription as holding the above-mentioned office, Jaffé saw a source of inspiration in the similar pose whereas in the painting he wears no decoration. of Claudio Merulo, painted by Annibale Carracci 3. For the genealogy of Gevartius and his descendants (Naples, Pinacoteca Nazionale; Jaffé, Rubens and see Baron de Herckenrode, Complément au Nobiliaire Ita ly , pi. 165). I think it more probable, however, des Pays-Bas et du Comté de Bourgogne, G hent, 1864, that both Carracci and Rubens, independently of p p.74ff- each other, followed an older model. 4. ‘Ick hebbe, Mynheere, eenighe diligentien ghedaen om te vernemen oft in eenighe particuliere biblio­ theken iet meer te vinden waere van Uwen Marcus, als tghene tot noch toe bekendt is maer en hebbe tot noch toe niet becomen non desunt tamen qui 107-108. TWO PENDANTS: PETER affirment se vidissein indita illa diuiLaurentij penu codices ras* duos, D. Marci titulum praeferentes, VAN HECKE (?) AND HIS sed ex circumstantijs, pondere et facie codm (erat CONSORT, CLARA FOURMENT(?) enim mihi cum homine minime Graeco negocium), nihil magni aut noui auguror, sed vulgaria reor quae jam dudum exstant Marci opera esse. Si que 107. Peter van Hecke (?) (Fig. 123) lux aut sordium eluuies ex illorum collatione erui possit, non est meum perscrutari, quem tempus et Oil on panel; 115 x 90 cm. vitae ratio et institutum alio auocant et prae ceteris idiotismus ab intimis istis Musarum penetralibus Whereabouts unknown. procul arcet'. (‘I have made some effort to learn whether in the private libraries something more is p r o v e n a n c e : Vicomtesse de Spoel- to be found about your Marcus than is already berch; Léon Gauchez; purchased from known.So far I have not discovered anything.How­ the latter by Baron Edouard de Roth­ ever, there are some who affirm that in the famous Library of San Lorenzo they have seen two manu­ schild, before 1890; in the Rothschild scripts bearing the name of Marcus Aurelius. But collection, Paris and Geneva, until recent­ from the description of the weight and appearance ly; Colnaghi’s, New York. of the volumes (for I was talking with a man who knew not a word of Greek) I augur nothing new or c o p y : Painting (Fig.125), whereabouts important. I believe they contain only the familiar and already long-known works of Marcus. Whether unknown; panel, 113 x 90cm. p r o v . Baron there is any light to be gained from collating the von Grote; purchased in Brussels by texts, or it is simply a mass of rubbish, I am not the Hackenbroich; Frankfurt am Main, Baron one to do the research. For my time, my mode of life, and my studies draw me in another direction, Max von Goldschmidt-Rothschild (1926); and besides, my ruling genius keeps me away from Baron Albert von Goldschmidt-Roth­ this intimate sanctuary of the Muses'); (Rooses-Rue- schild (1950). e x h . Meisterwerke alter M a­ le n s ,V , pp.14-15; translated byR.Saunders-Magurn, The Letters of Peter Paul Rubens, Cambridge, Mass., lerei aus Privatbesitç, Frankfurt am Main,

1955, PP-2-93—2.95). 1926, N0.58 (repr.). l i t . Duverger, Van 5. Cf. Huemer, Portraits, N o.47, fig.128. Hecke, p.163, n.93. 6. Oil on panel; 120x98cm.; Turnhout, Museum Taxandria. Edith Greindl (Corneille de Vos, portrai­ l i t e r a t u r e : Rooses, IV, pp.192-193, No, tiste flam and,Brussels, 1944, p .117) says that the p o r­ trait, then in a private collection, is fully signed by 966; K.d.K., ed. Rosenberg, p.172; G liick, De Vos ; however, recent cleaning proved this signa­ Review , p.58, reprinted in Glück, Rubens, ture to be false. The traditional identification as Jan V a n D yck, p. 161 (as A.van Dyck); Bode, Gevartius is corroborated by Adriaan Lommelin’s engraving after Erasmus Quellinus II, representing Kritik und Chronologie, pp.200-201 (as

116 CATALOGUE NO. IO7

A .van Dyck); K.d.K., Van Dyck, ed. Schäf- Schaeffer, Bode and Glück, who believed fe r , p.149 (as A.van Dyck); K.d.K., Van the portraits to be by Van Dyck. Bur­ D yck, p. 106 (as A. van Dyck) ; Duverger, Van chard expressed the same view in his Hecke, p.163; M.Jaffé, ‘Rubens’s Portraits notes. Both Rooses and the critics who of Nicolaas Rockox and others’, Apollo, contested Rubens’s authorship of the por­ CXIX, 1984, pp.275-281 (repr.). traits dated them c.1618. I have not been able to see the originals and can only judge from photographs, but it appears The sitter, with a wide moustache and to me that the ascription to Van Dyck short pointed beard, is shown standing cannot be justified and that a reattribu­ and facing the spectator, but with his body tion to Rubens should be seriously con­ in three-quarter view to the right. He sidered. During the preparation of this wears a black costume with a cape over catalogue raisonné Jaffé, in a recent arti­ his shoulders and a flat lace collar; in his cle, also came to the same conclusion. left hand he holds a broad-brimmed hat. Like Jaffé, I would date the works later The background is for the most part hid­ than has hitherto been supposed, viz. den by a curtain ; only on the right is there after 1630. It seems to me that the freer a column base with a patch of sky beyond. brushwork and the gently merging shad­ Max Rooses was the first to publish this ows in the faces and hands are comparable and the next portrait (N0.108; Fig.124). with other portraits by Rubens dating He does not give arguments for identify­ from after 1630, such as the late Self-Por­ ing the sitters with Peter van Hecke II and trait in Vienna (No. 137 ; Fig. 180). A second, Clara Fourment. There was no doubt an even stronger argument for a late dating old tradition to that effect, and it should is afforded by the drawings for Rubens’s not be dismissed as baseless, since we St Cecilia in Berlin,2 dating from the 1630s, have here less well-known members of on the reverse of Rubens’s drawn sketch Rubens’s family circle. In my opinion this for the portrait of Peter van Hecke in the old identification deserves more credit British Museum (No, 107.1; Fig. 127). These than, for example, the association of drawings, as Jaffé has also stressed, lend countless portraits of ladies with the important further support to the ascrip­ names of Isabella Brant or Hélène Four­ tion of the present two portraits to Ru­ ment. Peter van Hecke II was born at bens. A late dating for this portrait would Antwerp in 1591 and in 1612 married tend to confirm the traditional identi­ Clara Fourment, daughter of the tapestry fication of the couple: the corpulent Peter and silk merchant Daniel Fourment, van Hecke looks more like a man of 40 whose partner and successor he later be­ than one of 27, which would be his age if came. He was Rubens’s brother-in-law the portraits dated from c.1618. through the latter’s marriage in 1630 to There is a second version of this set of Clara’s younger sister Hélène. Peter van portraits: in 1950 it was sold at Brussels Hecke died at Antwerp on 15 March and since then its whereabouts are un­ 1645.1 known. As far as can be concluded from The attribution to Rubens, proposed by the photographs, the quality of these Rooses, also seems to be based on an old portraits, which are likewise painted on tradition that can no longer be verified. panel, does not seem to be much inferior It was disputed by later authors such as to that of the ex-Rothschild set. However,

117 CATALOGUE NOS. I07a-Io 8 since I have not seen these paintings, I The sitter is shown to knee-length. Com­ think it preferable to list them here— at pared to the final work, he is seen more least provisionally— as copies (Figs.125, from below and his body is more in 126). profile. The drawings on the reverse are directly 1. For Van Hecke and the Fourments, see especially connected with Rubens’s St Cecilia in Ber­ Duverger, Van Hecke and E. D uverger, 'H ecke, lin, dating from the 1630s.1 Although Hind Peter II van, handelaar en kunstverzamelaar’, in Nationaal Biografisch Woordenboek, V, Brussels, 1972, had pointed this out, the studies contin­ cols. 435- 440. ued to be overlooked. As noted above (see 2. Cf. Vlieghe, Saints, I, pp.127-129, N0.82, fig.144. under No. 107), they are an important argument for attributing the portraits of Peter van Hecke and Clara Fourment to Rubens and dating them in the 1630s. 107a. Peter van Hecke (?): Drawing (Fig. 127) i. Reproduced in Cat. Exh. L o n d o n , 1977, P-77, No. 81V.; for the Berlin picture, see Vlieghe, Saints, I, Black chalk; 413 x 345 mm.; inscribed by N0.82, fig.144; I failed to list the studies on the back of the drawing discussed here. an 18th-century hand, in the right corner below: R ubens; below, to the left, the mark of R. Cosway (L.628); below, to the right, the marks of J. Thane (L.1544), 108. Clara Fourment (?) (Fig. 124) J. Richardson Senior (L.2432) and (in the corner) T. Hudson (L.2432). Oil on panel; 115 x 90 cm. London, British Museum. Whereabouts unknown. Inv. N0.1895-5-9-48. p r o v e n a n c e : Vicomtesse de Spoel- p r o v e n a n c e :J . Richardson Senior (Lon­ berch; Léon Gauchez; purchased from don, 1665-1745); T.Hudson (London, the latter by Baron Edouard de Roth­ 1701-1779) ; J. Thane (London, 1782-1846) ; schild, before 1890; in the Rothschild R. Cosway (London, 1740-1821); W. Rus­ collection, Paris and Geneva, until recent­ sell (London, 1800-1884). ly; Colnaghi’s, New York. e x h i b i t e d : London, 1974, N0.86; London, c o p y : Painting (Fig. 126), whereabouts

1977, No.81 (repr.). unknown; panel, 113 x 87 cm. p r o v . Ba­ ron von Grote; purchased in Brussels by l i t e r a t u r e : Hind, Rubens, pp.28-29, Hackenbroich; Frankfurt am Main, Ba­ N0.91 (repr.); K.d.K,, Van Dyck, p.530 (as ron Max von Goldschmidt-Rothschild A.van Dyck); Rowlands, Rubens Drawings, (1926); Baron Albert von Goldschmidt­ pp.76-77, N0.81 (repr.); Jaffé, Exhibitions, Rothschild (1950). e x h . Meisterwerke alter p.628; K.Renger, [Review of Cat. Exh. Malerei aus Privatbesitç, Frankfurt am London, 1977], Kunstchronik, XXXI, 1978, Main, 1926, N0.59 (repr.). l i t . Duverger, p. 136; D.Freedberg, ‘L’Année Rubens, V a n Hecke, p. 163, n.93. manifestations et publications en 1977’,

Revue de l’Art, XXXIX, 1978, p.90, n.19 l i t e r a t u r e : Rooses, IV, p.160, N0.934; (as A. van Dyck);M .Jaffé, ‘Rubens’s Port­ K.d.K., ed Rosenberg, p. 173; Gliick, Review, raits of Nicolaas Rockox and others’, p. 58, reprinted in Gliick, Rubens, Van A pollo, CXIX, 1984, pp.276, 280 (repr.). D yck, p. 161 (as A.van Dyck); Bode, Kritik

118 CATALOGUE NOS. I09-IIO und Chronologie, pp.200-201 (as A . van from afar’. As De Jongh (Portretten van echt en trouw [Cat. Exh.] Haarlem, 1086, p.200) made clear, this Dyck) ; K.d.K., Van Dyck, ed. Schiiffer, p. 150 text was paraphrased again in Dutch moralizing (as A .van Dyck); K.d.K., Van Dyck, p. 107 literature from the late töth century onwards. (as A.van Dyck); Duverger, Van Hecke, p. 163; M.Jaffé, ‘Rubens’s Portraits of Nicolaas Rockox and others’, Apollo, CXIX, 1984, pp. 275-281 (repr.). 109. Isabella, Infanta of Spain, in the Habit of a Poor Clare (Fig. 128)

The sitter is shown to knee-length, seated Oil on panel; 56.8 x 44 cm. in an armchair. As with the portrait of Whereabouts unknown. her husband (No. 107; Fig. 123), her body p r o v e n a n c e : ’ Arnold Lunden (1595— is in three-quarter view to the left, while 1656), Antwerp, after 1640; ’van Schorel she seems to be gazing at the spectator. sale, Antwerp, 7 June 1774, lot 9; Lunden She wears a pearl necklace, large pearl family, Brussels; O.Wertheimer, Paris, earrings and a starched cartwheel ruff. since c.1952; private collection, Switzer­ Her black costume is relieved only by land (1962). white cuffs and a long row of buttons in front. She wears her hair in a chignon at e x h i b i t e d : R otterdam , 1953-54, No.50 the back, ornamented by a diadem. In (repr.); Elewijt, 1962, No.5 (repr.). her right hand she holds a fan of ostrich feathers. On the left, as in the companion l i t e r a t u r e : Haverkamp Begemann, Olie- portrait, is a curtain in front of a column; verfschetsen, pp.70-71. No.50 (repr.); De this is parted to reveal a river landscape, Maeyer, Albrecht en Isabella, p. 116 (as a probably inspired by the Scheldt, with a workshop replica); Vlieghe, Lunden, pp. two-masted ship. Very recently Eddy de 195-196 (repr.). Jongh argued persuasively that similar vistas with a sailing merchant-vessel, ap­ pearing in the background of certain This sketch-like bust of the Infanta is Dutch seventeenth-century portraits of generally taken to be the prototype, done married women, are to be considered as from life, of the official portrait painted metaphors for the virtuous housewife.' It by Rubens in 1625 (see further, under seems very likely that in this case too the No.no). briskly sailing vessel approaching the coast may have the same connotation. Like its counterpart, the painting is no. Isabella, Infanta of Spain, in the stylistically akin to other portraits of the Habit of a Poor Clare (Fig. 129) 1630s. If this depicts Clara Fourment, born in 1593, she would be about 40 years old, Oil on canvas; 120.5 x 90 cm. which is compatible with her appearance Whereabouts unknown. in the portrait.

p r o v e n a n c e : Schamp d’Aveschoot, I. This metaphor finds its origin in Proverbs 31: 10-14 sale, Ghent, 14 September 1840, lot 239; — ‘Who shall find a valiant woman? Far and trom purchased by Mme Durré for Henry H. the uttermost coasts is the price of her... she is like the merchant's ship, she bringeth her bread Gibbs, first Lord Aldenham; on sale as

119 CATALOGUE NO. 110 property of Lord Aldenham, London symbolism of the aura, representing Di­ (Christie’s), 10 December 1954, lot 84 vine Providence. After the death of her (repr.), apparently withdrawn; Lord Al­ consort Albert on 13 July 1621, Isabella denham sale, London (Christie’s), 29 May joined the Third Order of St Francis in 1981, lot 143 (repr., as Studio of Rubens). October of that year, and for the rest of her life wore the habit of a Poor Clare in c o p i e s : (i ) Painting, Florence, Palazzo sign of mourning. Like many other Spanish Pitti, Inv. N0.4263 ; canvas, 116 x 96 cm. Hapsburgs, Isabella always had a parti­ p r o v . First mentioned in the Grand- cular fondness for the Franciscans and Ducal Collections of Tuscany, at Florence, Poor Clares. In her youth she had been in c. 1654-55. e x h . Florence, 1 977, N0.92 (repr., frequent contact with the convent of the as R ubens), l i t . De Maeyer, Albrecht en Descalzas Reales in Madrid, which was Isabella, pp.115-116, n.io; D.Bodart, in founded by the Infanta Juana, youngest Cat. Exh. Florence, 1977, p.218, N0.92 daughter of Charles V. The convent orato­ (repr.); (2) Painting, whereabouts un­ ry served more or less as a chapel to the known; canvas, 115 x 85 cm. p r o v . Paris, court. Isabella always had a Franciscan as A. de Berghe, sale, Brussels (Fiévez), her confessor. It was from one of these 7 June 1906, lot 35 (repr., as A.van Dyck, confessors, Andreas de Soto, then Com­ Portrait d’une religieuse); (3) Painting, missioner-General of the Third Order of Monaco, Private Collection; canvas, St Francis for the Netherlands and Ger­ 116x 92 cm. p r o v . Monaco, Coll. Camba- many, that she received the habit of a cérès. e x h . Tokyo, 1985, No. 42 (repr.). Tertiary in which she is here depicted.1 l i t . D. Bodart, R ubens, Milan, 1981, p.106, The portrait was painted immediately No.626b (repr., as R ubens); id., in Cat. after the capture of Breda in June 1625, Exh. Tokyo 1985, pp.43-45, No. 42 (repr.). when the Infanta and Spinola were re­ e x h i b i t e d : National Exhibition of Works ceived as victors in Antwerp. The work o f A r t, Leeds, 1868, N0.756; Brussels, 1910, was executed during their stay there, as N0.375; London, 1950, N0.32; London, is made clear by Bellori and above all by 1953-54, No.166; Flandres, Espagne, Portu­ Philippe Chifflet in his history of the gal, du îye au lye siècle, Musée des Beaux- Brussels court from 1559 to 1632,2 and Arts, Bordeaux, 1954, N0.77; Elewijt, 1962, also by Hermanus Hugo in his O bsidio No .6. Bredana of 1626.3 We also know that the Infanta visited Rubens’s house on 10 July 1625, very possibly in connection with the Isabella, in the habit of a Poor Clare, is portrait.4 seen to knee-length. She is standing and The depiction of Isabella as a Poor turned slightly to the left, looking to­ Clare continued to be the official state wards the spectator and clasping her veil portrait until her death. Van Dyck’s por­ in her hands. Around her head are traces trait of 1628 is directly based on the type of an aura, largely obscured by over­ created by Rubens.5 painting and restoration. The original Burchard considered this to be the best appearance of the portrait is clear from of the different extant versions of this por­ other replicas (N0.111; Fig. 130) and the trait type.6 He also believed it to be wholly engraving after it by Pontius (No.112; autograph, an opinion which I cannot Fig.131). This engraving also explains the share. None of the execution seems to me

120 CATALOGUE NO. I l l consonant with Rubens’s style: above all n i. Isabella, Infanta of Spain, in the the habit with its stiffly falling folds is Habit of a Poor Clare (Fig. 130) clearly the work of an uninspired routine copyist. Oil on canvas; 116 x 89.5 cm. Pasadena, California, Morton Simon Inc. M u seum o f A rt.

p r o v e n a n c e : ’InfantaIsabella,Couden- berg Palace, Brussels; Hapsburg Family;

[. tor Isabella’s devotion to the Rule of St Francis and Galerie Sankt-Lucas, Vienna (1934); Thys­ her relations with the Poor Clares in particular, see sen Collection, Schloss Rohoncz, Lugano; the thorough study by Nora De Poorter (De Poorter Rosenberg and Stiebel, New York (1957); E u ch a r ist, I, pp.23ff.). 2. Chifflet writes in his Journal historique des choses purchased by Mr and Mrs Norton Simon, mémorables arrivées en la cour des Pais-Bas depuis l’an Los Angeles. 1519 jusques à l’an 1632 in clu s: ' 1025, Rubens peignit l'Infante à Anvers avec une coronne civique, sur c o p ie s : See above, under No. 110. laquelle M.Gevart fit les vers qui sont dans sa lettre' (published by De Maeyer, Albrecht en Isabella, p .375, No. 199). The ‘coronne civique' and Gevartius's e x h i b i t e d : A u s dem Besitç der Stiftung verses appear in Pontius’s engraving after the Sammlung Schloss Rohoncf, Castagnola (Lu­ portrait: see No. 112. gano), 1949, No.216; Selection from the Mor­ 3. ‘Isabella dum Antverpiae manet, Rubenii pictoris excellentissimi penicillo expressa, caeloque in aes ton Simon Inc. Museum of Art, Princeton insculpta se Civica coronatamaugusta sane in tabulo University Art Museum, Princeton, 1972. vidit. Digna siepingi post nobilissimum triumphum, N0.6 (repr.). nec alterius atque Apellis illius manu’ [In m a r g in e :] ‘Isabella victricis icon insignis a Rubenio expressa'. ('While Isabella was in Antwerp she was painted by l i t e r a t u r e : R.Heinemann, Stiftu ng the brush of the eminent artist Rubens and engraved Sammlung Schloss Rohoncç, Lugano, Lugano, in copper by his etching needle, and saw herself 1937, No.360; Gliick, Portrait, pp. 175, 178 adorned with a civic crown in this truly noble picture. After this glorious triumph [the capture of (repr.); De Maeyer, Albrecht en Isabella, Breda] she deserved to be depicted thus, and by 110 p.i i 5 (repr.); J.R.Martin, in Cat. Bxh. other hand than that of the famed Apelles'; [in the Selection from the Morton Sim on..., op. cit.: margin] ‘The famous portrait of the victorious Isa­ bella, painted by Rubens'; H.Hugo, Obsidio Bredana, Princeton, 1972, pp.35-36, 38; D.W.Stead­ A ntw erp, 1 6 1 6 , p. 125). H ugo’s allusion to the 'civica man, ‘The Norton Simon Bxhibition at corona’ relates to Pontius' engraving after the por­ Princeton’, Arl Journal, XXXII, 1972, p.35 trait, in an allegorical setting also designed by Ru­ bens: cf. n.2 above and N o .112, Fig. 130. For Bellori's (repr.). account, see under No.i 10. 4. In his Diaire des choses arrivées à la Cour des Pais-Bas, du temps de l’Infante Isabelle en l’an tft’ t ChiftTet re­ cords under 10 July: ‘Après le dîner S.A. fut voir le This replica of the preceding work Panthéon de Rubens et toutes scs raretez...’ (D e (No.110; Fig.129) was also regarded by Maeyer, Albrecht en Isabella, p .375, N o .197). As D e Burchard as autograph. It differs from Maeyer observes (o p .c it., p. 115, n.4), it is curious that while mentioning Isabella’s visit to Rubens's that formerly in the Aldenham collection house, Chifflet says nothing about the portrait. in that it clearly shows the aura round 5. Cf. De Maeyer, Albrecht en Isabella, pp. 193-194, Isabella’s head and the reflection of it on p l.XXIX. 0. A version also figures among the many paintings the velvet curtain in the background. listed in the inventory of the Marquis of Leganes, in Here again I can only accept Burchard’s 1655: '498. Un rctrato de m edio cuerpo de la Yn- view with much reserve. Only the features fanta Dona Ysabel, bestida de terçiaria de mano de Rubens, en 400’ (Lôpeç-Naviô, p.291). seem to me authentic: their pictorial

121 CATALOGUE NO. 112 quality is in my opinion equal to that of are seen lifting up a veil by which the por­ the sketch-like Wertheimer version trait was covered ; they also hold a wreath (N0.109; Fig.128). of oak-leaves just over Isabella’s head. Above it is the all-seeing eye ofProvidence, surmounted by the inscription PROVI­ 112. Isabella, Infanta of Spain, in the DENTIA AVGVSTA. A supernatural light Habit of a Poor Clare (Fig. 131) radiates from the eye and surrounds the Infanta’s head with an aura. Below is a Engraving; 594 x435 mm.; inscribed, torch, probably symbolizing war,1 and an above the upper edge : D,IS ABELL A CLARA oar around which is entwined a snake with EVGENIA, HISPANIARVM INFANS, &c; a palm in its mouth, representing the above, just below the upper edge: PRO­ glory and far-sightedness of Isabella’s VIDENTIA AVGVSTAI VT SERVES VIN­ government.2 Between these two motifs CIS; below on the left; P.P.Rubens pinxit; is a broad cartouche with a Latin text below, on the left, just above the edge: composed by Gevartius,3 further glorif­ cum Privileges; below, on the right: P .P o n ­ ying Isabella’s victory. The text refers to tius Sculpsit; on the cartouche: Caesaribus the oak wreath as a tribute from uncon­ proavis et magno nato PHILIPPO / EVGE­ quered Breda, and to the expectation NIA, Hesperij Gemma Decusque Soli:/ BELG / of a lasting peace. Thej hope of a return certa Salus: iusti Prudentia Belli, / Pacis H o­ to prosperity is symbolized by the cornu­ nos castae Relligionis Amor; / H anc tibi copias with fruits of the earth, disposed Chaonid textam de fronde Coronam / Invicta decoratively around the frame. donat BREDA recepta manu: / O ptatam que There is no doubt that Rubens himself diu felix sibi BELGICA Pacem / A R adijs designed the whole of this engraving. The sperat, CLARA ISABELLA, tuis. / C. G eva r­ angels are unmistakably in his style, and tius lud. the composition is ascribed to Rubens in Hermanus Hugo’s Obsidio Bredana of 1626, c o p i e s : ( i ) Engraving by Wallerant Vail­ where it is praised as a representation of lant (V.S., p.178, N0.207); (2) Engraving Isabella’s victory.4 On the other hand it by Abraham Verhoeven the Younger would seem that Gevartius was the auctor (V.S., p.178, N0.209); (3) Engraving by intellectualis of the emblematic ornaments. Alexander Voet (V.S., p.178, N0.211); (4) Not only did he compose the inscription, Engraving, edited by J.C.Vischer (V.S., but such motifs as the eye and the oar, p.178, N0.208). symbolizing Divine Providence and hu­ l i t e r a t u r e : Hecquet, Rubens, p.79, N0.7; man prudence, were suggested by him to Basan, p. 139, No.36; Smith, Catalogue Rai­ Rubens on a later occasion.5 sonné, II, p.315, N0.1180; V.S., p.178, 1. G. de T ervarent, Attributs et symboles dans l’art pro­ N0.206; Dutuit, Manuel, p.184, N0.36; fane, 1450-1600, Geneva, 1958, p.382. Rooses, IV, pp. 196-197, under N0.970; 2. An oar and a rudder are symbols of royal prudence VandenWijngaert, Prentkunst, p.83, N0.543 ; (Providentia Regis) e.g. in Rubens’s decorations for the Pompa Introitus Ferdinandi (cf. Martin, Pompa, De Maeyer, Albrecht en Isabella, p. 115, n,6. p.162, N0.43). The coiled snake with a palm in its mouth undoubtedly has the same significance as the snake curled round a sword and holding a laurel wreath in its mouth, symbolizing the fame to be The knee-length portrait of the Infanta is won by courage and discipline (cf. Henkel-Schöne, I, here reproduced in a frame. Two angels C0I.645).

122 CATALOGUE NO. II3

3. Gevartius wrote the text, according toChifflet (see ing, Genoa, Palazzo Durazzo-Pallavicini; under N o .i 10, n.2). canvas, 75 x 65 cm., oval. l i t . C.G.Ratti, 4. C f. above, under No. 110. 5. Viz. for the decoration programme of the Pompa Instruzione ...d ip in hello in Genova, Genoa, Introitus Ferdinandi (cf. M artin, Pompa, loc. cit.). 1780, p. 181 (as A. van Dyck, Portrait of Ru­ bens); Smith, Catalogue Raisonné, II, p. 155, No.540 (as Rubens, Self Portrait); Rooses, IV, pp. 282-283, No.1078 (as R ubens); 113. Ladislas-Sigismund, Prince of W.Suida, G enua, Leipzig, 1906, p.162 (as Poland Rubens); K.d.K., p,466 (as R ubens); A.Mo- rassi, ‘Alcune Opere del Rubens a Ge­ Whereabouts unknown ; presumably lost. nova’, Em porium , 1947, pp.j94—195 (repr., copies: (i) Painting (Fig.133), New York, as Rubens); Goris-Held, p.29, under N0.18; Metropolitan Museum of Art, Inv. P.Torriti, La Galleria del Palazzo Durazz° No.29.100.12; canvas, 125 x 101 cm. p r o v . Pallavicini a Genova, Genoa, 1967, pp.180- Lord Glenorchy; Paris, Trotti (1913); New 187 (repr., as Rubens); Chroscicki, Rubens, York, Mrs. H.O.Havemeyer; purchased pp.159-166 (repr.); (3) Painting, destroyed from her for the Metropolitan Museum in 1944; canvas, 72x 57 cm. p r o v . Rap­ in 1929. e x h . D etroit, 1936, N0.26 (repr., as perswil. Museum, to which it was donated R ubens); Le portrait dans I’art flamand de before 1890. li t . Chroscicki, Rubens,pp. 159 Memling à Van Dyck, Orangerie, Paris, -166 (repr.); (4) Painting of the prince on 1952-53, N0.72 (repr., as R ubens); C ourt horseback; for references, see No. 114; Art of Vasa Dynasty in Poland, Wawel (5) Engraving by Paulus Pontius, 1624 Castle, Cracow, 1976, No. 135 (repr., as R u ­ (Fig.132; V.5., p.171, No.156); (6) Engrav­ bens). l i t . K .d .K ., pp.273, 466 (as a good ing by J. van der Heyden (V.S., p.172, workshop replica) J.Mycielski, ‘Commu­ No. 157); (7) Engraving of the head and nications sur le portrait... du prince... shoulders of the prince, in an oval frame Ladislas IV, peint en 1624 par Rubens’, ( V.S., p. 172, No. 158); (8) Engraving of the Prace komisji historji sçtuki, I, 1921, head and shoulders of the prince, in an p.XXVIH (as R ubens); R. Przezdziecki, oval frame, by J.Surmacki (J.F.Sapichy, Trçy portrety Wladislawa IV pr^Z Ru- Adnotationes historicae, Cologne, 1730; bensa, Warsaw, 1937, P-2o6 (as R ubens); V.S., p.172, No.159). Valentiner, Rubens in America, p.163, No.82 (as partly by pupils); Goris-Held, p.29, No. 18, pl.23 (as Rubens); Van Puyvelde, The subject’s identity is clarified by the R ubens, p. 146 (as Rubens); Larsen, Rubens, inscription beneath Paulus Pontius’s en­ p.217, N0.64 (as R ubens); J.S.Held, R em ­ graving of I624 (Fig.132): WLADISLAVS brandt’s Aristotle and other Rembrandt SIGISMVNDVS D.G.POLONIÆ ET SVE- Studies, Princeton, 1969, p.56, n.45 (as CIÆ PRINCEPS I ELECT. MAGN. DVX R ubens); J.T.Petrus, in Cat. Bxh. C ou rt MOSCOVIÆ SMOL. SEVER. CERD. DVX. Art o f Vasa Dynasty, Cracow, 1976, pp.171- It appears from a letter of 13 September 172, under No. 135, fig. 47 (as R ubens); 1624 from Baugy, the French envoy in Baetjer, Cat. New York, 1, p.161; III, p.372 Brussels, that the Infanta Isabella had (repr.); Chroscicki, Rubens, pp. 159-166, commissioned Rubens to paint a portrait fig. 18; Liedtke, Cat. New York, pp.220-222, of Prince Ladislas-Sigismund of the Swe­ pl.83 (as Workshop of Rubens); (2) Paint­ dish house of Vasa (1595-1648).' The

123 CATALOGUE NO. II4 prince, who from 1632 reigned in Poland which may represent a member of the as Wladyslaw IV, was related to the Netherlands family ofWaha, is a pastiche Hapsburgs by his marriage to Archduchess of Rubens’s work.5 Rubens’s portrait was Renate of Austria. He stayed in the also copied by Willem van Haecht in his Netherlands in 1624, when he inspected famous Picture Gallery of Cornetis van der the siege of Breda and visited Antwerp : G eest of 1628 (Fig.68). there he received a cordial reception and met various artists.2 1. 'Le peintre Rubens est en ceste ville [i.e. Brussels]. L'infante luy a commandé de tirer le pourtraict du In this knee-length portrait, the prince’s prince de Pologne’ (published by L.Gachard, H is ­ head and body are turned slightly to the toire politique et diplomatique de Pierre-Paul Rubens, left but his eyes are fixed on the spectator. Brussels, 1877, p .26). Since the Infanta com m issioned On his breast he wears a large golden the portrait, it does not seem likely that it should be connected, as Rooses claims, with an item in the chain and the insignia of the Golden list of debts and assets drawn up in 1626 after the Fleece, an order bestowed on him in 1615 death of Isabella Brant: ‘Item ontfanghen van weghen de Con. Majesteyt vanPolen de somme van by Philip III of Spain. His right hand rests thien hondert güldenen eens op rekeninghe vande on a commander’s baton; his left is a­ achthienhondert gulden die de selve Con. Majesteyt gainst his hip, just above the sword-hilt. desen sterffhuyse schuldich was' (M. Rooses, 'Staec His black costume, with white lace cuffs, van goederen in het sterfhuis van Isabella Brant’, Rubens-Bulletijn, IV, 1896, pp.163-164). Moreover, is repeatedly interwoven with the letter S Ladislas-Sigismund was not a 'Royal Majesty’ at the in gold: no doubt the initial of his father, time in question. who was then reigning in Poland as Si­ 2. See for biographical details on Ladislas-Sigismund, e.g. E.Duverger, ‘Une tenture de l’histoire d’Ulysse gismund III. He wears a short open-work livrée par Jacques Geubels le jeune au prince de collar and a broad-brimmed hat: the Pologne', Artes Textiles, VII, 1971, pp.74-98. brim is turned up on the right, and attach­ 3. J.S.H eld, Rembrandt's Aristotle and other Rembrandt S tu d ie s, Princeton, 1969, p .56, ed to it is a tassel decorated with jewels. 4. And engraved by Vorsterman ; see reproduction in The background largely consists of a red Wethey, Titian, II, pis. 48-49. 5. Cat. No.1895; see the reproduction in National Gal­ ornamental curtain; only on the extreme lery, Illustrated General Catalogue, London, 1980, right is there a view of a light cloudy sky. p.227, N o .1895. It is noteworthy that the future King of Poland is here depicted in the usual West European court costume of the 114. Ladislas-Sigismund, Prince of time and not in East European dress with Poland, on Horseback (Fig. 134) a Zupcm, fur cap and so forth. As Held points out, the Polish noblemen who had Oil on canvas; 259 x 185.5 cm. their portraits painted in the Netherlands Cracow, Wawel Castle, State Collection of generally preferred to be depicted in Wes­ A rt. tern dress.3

The prince’s pose in this ceremonial p r o v e n a n c e : Henry Metcalfe, sale,Lon­ portrait is strongly reminiscent of Titian’s don (Christie’s), 15 June 1850, lot 45, prob­ portraits of rulers, such as his Charles V ably withdrawn; Philip Metcalfe, sale, with Drawn Sword, which Rubens had London (Christie’s), 19 May i860, lot 198; himself copied.4 The portrait of Ladislas Sir Frederick Cook, Richmond; Sir Her­ Sigismund was not without influence in bert Cook, London; Sir Francis Cook, sale, its turn: an anonymous portrait in the London (Sotheby’s), 25 June 1958, lot 118; National Gallery in London, dated 1626, L.Koetser, London; purchased by Drju-

124 CATALOGUE NO. 115 lian Godlewski, Zürich, and donated to trait of Ladislas-Sigismund, which must the Wawel Castle, Cracow, in 1977. in any case be dated after 1624. It is more likely to be a contemporary and highly l i t e r a t u r e : Catalogue of the Collection of eclectic variant, not touched by Rubens Sir Frederick Cook, II, London, 1914, himself and not necessarily a product of N0.344 ; Abridged Catalogue of the Pictures at his studio. Doughty House Richmond in the Collection of Sir Herbert Cook, London, 1932, p.81, i. K .d .K '., p.255. No.344; Burchard, Nachträge, p.378; Van Puyvelde, Rubens, p. 146; Chroscicki, Rubens, pp.166-168 (repr., as a copy);J.Szablowski, ‘Portret konny królewicza Wladyslawa 115. Don Diego Messia, Marquis of ZygmuntaWazy naWawelu jako przejaw Leganés (Figs. 135, 136) aktualnych wydarzen europejskich oraz jego wzory flamandzkie i wlosk’, Folia Oil on canvas; 118 x 103 cm. Historiae Artium, XV, 1979, pp.89-121. Whereabouts unknown.

p r o v e n a n c e : W.V.Wentworth, Went­ This life-size equestrian portrait shows worth Castle, Barnslev; Captain B.C. the future King of Poland in the same Vernon, Wentworth Castle, Barnsley, sale, pose as the half-length portrait (N0.113; London (Christie’s), 13 November 1919, Figs.132, 133), but he is here depicted in lot 103: Mrs Gutekunst, London; Col- armour. The rider’s pose is the same as naghi’s, London, 1947; Mathiesen, Lon­ that used earlier, c. 1615, for the equestrian don ; Martin Ascher, London, before 1970. portrait of the Archduke Albert (No.58; e x h i b i t e d : London, 1927, No.155 (repr,); Fig.2). The background consists of an un­ Colnaghi’s, London, 1947. dulating wooded landscape. A combat is painted there; Chroscicki identified it as l i t e r a t u r e : Waagen, Treasures, IILp.342 the battle of Chocim, which took place in (as a General); Rooses, IV, p.315, N0.1140 1621. (as Un Général); Fry, Flemish Art, pp. 138­ Burchard had no doubt that the whole 143 (repr.); [T.Borenius], in Conway, Me­ portrait was an authentic work by Rubens. morial Volume, p.68, No. 155; B.Mitsch, in Although I have not seen it, there seem to Cat. Exh. Vienna, Albertina, 1977, pp. 104­ be some reasons for doubting this. In 105, under No. 107 (repr.); M.C. Volk, particular it is unusual that Rubens should New Light on a Seventeenth-Century have combined a portrait type which, as Collector: The Marquis of Leganés’, The we know, was created in 1624 with an Art Bulletin, LXII, 1980, p.263, n.42. equestrian pose in the statuesque style of about a decade earlier. Only a short time before he painted Ladislas-Sigismund in Don Diego Messia Felipe de Guzman, Antwerp he had created, in M a ria d e’ Marquis of Leganés (?i580-1655) was a Medici at the Battle o f Jülich,1 a new frontal Spanish councillor of state and command­ equestrian type in the somewhat more er of the Spanish artillery and cavalry in flowing style of the 1620s. It thus seems the Netherlands. As a special envoy from to me very strange that he should have Philip IV to the Archduchess Isabella, he returned to the older formula for this por­ was at the Brussels court from 9 Septem-

125 CATALOGUE NO. II 5a

ber 1627 to 3 March 1628. He also resided bens. Leven en werken. A ntw erp , 1903, p.439; R o o se s- there from 1630 to 1635.1 R u e le n s , IV, p.336) and rightly indicated that the letter refers to Ambrogio Spinola, Marquis of Los The marquis is shown to knee-length, Balbases (see below , under N o .149). V an G elder his body in three-quarter view and his (van Gelder, Rubens Marginalia, p .i66, n.7) recently eyes fixed on the spectator. He is dressed drew attention to the confusion and to Mitsch’s m istake. as a commander, in full armour with the red officer’s scarf draped over it. As a con­ cession to Netherlands fashion he wears a 115a. Don Diego Messia, Marquis of cartwheel ruff: these had been out of use Leganés: Drawing (Fig. 137) for some time in Spain, since Philip IV’s edict of 1623 on the simplification of court Black and red chalk, heightened with dress.2 Leganés holds his baton in his right white body-colour; 383 x275 mm.; in­ hand in a martial gesture, while his left scribed by a foreign hand, below, to the hand rests on his hip. left: Marquis de la genesse; above, to the The scheme of this portrait of a com­ left: P.P.Rubbens. mander derives from Titian’s Francesco II Vienna, Albertina. Inv. N0.9252. della Rovere, Duke o f Urbino.3 The portrait

seems to me in every way typical of Ru­ p r o v e n a n c e : Duke Albert of Sachsen- bens’s renewed interest in Titian’s work Teschen (Moritzburg near Dresden, 1738- in the last decade of his life. In the monu­ Vienna, 1822). mental use of space and in its fluent pic­ e x h i b i t e d : Elewijt, 1962, N0.42 (repr.); torial quality, the portrait is very similar Meisterçeichnungen der Albertina, Alber­ to others of that time, such as Ja n Brant tina, Vienna, 1970, N0.71 ; Master Draw­ (N0.78; Figs.42-44) or Jan van Montjbrt ings from the Albertina, Puschkine Museum, (N0.123; Figs.147, 150). I therefore think Moscow, 1973, No,2 (repr.); Vienna, Al­ it probable that the portrait was painted bertina, 1977, N0.44 (repr.); Die Albertina during Leganés’s second period in Brus­ und das Dresdener Kupferstichkabinett. Mei- sels.4 sterçeichnungen aus çwei alten Sammlungen, Vienna-Dresden, 1978, N0.88 (repr.). 1. Many biographical facts, especially concerning Le­ ganés’s stay in the Netherlands, can be found in l i t e r a t u r e : Rooses, V , p.267, N0.1510; J.Cuvelier, Correspondance de la Cour d’Espagne sur les Schönbrunner-Meder, III, pl.355; G lü c k - Affaires des Pays-Bas au XVIIe siècle, II, Brussels, 1927, p a s s im ; there is a short but valuable summary of his Haberditçl, p.51, N0.164 (repr.); H eld, biography in Mary Crawford Volk, o p . cit. D ra w ings, I, pp.77, 138; Kuznetsov, Ri- 2. For this change in fashion, see Huemer, Portraits, sunki, No.107 (repr.); E.Mitsch, in Cat. pp.65-66. 3. The original is now in the Uffizi in Florence: sec Exh. Vienna, Albertina, 1977, pp.104-105, Wethey, Titian, II, N0.89, pl.67. Rubens cannot have N0.44 (repr.); M.C. Volk, ‘New Light on seen it at Urbino, but in view of the family connec­ a Seventeenth-Century Collector: The tion between the Della Roveres and the Gonzagas it is very probable that there was a copy in the palace Marquis of Leganés’, The Art Bulletin, at M antua. LXII, 1980, pp.263, n.42, 266 (repr.). 4. In a letter of 9 December 1627 to his Paris corre­ spondent Pierre Dupuy, Rubens spoke of a ‘ritratto del Sr. Marchese’ that he was to begin on very shortly (Rooses-Ruelens, IV, p .334). Rooses (R oo ses, A preliminary study, undoubtedly from loc. cit.), recently followed by Mitsch (loc. cit.), life, for the marquis’s portrait formerly in related this to the portrait of Leganés. However, Rooses afterwards corrected himself (Rooses, Ru­ the Gutekunst collection (No. 115; Fig. 135).

126 CATALOGUE NO. 116

There is a slight difference in that the p r o v . Antwerp. R.Della Faille, c.1890. head in the final portrait is somewhat l i t . Rooses, IV, p.276, under N o .ioó9;(3) longer than in the study. Rubens may Etching by N. van den Bergh (1725-1774) have intended in this way to create a (Fig. 138; V.S., p. 183, No.254). more idealized pose than the chalk draw­ ing, which gives a rather stocky impres­ l i t e r a t u r e : G.Hoet, Catalogus ofNaam- sion. The inscription below is in the same lyst van Sc hi Id erven, met derçelver Pryçen, hand as that on other drawings in the II, The Hague, 1752, p.259; P.Terwesten, Albertina.1 Catalogus of Naamlyst van Schilderyen, met derçelver Prysen, The Hague, 1770, p.200;

i. Cf. Glück-Haberditçl, Nos.152, 156-157, 162, 165; Smith, Catalogue Raisonné, II, p. 222 this was first pointed out in H e ld , Drawings, 1, p .138. N0.790; A. and A.J.Lamme, Catalogus van schilderijen enç. in het Museum te Rotterdam..., Rotterdam, 1849, No.347 116. Jan van det Linden (Fig. 139) (as School o f Rubens) ; W. Bürger, M usées de la Hollande, II, Paris, i860, p.335; F.D.G. Oil on panel; 65 x 48 cm. Obreen, Beschrijving der schilderijen en Schoten (Antwerp), Collection o f Baron Bracht. beeldhouw w erken in het M u seum te R otter­ dam , Rotterdam, 1883, No,274 (as after p r o v e n a n c e : ? Refectory o f the convent Rubens); Rooses, IV, p.276, No.1069; of the Alexian Friars, Antwerp; ?Anna- G.Caullet, Les Œuvres d’Art de l’Hôpital Theresia van Halen, sale, Antwerp, 19 Au­ Notre-Dame à Courtrai, Courtrai, 1914, gust 1749, lot 55; ?P.J.Snyers, sale, Ant­ p.91; The Burlington Magazine, XLVIII, werp, 23 May 1758, lot 8; ?F. A. Verdussen, 1926, p.XXXIX (repr.). Antwerp (1762); ?sale, Antwerp, after 5 July 1784, lot 15 (as un très beau Portrait, représentant un Frère Alexien, Ami intime de Jan van der Linden (Antwerp, 1577-1638) Rubens...); ’sale, London (Christie’s), was from 1622 to 1634 Provincial for Bra­ 8 May 1813, lot 68 (as Portrait o f a Benedic­ bant of the Order of Alexian Brothers, tine with a skull on the table before him); who specialized in caring for the sick, ?Museum Boymans, Rotterdam, 1849­ especially those stricken by plague.1 In 1883 (as copy after Rubens); ?J.H.Teixeira 1633 he made a pilgrimage to the Holy de Mattos et a i , sale, Amsterdam (F. Mul­ Land and received the title of a Knight of ler), 6-7 November 1894, lot 43 (as a copy) ; Jerusalem. We are fully informed about Zacharias, sale, Berlin, 1-2 May 1900 this journey by an account which he had (repr.); Paul Bottenwieser, Berlin, c.1924- printed barely a year after his return.2 26; Dr Friedmann, Berlin, sale, Berlin The identification and authorship of (Cassirer and Helbing), 23 November the portrait are based on the inscription 1927, lot 72 (repr.), withdrawn; Hoogen- below the etching made after it by N. van dijk, Amsterdam (c. 1935-38). den Bergh in the eighteenth century

c o p i e s : ( i ) Painting, probably 19th cen­ (Fig.138). This refers to Van der Linden as tury, whereabouts unknown ; canvas, ‘Equesjerosolijmitanus Alexianorum Pro­ 66 x 50 cm. prov. Antwerp, Mr and Mrs vincialis’, and to Rubens as painter of the A.Mattheys-Smets; (2) Drawing by original. Partly on these grounds Bur­ A.Overlaet, 1762, whereabouts unknown. chard in 1938 ascribed to Rubens a paint-

127 CATALOGUE NO. II7 ing, then with the art dealer Hoogendijk can be found in the work of, e.g., Jan van Scorel (Friedländer, in Amsterdam, corresponding in reverse XII, Nos.344-349, pis. 184-185) and Antonio Moro (ibid., XIII, N0.342, pi.169). to the etching. 4. Rietstap, Armorial Illustré, IV, pl.LXIX. Van der Linden, in the black habit of 5. Cf. Graf- en gedenkschriften, IV, pp.28ë, 30t. his Order, is seen bust-length in front of a table with a skull on which his right hand rests. In the upper right corner is the em­ 117. Peter Paul Rubens, Philip blem of pilgrims to Jerusalem, a shield Rubens, Justus Lipsius and Johannes with a large ‘cross potent’ surrounded by Woverius (‘The Four Philosophers’) four smaller similar crosses, and a palm- (Figs. 140,169) branch.3 The presence of this emblem means that the painting cannot have been Oil on panel; 167 x 143 cm. executed before 1633. The pilgrim’s em­ Florence, Pala^o Pitti. Inv. N0.85. blem is here combined with a tree, being p r o v e n a n c e : In the collections of the the heraldic motif of the Van der Linden Grand Dukes of Tuscany, at least since the family.4 The skull may suggest that the end of the 17th century; temporarily portrait was painted at the time of Van removed to the Louvre, Paris, from 1799 der Linden’s death in 1638, but it may until 1815. merely allude in a general way to his

asceticism. c o p i e s : (1) Painting, Ghent, private col­

The original painting may come from lection; panel, 168 x137.5 cm. p r o v .

the former Alexian monastery, where Brussels, Jean de Coen, 1942. l i t . L.van there were some portraits of Van der Puyvelde, in Trésor de l’art flamand, I, Linden, not specifically attributed, until Brussels, 1932, p.76 (as R ubens); P.Fie­ the French Revolution.5 Rooses states that rens, ‘Une version inédite des “Quatre Rubens’s portrait hung in the refectory, Philosophes” de Rubens’, A pollo, June but I could not find any confirmation of 1942, pp.5-8 (repr.); (2) Painting, Ant­ this. It is yet another question whether werp, Museum Plantin-Moretus, Inv. the example ascribed to Rubens by Bur­ N0.75; canvas, 163 x 135 cm. prov. Pur­

chard is authentic. The work is hard to chased in 1922. l i t . M.Rooses, Catalogue judge, because of heavy overpainting. The du Musée Plantin-Moretus, Antwerp, 1922, broad, fluid style is that of Rubens’s late pp.82-83; A.M.Berryer, ‘Essai d’une ico­ years, but the brush-work seems to me nographie de Juste Lipse’, Annales de la rather hesitant and uncertain, and I there­ Société Royale d’Archéologie de Bruxelles, fore find it difficult to agree with Bur- XLIII, 1939-40» P-33. N0.46B; (3) Painting, chard’s attribution, Nancy, Musée des Beaux-Arts, No.283;

canvas, 170 x145 cm. p r o v . Dr Bénit.

l i t . Musée de Nancy, Catalogue descriptif et 1. See for his biography: P.Bergmans, in B io g ra p h ie Nationale de Belgique, XII, Brussels, 1892-93, cols. annoté, Nancy, 1909, No.283 ; A. M. Berryer, 221-222. op. cit., p.33, N0.46A; (4) Painting, Mon- Heerlycke ende gelukkige Reyçe nae het Heylig Land ende 2. ceau-sur-Sambre, coll. Houtart (1952); Stad van Jerusalem ..., Antw erp (H . Verdussen), 1634. 3. A standard work on pilgrimages 10 the Holy Land canvas, 166 x 144 cm. p r o v . Rameignies- Deutsche Pilgerreisen is R. Röhricht and H. Meissner, Chin, Vicomte Cossée de Maulde, l i t . nach dem Heiligen Lande, Berlin, 1880. O lde r m odels A.M. Berryer, op. cit., p.33, N0.45; V an of portraits of those who had made the pilgrimage, and were depicted with the appropriate emblems, Puyvelde, Rubens, p.104; (5) Painting,

128 CATALOGUE NO. WJ whereabouts unknown; canvas, 156X p.169, No.141); (16) Engraving by C.Nor-

130 cm. p r o v . ?William A.Clavering, mand (1765-1840; C.Landon, op. cit., sale, London (Christie’s), 18 March 1921, pl.66); (17) Engraving by L.Paradisi, 1837 lot 109; ?W.Lawson Peacock, sale, Lon­ (Rooses, IV, p.205, under N0.977). don (Christie’s), 11 November 1921, lot e x h i b i t e d : A n tw erp , 1930, No.224; Flor­ 292; Washington, Foster Cannon (1974); ence, 1977 N0.86 (repr.). (6) Painting, whereabouts unknown. p r o v . Roslags Näsby, Sweden, C.R. l i t e r a t u r e : Michel, Histoire, p.314 (as Lamm (1938); (7) Painting, whereabouts P. P. Rubens, Erasme de Rotterdam, Juste unknown, p r o v . Madrid, Marquess Ur- Lipse & Gevaerts); A. Young, Travels in quijo; Duke of San Carlos; Lord North- France and Italy, London, 1792 (as A G roup wick, sale, London (Phillips), 28 July 1859, of four men at a table); J.B.Wicar, Le M u ­ lot 288 (as Veldçqueç); purchased by Cap­ séum de Florence, I, Paris, 1799 (repr.); tain Ridgway, Shipley; (8) Painting of Notice des principaux tableaux recueillis en Woverius’s portrait and the Roman vista, Italie, par les commissaires du gouverne­ whereaboutsunknown; panel, 44 x 63cm. ment français, Paris, [1800], N0.119 (as p r o v . Brussels, Prince of Arenberg. l i t . Grotius, Juste Lipse, Rubens et son frère); W. Burger, Galerie d’Arenberg à Bruxelles, Notice de plusieurs précieux tableaux, recue­ Paris-Brussels-Leipzig, 1859, pp. 76-77, illis en Italie et provenant de l’ancienne collec­ 170, N0.92 (as R ubens); Rooses, IV, p.283, tion, exposés dans le grand Salon du Musée, No.1079 (as R ubens); K.d.K., ed. Rosenberg, Paris, [1803], No.53 (as Grotius, Juste Lipse, p.5, left (as Rubens); Gliick, Rubens, Van Rubens et son frère); C.Landon, A nnales du D yck, p.156; (9) Painting of Woverius’s musée et de l’école moderne des Beaux-Arts, head, whereabouts unknown, p r o v . Sale, III, Paris, 1803, pp.239-240, pl.66; Notice Düsseldorf (Schenk), 25 October 1965 et des tableaux exposés dans la Galerie Napo­ seq.; (10) Painting of the books on the léon, Paris 1810, No.558 (as Grotius, Juste tablecloth, whereabouts unknown; can­ Lipse, Rubens et son frère); Smith, Catalogue vas, 78x66.5 cm. p r o v . London, Duits R aisonné, II, p. 149, No.521 (as H ugo G ro­ and Co. (1963); (11) Watercolour, 19th tius, fustus Lipsius, Philip Rubens and the century (?), whereabouts unknown, l i t . Painter Himself); L.Bardi, VImperiale e Rooses, IV, pi.300, facing p.204; (12) Draw­ Reale Galleria Pitti illustrata, I, Florence, ing, New Haven, Conn., Yale University 1837 (repr.); Rooses, IV, pp.203-205, Art Gallery, Inv. N0.1930.241; black and N0.977; K.d.K., ed Rosenberg, p.6; G liick, red chalk, on paper, 463 x 414 mm. p r o v . Review , pp.53-54, reprinted in Gliick, Ru­

F.B.Kaye. l i t . E.Haverkamp Begemann bens, Van Dyck, pp. 156-157; Dillon, Ru­ and A.-M. Logan, European Drawings and bens, pp.19, 31, 91-92, 159, 215, pl.XX; Watercolours in the Yale University Gallery, K .d .K ., p.45; A.M.Berryer, ‘Essai d’une 1500-1900, I, p.364, N0.A297; (13) Draw­ iconographie de Juste Lipse’, A nnales de la ing ofWoverius’s head, Cambridge, Fitz­ Société Royale d’Archéologie de Bruxelles, william Museum, Inv. N0.PD.47-1947; XLIII, 1939-40, pp.32-33, N0.44; Evers, black chalk, heightened in white, 232 x R ubens, pp.27, 484, 510; Evers, Neue For­

169 mm. p r o v . Bequeathed by L.C.G. schungen, pp. 113, 324-329, 338; Van Puy- Clarke, 1947; (14) Engraving by F.Gregori velde, Rubens, p.114; Warnke, Kommentare, (1743-1804; VS., p.169, No. 140); (15) En­ pp.33, 86, 90-91; J.S.Held, Rembrandt’s graving by A.Morel (1765-1829; VS., Aristotle and other Rembrandt Studies,

129 CATALOGUE NO. II7

Princeton, 1969, p.23; M.Jaffé, ‘Rubens as cloth of oriental pattern. Seated to either a Collector’, Journal of the Royal Society of side of him are two pupils who appear to A rts, 1969, pp.644-646 (repr.); W.Prinz, be following his argument. On the left is ‘The Four Philosophers by Rubens and the Philip Rubens (1574-1611), holding a pen Pseudo-Seneca in Seventeenth-Century in his right hand and looking reflectively Painting’, The Art Bulletin, LV, 1973, towards the spectator. On the right, in pp.410-428 (repr.); M.Vickers, ‘Rubens’s left profile, is the lawyer Johannes Wo- Bust of “Seneca” ?’, The Burlington Maga­ verius (1576-1635), who seems to be con­ zin e, CXIX, 1977, p.644 (repr.); W arnke, sidering the text of a book that he holds R ubens, pp.42-44, fig.21; Daugherty, Self­ open. The portrait of Philip Rubens is Portraits, pp.282-291, N0.I-3; D. Bodart, in also posthumous: here Rubens simply Cat. Exh. Florence, 1977, pp.206-208.N0.86 copied the portrait he had made earlier, (repr.); K.Downes, R ubens, London, 1980, perhaps for his brother’s funeral monu­ p.42; J. S. Held, The Collections o f the Detroit ment (see No. 144; Fig.206). Woverius, on Institute of Arts, Flemish and German Paint­ the other hand, must be depicted from ings o f the ljth Century, Detroit, 1982,p.81 ; life. His features are strikingly similar to Vlieghe, Remarks, pp. 107, 113 (repr.); those in the portrait medallion of 1633 J. Ruysschaert, ‘Les éditions de 1605 et de by Adriaan Waterloos, which may be 1615 du Séneque Lipsien et le tableau dit based on the present work.2 The identi­ des Quatre philosophes de Rubens’ in [Mina fication ofWoverius is due to Rooses, who Gregori ed.], Rubens e Firençe, Florence, drew attention to the copy after the pre­ 1983, pp. 195-214 (repr.). sent work which was formerly in the Arenberg collection (cf. Copy [8]),3 and which shows a brown and white spotted In a well-balanced composition making dog jumping up beside Woverius’s right subtle use of contrapposto, Rubens has here knee. This animal has traditionally been depicted himself and three fellow neo­ regarded as one ofLipsius’s three favour­ Stoics. Wolfram Prinz has recently given a ite dogs, Mopsus, Mopsulus and Saphy- full description of this group portrait and rus, as mentioned by contemporaries.4 its symbolic significance, and the follow­ Prinz accepted this and believed the dog ing lines are partly based upon it. to be Mopsus, which its master described Justus Lipsius (1547-1606) sits, some­ as having a brown coat. I wonder, howev­ what right of centre, in the attitude of a er, if this is not rather far-fetched. If it teacher; he wears the fur-trimmed gown were Lipsius’s dog, would not Rubens of a professor at Louvain University. This have painted it beside the philosopher is a posthumous portrait: he died in 1606 himself? It seems to me more likely that and is here represented after a portrait of the dog is simply the traditional symbol 1605 by Abraham Janssens, which Rubens of loyalty and affection.3 This would be had already taken as a model on other quite in harmony with the programmatic occasions.1 He is seen in three-quarter nature of the painting, which is to be read view, looking straight ahead. An open as a tribute and testimony to the devotion book lies before him on a small table ; he of Lipsius’s pupils to their master and to points to a passage with his left hand, and his teaching. gestures with the right as if expounding it. Rubens was inclined towards Lipsius’s The table is covered by a thick woollen neo-Stoical ideas, not as a classical scholar

130 CATALOGUE NO. II7 or disciple of the philosopher of Louvain trayed. This discreet representation of a and Leiden, but by virtue of his general particular locus occurs in other paintings cast of mind. Perhaps for this reason, he by Rubens. In the background to the first has painted himself slightly apart from m odello for the altarpiece of Sta Maria in the others: not seated at the table, but Vallicella,9 Roman ruins indicate, in the standing beside his brother and looking same way as here, the cultural and histo­ out in a somewhat challenging manner, rical context of the scene. Similarly, in the similar to the ‘hidden self-portraits’ in background of the Self-Port raitwith Friends, other works.6 dating from Rubens’s Italian period and The persons depicted were united by now in the Wallraf-Richartz Museum in Lipsius’s neo-Stoical doctrine. This is em­ Cologne, there is an indication of Mantua, phasized by the presence in a niche, be­ where Rubens and his companions were hind Lipsius’s head, of the famous marble at the time.10 That portrait seems indeed bust which in Rubens’s time was generally to have been the prototype of the present though wrongly believed to be a portrait work. I would add a further point con­ of Seneca— one of the principal Stoics of cerning this background. The landscape classical times and the subject of an im­ with ruins is represented at evening, a portant part of Lipsius’s work. It is gener­ traditional allusion to the theme of tran­ ally accepted that the bust in the painting sience. The figures in the portrait, on the is the one in Rubens’s own collection of other hand, are brightly lit by an illumi­ antiques, now in the Rubens House in nation that seems to come from the bust Antwerp.7 In front of it is a vase with four of Seneca. I suggest that by this contrast tulips, which Bvers convincingly inter­ between the twilit ruins and the bust re­ preted as symbols of the four men in the flecting bright light on the four subjects of portrait. The tulips that are not yet in the painting, Rubens may have wished to bloom represent the two who are still imply that despite the fall of ancient Rome alive, namely Rubens himself and Wo- its culture was still alive and an inspira­ verius; the other two symbolize the de­ tion to scholars in his own time. ceased humanists Lipsius and Philip Ru­ The contrapposto effect of the group bens, whose portraits, as already mentio­ points back to the early sixteenth century, ned, derive from earlier prototypes. Prinz in a tradition begun by Raphael’s P or­ has recently pointed to other instances in trait o f Leo X with his Cardinals. Rooses da­ Dutch art where tulips, and flowers in ted the present work to 1602 and thought general, are thus used as symbols of life it commemorated a meeting in that year and death. Between two columns— one, by the Rubens brothers and Woverius at on the left, is concealed by a red ornamen­ Verona. Other writers including Rosen­ tal curtain— can be seen a landscape with berg have accepted this dating. Glück, in ancient ruins. The architectural motifs can his review of Rosenberg’s book, establish­ be partly recognized in the Landscape with ed that the painting must be much later; the Ruins o f the Palatine, now in the Louvre however, he proposed a very late date, in in Paris, which dates from c.1614.8 The the 1620s, and Van Puyvelde’s proposal scene, as is generally accepted, symbolizes of C .1614-15 was also too late, Credit for the civilization of ancient Rome, the basis the dating now almost generally accepted and object of all humanistic studies and as correct,11 c.1611-12, belongs to Rudolf the common interest of the four men por­ Oldenbourg, who first proposed it in his

131 CATALOGUE NO. Il8

K .d .K .; the present author accepts this 5. Another example by Rubens of a dog leaping lip, to be interpreted as a symbol of fidelity, is in the date also. Since the portrait of Philip Ru­ Portrait of Catexina Grimaldi(I) in the Bankes collec­ bens is posthumous, the year of his death tion at Kingston Lacy (cf. Huemer, Portraits, fig. 118). — 1611— must be a terminus post quem. The 6. Cf. his own ‘hidden’ self-portrait in The A doration o f the M a g i, now in the Prado (K .d.K ., p.26). vivid, three-dimensional character of the 7. For a reproduction see e.g. W .P rin z, op. cit., fig.13. portrait, enhanced by the sharp light, is 8. See Adler, Landscapes, pp.66-69, N o .16, fig.45. typical of Rubens’s work around and 9. See Vlieghe, Saints, II, fig.25. 10. See Huemer, Portraits, p p .163-166, N o .37, fig.115. shortly after that date. It may be, as 11. Recently Downes too favoured a dating c.1615, Oldenbourg proposed, that the death of partly on grounds of style which, however, he did Rubens’s brother prompted him to paint not specify. He also thought the books on the table the group as a token of homage. This might allude to the fact that Lipsius’s edition of Seneca and Woverius's edition of Philip Rubens's might be suggested by the climbing plant Opera Omnia w'ere both published in 1615. In his conspicuously entwined around the col­ catalogue, just published, of the Flemish paintings umn just behind Philip’s head. As Prinz in Detroit, Held takes up a somewhat pragmatic standpoint: he does not object to a dating c.1611- pointed out in this connection, the plant 1612 but adds: 'It could very well be even a few is an accepted symbol of affection and years later, although certainly not later than 1615’. The last article written on the portrait is the study attachment. Moreover, as Warnke sug­ by José Ruysschaert, who is in favour of a term inus gested, tendrils of ivy around a column p o st quem at 1613. T h is is based on the evidence may be a variant of Alciati’s famous em­ that the portrait of Lipsius, which Rubens made blem— very suitable for a posthumous for Balthasar Moretus, was paid for between 1613 and 1616. There is, how ever, no need to consider tribute— of the immortality of love : that picture, which still hangs in the Plantin- ‘AMICITIA ET I AM POST MORTEM DURANS’ Moretus Museum at Antwerp, as being the direct prototype for the Lipsius in the Palazzo Pitti group (111., p. 206).12 The fact that the curtain portrait. is draped immediately above Philip’s head 12. For this emblem of a dead tree with shoots en­ also seems to me to support the idea that twined around it cf. Henkel-Schöne, I, cols.259-260. the painting is a tribute to him.

1. For this portrait and its importance for Rubens's design for Lipsius's Senecae opera omnia (1615), see 118. Arnold Lunden especially Judson-Van de Velde, I, pp.156-160; II, figs. 104-107. 2. See the description of the medal in L. Alvin, Les Whereabouts unknown; presumably lost. portraits en médailles des célébrités de la Belgique, B rus­ sels, 1916, p.83; see, for biographical references, p r o v e n a n c e : Arnold Lunden (1595— e.g. Judson-Van de Velde, I, p.116. It is to be noted 1656), Antwerp, after 1640. that in descriptions of the painting before Rooses, Woverius was identified as Hugo Grotius (See l i t e r a t u r e : Rooses, IV, p.208, N0.981; above, under the bibliographic references). 3. This or another version may be identical with ‘Een Vlieghe, Lunden, p.195. conterfeytsel van d'Heer van den Wauwer, men meynt Rubbens geschildert', mentioned in 1678 (Denucé, Konstkamers, p.275). 4. AubertusMiraeus in his Elogia Belgica sive Illustrium The inventory of works of art in the pos­ Belgi Scriptorum (Antw erp, 1609, p.169) speaks of session of Arnold Lunden, drawn up in the the scholar's love of dogs and describes these three 1640s,1 mentions a portrait of the owner by name. A much earlier portrait engraving by Hendrik Goltzius, of 1587, shows Lipsius with one by Rubens: it is described as a sketch and of his dogs reproduced in J.Puraye [ed.], A lbum valued at 100 guilders.2 Arnold Lunden Amicorum Abraham Ortelius, A m sterdam , 1969, (Antwerp, 1595-1656), a merchant and fol.74v. The dog jum ping up was already identified as Mopsus by Rooses (b e . cit). master of the Antwerp Mint, was the

132 CATALOGUE NO. II9 husband of Suzanna Fourment and thus ed. Rosenberg, p.333; K .d .K ., p.453 (as p os­ Rubens’s brother-in-law.3 sibly A. van Dyck); K.d.K., Van Dyck, p.549; M.Hoc, ‘Een Brusselse magistraat van het 1. See above, under Nos.101-102, for the details of Ancien Régime: Frederik de Marselaer this inventory. (1584-1670)’, Gemeentekrediet van België, 2. ‘Un Dito [i.e. portrait] de Sr.Lunden, esquisse. F.ioo’. Rubens's name is not mentioned but must XXIII, 1969, N0.87, pp.29-30, 32 (repr.); be assumed, as the item figures amid a whole series H.Goetz, Baroda Museum and Picture o f w orks by Rubens. G allery, Baroda, 1952, p.70, No.34. 3. See under Nos.101 and 102; for the scarce biblio­ graphical information about Lunden, apart from my above quoted article, see also F.V.Coethals, Dictionnaire général et héraldique des fam illes nobles de The sitter is shown almost frontally, bust- B elgiq u e, II, Brussels, 1852, pp.705-706; R .Baetens, De naçomer van Antwerpens welvaart, I, Brussels, length. He is dressed in black, with a fur- 1976, p.2bl. trimmed gown over his costume and a white pleated ruff. On his breast is a doub­ le gold chain with an unidentified gold 119. Frederik van Martselaer (Fig. 142) medallion. The sitter is identified as Frederik van Oil on panel; 65 x 50 cm. Martselaer (Antwerp, 1584— Perk, 1670) Baroda, India, Baroda Museum and Picture by the inscription on the eighteenth- Gallery. century etching after the portrait, made by A.B. de Quertenmont (Fig.143). A pr o v e n an ce: M. van Vergelo, Antwerp, jurist from Louvain, Van Martselaer was 1777; J.Ward, London, 1796; Sir Charles seven times Mayor of Brussels and sixteen Robinson, 1891 ; Charles Sedelmeyer, Pa­ times an alderman. He was also celebrat­ ris, 1898; Baron Koenigswarter, Vienna, ed for his Legatus, a treatise on the func­ sale, Berlin (Schulte), 20 November 1906, tions and conduct of diplomats, first pub­ lot 79 (repr.); Shepherd Bros., London lished in 1618 with a frontispiece by Ru­ 1911 ; acquired for the Baroda Museum in bens. In 1626 he inherited through his 1921. wife the estates of Perk and Elewijt; it c o p i e s : ( i ) Painting, Louvain, University; was from him that Rubens purchased the panel, 60.5 x 50 cm. prov. Louvain, Mgr. latter in 1635.'

H. van Waeyenbergh. e x h . Oude kunst uit The traditional attribution to Rubens Leuvens privébeçit, Stedelijk Museum, is based on the address below De Querten- Louvain, 1964, No. V/260; (2) Etching by mont’s etching. As far as can be judged A.B. d eQuertenmont, 1777 (Fig.143; V.S., from photographs, however, I find it p.184, N0.261); (3) Engraving by A .Fogg hard to accept the portrait as by Rubens : (as Hugo Grotius; V.S., p.183, N0.250). the pictorial treatment is much more like Van Dyck’s portraits of his so-called e x h i b i t e d : Spring Exhibition, Shepherd second Antwerp period, c. 1627-32. The Bros., London, 1911. subtle play of light, the elegantly twirled l i t e r a t u r e : Smith, Catalogue Raisonné, moustache and wavy hair, a certain IX,p.34i,No.364; Rooses, IV,p.2 ii,N o.9 8 9 ; smoothness in the painting of the head, The Third Hundred of Paintings by Old the reserved expression, the arabesque Masters belonging to the Sedelmeyer Gallery, forms of the contours of the mouth— all Paris, 1898, p.188, No.167 (repr.); K .d .K ., these details are much more characteristic

133 CATALOGUE NOS. I20-I 2I of Van Dyck’s portraits, especially in his Nos. 121 and 122). Rubens may have had second Antwerp period, than of the later an opportunity to paint Maximilian’s fea­ Rubens. A certain sensuality about the tures in 1615, when the archduke visited mouth and the sitter’s glance is not so the Netherlands and stayed in Antwerp.3 typical of Rubens, but is frequent in Van Dyck’s later work. Moreover there is a 1. For biographical information about Maximilian see H.von Zeissberg, in Allgemeine deutsche Biographie, portrait by Van Dyck of Van Martselaer XX I, 1885, pp.72ff.; J.H irn , Erçherçog Maximilian der in three-quarter view (Fig. 141),2 which Deutschmeister, Regent von Tirol, I, Innsbruck, 1915, displays the above details to such an extent passim. that the two portraits seem to be variants 2. Denucé, Konstkamers, p.62. 3. Cf. Evers, Neue Forschungen, p.42. painted at practically the same time. I am therefore inclined to agree with the opin­ ion expressed in 1921 by Oldenbourg, who, 121. Maximilian, Archduke of Austria unlike other critics, denied the work to Rubens and ascribed it with some reser­ Whereabouts unknown; presumably lost. vation to Van Dyck. provenance: ?Painted for Archduke Leopold-Wilhelm of Austria, in 1619. 1. Biographical evidence about Van Martselaer is summarized in M.Hoc, o p . c it., pp.27-.35; see for the c o p i e s : ( i ) Fragment of the G allery o f L e g a tu s, especiallyJudson-Van deVelde, I, p p.344-349, N o.84. Archduke Leopold-Wilhelm, painting by Da­ 2. K.d.K,, Van Dyck, p.280, left. vid Teniers theYounger (Fig, 145), Schleiss­ heim, Castle, Bayerische Staatsgemälde­ sammlungen, No,1839; canvas, 96 x 120. Maximilian, Archduke of Austria 128 cm. L i T . Speth-Holterhojf, Cabinets, p. 146, pl.6o; Staatsgalerie Schleissheim. Verzeichnis Whereabouts unknown; presumably lost. der Gemälde, Munich, 1980, p.41, N0.1839 (repr.) ; (2) Painting (Fig. 146), whereabouts provenance: Estate of P.P.Rubens, unknown; for references, see under 1640. No. 122; (3) Painting, lost since 1945; can­ literature: Rooses, IV, p.213, N0.992. vas, 117 x 95 cm. P R O V . Munich, Bayeri­

sche Staatsgemäldesammlungen, l i t . Bernhard, Verlorene Werke, p. 161; (4) Maximilian (1558-1618), Archduke of Painting, whereabouts unknown; canvas. Austria and Count of Tyrol, was thefourth PROV. ?Kupper collection, sale, Cologne son of the Emperor Maximilian II and an (Kölner Kunsthaus), 20 October 1920 et elder brother of the Archduke Albert. He seq., lot 20 (repr.); Stockholm, Cornells held various governmental posts in the Bosman (1931); Stockholm, Olga Bosman hereditary Hapsburg lands and in 1595 (1952); (5) Painting of the head and shoul­ became Grand Master of the Teutonic ders, whereabouts unknown; canvas, Knights.1 The work described in the in­ 68.5 x 53.5 cm. P R O V . The Duke of Buc- ventory of Rubens’s estate of 1640 as cleuch, sale, London (Christie’s), 6 Feb­ ‘Un pourtrait de l’archiduc Maximilien’2 ruary 1959, lot 3 (as R ub en s); (6) Painting must be regarded as the prototype of the of the head, Stockholm, Sven Boström;

portrait, which is known in several non­ canvas, 37 x30 cm. p r o v . Stockholm, autograph versions (see below, under Harry Axelsohn Johnson ; (7) Painting of

134 CATALOGUE NO. 122

the head, whereabouts unknown; canvas, Although, as mentioned above (see

47 x 39-5 cm. p r o v . Sale, London (Chris­ under No. 120), Rubens may have had a tie’s), 6 February 1953, lot 90 (as V an D y ck) ; chance to depict Maximilian from life, (8) Drawing, whereabouts unknown; the work seems to me partly based on a black chalk, washed, on paper, 320 x much earlier portrait of Maximilian in

240 mm. p r o v . Amiens, FI.J.Masson. his youth, painted c.1580 by Martino Rota

e x h . Exposition d'art ancien, Palais des and now in the Kunsthistorisches Museum, Beaux-Arts, Tourcoing, 1906, No. 152; (9) Vienna (Fig. 144).1 I have in mind not so Engraving by J.Suyderhoef after a draw­ much the three-quarter pose as the fact ing by P.Soutman (V.S., p.171, No.149); that both paintings represent him with (10) Engraving by L.Vorsterman (V.S., a frowning expression and with short, p.171, No.150); (11) Engraving by P. de straight hair combed to one side. At all Jode (V.S., p.171, No.151). events, other portraits of Maximilian later in life exhibit quite a different type.2 For comments, see under No. 122. A version of the portrait of Maximilian can be seen in one of Teniers’s depictions of the Art Gallery of the Archduke Leopold-Wilhelm, now at Schleissheim 122. Maximilian, Archduke of Austria (Fig. 145). Burchard proposed to identify (Fig. 146) it with a painting of unknown title, commissioned from Rubens by Leopold­ Oil on canvas; 115 x 93 cm. Wilhelm and mentioned in letters both Kreuçlingen, Collection of Heinç Kisters from and concerning Rubens, dated re­

p r o v e n a n c e : ’ Cortenbach family, Hel­ spectively 27 April3 and 4 May 1619.4 This mond Castle; Wesselman van Helmond identification is quite possible. Shortly family, Helmond Castle; Douairière before that time, Maximilian had died and A. M.E. A. Wesselman van Helmond, Hel­ Leopold-Wilhelm, his great-nephew, had mond, sale, 8 September 1948, lot 328 (as succeeded him as Grand Master of the an anonymous ljth-century master); pur­ Teutonic Order; either ol these circum­ chased by Gebr.Douwes, Amsterdam. stances may have been the occasion of Leopold-Wilhelm commissioning a por­ trait of his kinsman and predecessor in Maximilian is shown to knee-length, office. standing in front of a green curtain. His The portrait certainly displays the se­ right hand rests on the back of a chair verity of design characteristic of Rubens’s covered in Mechlin gold-leather; his left style from c.1615 to c.1620. However, un­ hand is against his belt. He wears a black like Burchard, I do not believe this to be silk costume with a white fluted lace an autograph example. 1 have never seen collar and cuffs. Over it is a cloak trimmed it, but to judge from photographs it with black fur and bearing on the shoul­ appears flat and dry in execution, without der the embroidered insignia of the Teu­ the sense of space and corporeality that is tonic Order: a cross, its tips adorned with so typical of Rubens’s work in the second stylized lilies and the intersection covered decade of the century. I believe the paint­ by an eagle shield. The German Cross also ing to be a studio replica untouched by hangs on a golden chain across his breast. Rubens.

135 CATALOGUE NO. 123

1. Inv. No.1063; first published in G.Heinz, ‘Studien 123. Jan van Montfort (Figs. 147,149,150) zur Porträtmalerei an den Höfen der österreichi­ schen Erblande’ Jahrbuch der kunsthistorischen Samm­ lungen in Wien, L IX , 1963, p p .114-116, fig.107; see Oil on canvas; 107 x 90 cm. also Porträtgalerie ç ur Geschichte Oesterreichs von 1400 London, Courtauld Institute of Art, Princes bis 1800 (Führer durch das Kunsthistorische Museum Gate Collection. Inv. No. 37. N r .22), Vienna, 1976, N0.80, lig.129. 2. Cf. the more or less contemporary portrait by Justus p r o v e n a n c e : First mentioned in the Sustermans, in the Palazzo Pitti at Florence (repro­ duced in P. Bautier, Juste Suttermans, peintre des Mé- Palazzo Carrega, Genoa, in 1746; pur­ dicis, Brussels-Paris, 1911, fig.XXI, facing p.66). chased from thereby SirThomas Sebright, 3. Rubens’s letter to Peter de Vischere, Council of Beechwood ; purchased by Count Antoine Archduke Leopold-Wilhelm: 'J’ay receu par Mon­ sieur Annoni la vraye mesure du tableauw que je Seilern from the former’s descendant Sir doy faire pour Monsieur larchiducq Leopoldo et Giles Sebright, Beechwood, 1935; Col­ aussy la toile est toute preste pour commencer lection of Count Antoine Seilern (1901­ l'ouvrage que sera bien tost, si le Sr Dieu me donne vie et santé. J ’employerey tout ce petit talent d’in­ 1978); bequeathed by the latter to the dustrie que j ’ay au monde pour faire chose agréable Courtauld Institute. à un prince d’une telle qualité de quoy vous pourrés

asseurer ce cavaglier qui se trouve de part de son l i t e r a t u r e : C.N.Cochin, Voyage d’Italie Altesse à Brusseles. J'espère, que l'ouvrage sarat [17 4 6 ], III, Paris, 1758, p.262; Description achevé de tout point pour l’espace de deux mois et s’il sera possible de faire plus tost, le manquement des Beautés de Gênes, Genoa, 1773, p.iio; ne sera de ma part. Mais il fault considérer que est C.G.Ratti, Instruçione ... di più bello in besoing que les peintures se sèchent deux ou trois Genova, Genoa, 1780, p.281 ; Waagen, Treas­ foix avant qu’on les puisse réduire à perfection. Ce­ pendant je baise bien humblement les mains ures, IV, p.329; Rooses, IV, p.315- N0.1141; à Vostrc Sérénité avecques très bonne affection A. Seilern, Gemälde der Sammlung Graf An­ d’estre tousjours Monsieur Vostre tres affectione toine Seilern, Vienna, 1937, No.10; Seilern, serviteur PIETRO PAUOLO RUBENS. Anvers ce 17 d ’A v rill 1619’. (‘I have received from M. Annoni Flemish Paintings, p.66, No.37, pls.LXXVIII the exact measurements of the picture which I am -LXXXIV; C. Norris, ‘Count Seilern’s to do for the Archduke Leopold. The canvas also is Flemish Paintings and Drawings’, The all ready for beginning the work, which will be very soon, if God gives me life and health. 1 shall Burlington Magazine, XCVII, 1955, p.398 ; employ all the slight talent I have in the world to Braham, Princes Gate, p.61, No.85 (repr.), make something pleasing to a prince of such rank, as you can assure this gentleman who is His High­ ness’s representative in Brussels. I hope that the work will be finished in every detail within two Jan van Montfort (active 1596-1649) was a months; and if it is possible to do it sooner, there medallist and Master of the Mint to Al­ will be no delay on my part. But one must consider that paintings need to dry two or three times before bert and Isabella, in which capacity he bore they can be brought to completion. In the meantime the title of Major-domo to the Infanta; 1 kiss your hands very humbly, and remain always, he seems also to have been employed Monsieur, Your very affectionate servant, Peter Paul Rubens. Antwerp, April 27,1619'; Rooses-Ruelens, II, on political and diplomatic tasks. He is p.213 ;t ranslated by R. Saunders M agurn, The Letters known to have had personal contact with of Peter Paul Rubens, Cam bridge, Mass., 1955, p,7o), Rubens on more than one occasion.1 4. From Peter de Vischere’s letter to Archduke Leo­ pold-William: ‘... Was der Petro Paulo Rubens we­ According to Count Seilern in his cata­ gen des durch den von Falcken stain m ir angedeutten logue of 1955, the subject of this portrait gemähls geschriben, geruhen dieselbe aus neben- was first identified as Van Montfort by gehndem seinem schreiben gnedigst zue vernemen. Ich soll und will an fleissiger sollicitatur nichts er- Johannes Wilde, who pointed out the winden lassen, damit dasselbe bald und wohl ver­ striking resemblance to the portrait of fertigt werde, und wenn es fertig, Euer hochfürst­ Van Montfort of c.1627-28 by Van Dyck, lichen Durchlaucht underthenigst avisiren...’ (Rooses-Ruelens, II, p.214). now in the Kunsthistorisches Museum,

136 CATALOGUE NO. 124

Vienna (Fig.148).2 Van Dyck’s portrait can Nicolaas de Respaigne at Kassel (No. 129; also be seen in the Picture Gallery of Cor­ Fig.iói). However, the open cloak as in nells van der Geest of 1628 in the Rubens the Salvaresio portrait was not part of House in Antwerp (Fig.68). In the eight­ Rubens’s original intention. As an X-ray eenth century the present work was in the photograph shows (Fig. 149), he first paint­ famous Carrega collection in Genoa. In ed Van Montfort without the cloak and the three descriptions of that collection, with a fluted lace collar. He may have cited above, it is listed as a self-portrait by been influenced in this by Van Dyck’s Rubens, and it is also thus described in a portrait (Fig.148) of seven or eight years nineteenth-century inventory, existing in earlier, which shows Van Montfort in a manuscript only, of the Sebright collec­ similar costume. tion, for which it was purchased from Genoa.3 Waagen, however, and also Roo­ 1. For his connection with Rubens and the latter’s ses following him, called it only ‘a male opinion of Van M ontfort, see Rwses-Ruelens, III, pp.215. 321- 0 5 , 335. 359; Y . pp.219, 422, 455. portrait in an outlandish dress’ (sic). 2. Cf. K .d.K ., V a n D yck. p p .282 (repr.), 550. Van Montfort is here seen to knee- 3. Described in the following terms: ’Portrait of Ru­ length, in three-quarter view and looking bens, by himself. Front Palazzo del Sig. Giacomo Filippo Carregi vide Ratli, Genoa’; confirmed by towards the spectator. He is dressed in Burchard, who consulted this inventory in March black, with a cloak trimmed with sable 1935. Permission was granted to Burchard to study fur. With his left hand he holds a chain that document by the lawyer of Sir Giles Sebright, from whom Count Seilern had purchased the pic­ that hangs across his breast ; his right hand ture in the same year. rests on the back of a chair. In his belt is 4. UVtlifV, T itia n . II, pp. 137-138, No.92, pi. 199. a great key, the symbol and attribute of his position as major-domo. Seilern dated this painting c.1635, argu­ 124. Ludovicus Nonnius (Fig. 152) ing that it was very similar in style to the portrait of Jan Brant in Munich, dating Oil 011 panel; 124.5 x 92 cm. from that year (N0.78; Fig.42). I agree London, National Gallery. N0.5393. with this view: the two paintings are p r o v e n a n c e : Sale, London (Edward indeed very similar in every respect, in Davis), 1687/88; purchased there by An­ particular the use of space and the free, thony, Earl of Kent (d.1702);1 Baroness painterly handling of details. Lucas, the Earl of Kent’s wife; by direct It also appears to me that in this work descent in the Lucas family until 1970, the Rubens was again inspired by Titian: year of the purchase by the National there seems to be more than a superficial Gallery. resemblance to the latter’s portrait of Fabrizio Salvaresio, now in the Kunst­ c o p y : Painting of the head and shoul­ historisches Museum, Vienna.4 Features ders by Erasmus Quellinus II (Fig. 151), common to both are the emphasizing of Antwerp, Museum Plantin-Moretus, Inv. the monumental stature of the portly No.41; canvas, 62.5 x4 6 .5 cm. p r o v . sitter, his facial type and the lively detail Painted by Erasmus Quellinus II before of the cloak thrown open. I presume that 18 April 1647, probably on behalf of Bal­ Rubens had seen the portrait of Salvare­ thasar Moretus II. e x h . Antwerp’s Golden sio or a copy of it. Titian’s portrait may Age, Smithsonian Institute, Washington, also have influenced the pose of Rubens’s 1973-75. No.12 (repr.). l i t . M.Rooses,

137 CATALOGUE NO. 124 Catalogue âu Musée Plantin-Moretus, Ant­ spectator. He wears a black satin costume werp, 1922, p.30, N0.2; M.Sabbe, D e M o- with a flat white fluted collar and lace retussen en hun kring, Antwerp, 1928, p.64 cuffs. He points to an open book and mo­ (repr.); M.-L.Hairs, ‘Erasme Quellin, dis­ ves his lips as if arguing. A niche behind ciple de Rubens’, Revue belge d’archéologie him gives the picture greater relief and et d’histoire de l’art, XLII, 1973, p.54. serves to emphasize the subject. To the left of it is a bust of Hippocrates, the fa­ exhibited: National Loan Exhibition, Graf­ mous physician of ancient Greece; on the ton Galleries, London, 1909-10, N0.29 right are some books on a socle. Niches (repr.); London, 1938, N0.66; on loan to are of course a customary background to the National Gallery, London, 1946-62; antique busts, symbolizing the glory and London, 19jo, N0.36. immortality of the person depicted.3 Here,

l i t e r a t u r e : M.W.Brockwell, in A th e­ instead of Hippocrates occupying the niche naeum , 27 November 1909, p.666 (as J o ­ as would be expected, it is placed behind hann Faber); M[aas?], ‘E in wiedergefunde­ Nonnius’s head, perhaps suggesting that nes berühmtes Porträt von der Hand Rubens meant to glorify him as a second Rubens’, Kunstchronik, 14 January 1910 Hippocrates. (as Johann Faber); K.d.K., pp.309, 468 (as Although this work has been known probably Théodore Turquet de Mayerne); for some time, it was only identified in L. Burchard, in Cat. Exh. London, 19jo, 1950 as a portrait of Nonnius. Brockwell p.46, No.36; J. S. Held, Rembrandt’s Aris­ had previously suggested Johannes Faber, totle and other Rembrandt Studies, Princeton, and Oldenbourg thought it might be De 1969, p.24; [G. Martin], in National Gallery Mayerne. The true identification was es­ Annual Report, 1969-70, pp.33-35, pl. Ill ; tablished by Burchard from the docu­ National Gallery Illustrated General Catalo­ mented copy made by Erasmus Quellinus gue, London, 1973, p.643, N0.6393 (repr.); in 1647 for Balthasar Moretus, which is F.Baudouin, P.P. Rubens, Antwerp, 1977, still in the Plantin Museum in Antwerp pp.262, 268, 270 (repr.); Judson-Van de (Fig.151).4 V elde, p.245, under No.56. Burchard dated this work to 1627, prob­ ably because the Diaeteticon was publi­ shed in that year. Oldenbourg, who did Ludovicus Nunez or Nonnius (c.1553- not know the sitter’s identity, had previ­ 1645/6) was an Antwerp humanist of Por­ ously dated it 1629. Gregory Martin sug­ tuguese origin: his father, Alvaro Nunez, gested somewhere between the second had settled in Antwerp from Lisbon in half of the 1620s and c.1630. As a portrait about 1550. The son, a well-known numis­ type it clearly belongs to the group of late matist and antiquarian, belonged to the portraits of humanists such as those of circle of Gevartius, Rockox and Moretus Gevartius (No.106; Fig.122), Brant (N0.78; among others, but was primarily a physi­ Fig,42) and De Mayerne:5 in all these we cian. In 1627 he published the Diaeteticon, find a similar set of attributes, especially a treatise, based on antique sources, on the antique busts and the books symbol­ the eating habits of the Romans.2 izing the subject’s intellectual status. This He is here shown to knee-length, seat­ portrait differs somewhat from the others ed in a chair, his body in three-quarter in its direct and lively style, with Nonnius view and his eyes turned towards the depicted in a teaching attitude: in this

138 CATALOGUE NOS. I25-I 2Ó respect it is a good deal doser to the bens); D.Bodart, in Cat. Exh. Tokyo, ipSj, (much earlier) Portrait of Ophovius (No. 126 ; p.38, No.31 (repr., as R ubens); (2) Paint­ Fig. 155). But Gregory Martin rightly ing, whereabouts unknown ; canvas, 68 x pointed out that there is a great similarity 55 cm. p r o v . Bruges, Alberic de Meester of composition between the portrait of (1929); (3) Painting, ?i8th or 19thcentury, Nonnius and that of Jan Brant in Munich, whereabouts unknown; canvas, 72.5 x dating from 1635. It may be added that in 59cm. p r o v . Henry Didier, sale, Paris style and technique the two works have (Drouot), 16 June 1868 et seq., lot 79 (as much in common, with their lively R ubens); Mme Denain, sale, Paris, 6 April brush-work and the dim, restful lighting. 1893 et seq., lot 29 (as R ubens); New York, Personally therefore I should be inclined M.C.D.Borden; London, A.L.Nicholson to favour a later date, towards 1635. In (1927). e x h . London, /927, No.262 (as R u ­ that year Rubens was in close contact with bens); New York, 1927, No.5 (repr., as

Nonnius, who played an active part in R ubens), l i t . [T.Borenius], in Conw ay, designing the Pompa Introitus Ferdinandi.6 Memorial Volume, p. 107, No.262 (as R u ­ It may also be noted that in 1638 Rubens bens); A. L. Nicholson, [Letter] in The Bur­ had an engraving made by Pontius after lington Magazine, L, 192.7, p.344 (asRwbeti^) ; the bust of Hippocrates depicted in the H. Blaker, [Letter], in The Burlington Ma­ present work.7 g a zine, LI, 1927, p.51 ; Ella S.Siple, ‘Art in America: New York as a Centre’, The 1. This information comes from an entry in a manu­ Burlington Magazine, LI, 1927, p.49. script catalogue of 1718 drawn up by the Bail of Kent’s son, the Duke of Kent, still in the possession of the Lucas family (cf. G. Martin, op. cit., p.35). 2. The relevant facts from Nonnius's biography were The fact that a number of copies of vary­ well summarized by Burchard in Cat. Exh. London, ing quality show üphovius en buste sug­ 1950, loc. cit. 3. Rubens’s own brother Philip, for instance, is hon­ gests that the posed portrait in three- oured in the same way in C.Galle’s frontispiece to cyuarter view at The Hague (No.126; S.Asterii Amaseae Homiliae (Judson-Van de Velde, Figs. 154,155) was preceded by a simpler N o.29, figs.to o -io i), 4. The accounts in the Plantin archives contain the painted prototype of the sitter’s head and following item relating to this copy: '1647.18 april — shoulders. Such prototypes are not un­ Betaelt aen Erasmus Quellinus voor het pourtraict usual in Rubens’ work.1 D .Nonnius...’ (M.Rooses, Catalogue du Musée Plan- tin-Moretus, Antw erp, 1922, p .30, n .i). 5. Cf. Huemer, Portraits, N0.47, fig.128. I. Cf. Huemer, Portraits, Nos.5b (lig.53), 21a (fig.77) and 6. Cf. Martin, Pompa, p.65. 34a; see also, in the present volume, e.g. Nos.109 7. Cf. V.S., p.223, Suite 25, No.4. and 147.

125. Michael Ophovius 126. Michael Ophovius (Figs. 154,155)

Whereabouts unknown ; presumably lost. Oil on canvas; 111.5 x 82.5 cm. The Hague, Mauritshuis. No.252. c o p i e s : (i ) Painting (Fig. 153), Brussels,

G.Dulière; canvas, 61x51cm . p r o v . p r o v e n a n c e : ’ Dominican Convent,

Dieren, A.Katz (1963). e x h . Tokyo, njSy, Antwerp; J.F. de Vinck de Wesel, sale,

N0.31 (repr., as R ubens), l i t . D.Bodart, Antwerp, 27 April 1813, lo ti; H.J.Stier R ubens, Milan, 1981, p. 173, No.4o3b (as Rtt- d’Aertselaer, sale, Antwerp, 29 July 1822,

139 CATALOGUE NO. 126 lot 6; purchased by William the First, e x h i b i t e d : A ntw erp , 1977, N0.45 (repr.). King of the Netherlands. l i t e r a t u r e : Smith, Catalogue Raisonné, II, p.13, N0.26, pp.i 13—114, N0.383 ; Rooses, c o p i e s : ( i ) Painting (Fig.156), Antwerp, IV, pp.226-227, N0.1013; [A.Bredius and Rubenshuis; canvas, 104x84cm. p r o v . On loan from G.Dulière, Brussels, since C. Hofstede de Groot], Musée Royal de la Haye, Catalogue raisonné des tableaux et des 1977. e x h . Tokyo, 198y, N0.30 (repr., as sculptures, The Hague, 1895, pp.346-347, R ubens), l i t . Mauritshuis, The Royal Cabinet of Paintings, Illustrated General Catalogue, N0.252; K.d.K., ed. Rosenberg, p.316; D il­ The Hague, 1977, p.206, under No.252; lon, Rubens, pp.174, 217, pl.CCCXXVIII; R.-A.d’Hulst, in Cat. Exh. Antwerp, 197], K .d .K ., p. 167; [W.Martin], Musée Royal de p.113, under N0.45; D.Bodart, R ubens, tableaux Mauritshuis à La Haye. Catalogue Milan, 1981, p.173, No.4o3a (as R ubens); raisonné des tableaux et sculptures, The J.Müller Hofstede, “ ‘O felix Poenitentia” . Hague, 1935, p.296, N0.252; Mauritshuis. Die Büsserin Maria Magdalena als Motiv The Royal Cabinet of Paintings. Illustrated der Gegenreformation bei Peter Paul Ru­ General Catalogue, The Hague, 1977, p.206, bens’, in Imagination und Imago. Festschrift N0.252; J.Müller Hofstede, ‘ “O felix Kurt Rossacher, Salzburg, 1983, p.225, n.74 Poenitentia” . Die Büsserin Maria Magda­ (as R ubens); D.Bodart in Cat. Exh. Tokyo, lena als Motiv der Gegenreformation bei 1985, p.38, N0.30 (repr., as R ubens); (2) Peter Paul Rubens’, in Imagination und Painting, Brussels, F.C.Jacques; canvas, Imago. Festschrift Kurt Rossacher, Salzburg, 1983, p.225, n.74 (as not by Rubens); [H. 113 x82 cm. p r o v . ?Mechlin, Dusart Hoetink], in The Royal Picture Gallery (1854); Brussels, L.Alvin (1886). e x h . Mauritshuis, Amsterdam-New York, 1985, Brussels, 1886, No.195. l i t . A.Michiels, R ubens et l ’école à ’ Anvers, Paris, 1854, p.117; p.274, N0.78 (repr.). (3) Painting, whereabouts unknown ; can­ vas, 110.5 x 81.5 cm. p r o v . Sir Douglas Blacket, Bart., Matfen Hall, Northumber­ Michiel or Michael Ophovius (’s Hertogen­ land, sale, London (Christie’s), 5 Novem­ bosch, 1571— Lier, 1637) entered the Do­ ber 1965, lot 36; (4) Painting by ?D. Te­ minican monastery of St Paul in Antwerp niers the Younger, whereabouts un­ in 1585. After theological studies at Lou­ known; panel, 24x18 cm. p r o v . Sale, vain and Bologna he devoted himself to London (Sotheby’s), 2 March 1977, lot 6 the Order’s primary work of preaching, (repr., as D. Teniers the Younger); (5) Draw­ and was one of the first important cham­ ing by ?N. van den Bergh, whereabouts pions of the Counter-Reformation in the unknown; pen and ink, washed, 205 x Netherlands. In 1608 he was first elected

135 mm. p r o v . J.G.Verstolk-van Soelen Prior of St Paul’s, and did much for the (1776-1845), sale, Amsterdam, 22 March restoration and embellishment of its 1847, lo t65 (as R ubens); V.D.Sylva, sale, church. In 1611 he became Provincial of Brussels (Fiévez), 13 June 1914, lot 210 the Order for the Low German area, and (repr., as R ubens); Brussels, Cardijn(i92i); in 1615 Prefect of Dominican missions in Brussels, Van den Savel; sale, Brussels the United Provinces; this of course was (Giroux), 29-31 May 1958, lot 419 (as R u ­ in line with his fervent Catholicism, and bens) ; (6) Etching by N. van den Bergh ( 1725 brought him into conflict with the Calvi­ -1774), ?after (5) (V.S., p.185, N0.266). nist government of the Dutch Republic.

140 CATALOGUE NO. I 2 Ó

He also carried out confidential diplo­ Jan Corneliszoon Vermeyen uses this matic missions for the Infanta Isabella in ‘speaking gesture’ in c. 1530-40.4 Holland. His militant Catholicism also Varying dates have been proposed for accounts for his appointment in 162Ó as this portrait. Rooses placed it around bishop of his birthplace, ’ s Hertogenbosch, 1630; Burchard agreed, partly because Ru­ which was one of the furthest outposts of bens and Ophovius were in touch about that part of the Netherlands which re­ the latter’s monument in 1631. However, mained under Spanish and Papal author­ Ophovius became a bishop in 1620, and it ity; in 1629 he was a witness of its siege is very unlikely that he would have been and capture by States troops. He remained painted after that date in attire other than at his post under Dutch rule until shortly bishop’s robes. Oldenbourg dated the before his death, performing his office in portrait c.1618, and I my self find this more a zealous and combative manner despite probable. The local colouring and sculp­ many obstacles.1 He must have been in tural effect are typical of Rubens’s style quite close contact with Rubens; apart around 1615 or a little later. from the present portrait, they were in It is generally supposed that this work touch concerning a funeral monument to is identical with a portrait of Ophovius by be designed by the artist.2 According to an Rubens which was in a room in the Do­ old tradition which goes back to the in­ minican monastery in Antwerp until late scription beneath the eighteenth-century in the eighteenth century. That portrait etching by N. Van den Bergh, Ophovius is first mentioned by Jacob de Wit in his was Rubens’s confessor; but no confir­ description of the Antwerp churches in mation of this can be found. c. 1748.5 In any case it was of the same type Ophovius is here shown to waist-length, as the present work, as is dear from De in the black and white habit of his Order, Wit’s statement that it was engraved by turned slightly away from the spectator Van den Bergh. It may well have been but looking directly towards him. He identical with the present portrait, but holds a part of his black mantle in his left this cannot be taken as certain. In the hand, while the right, foreshortened, is first place there is a gap in the provenance. held out in an expository gesture with The piece presumably disappeared from sculptural effect; his lips are moreover the monastery in Antwerp during the slightly parted, as if he were arguing a French Revolution. The first certain men­ point. This pose was certainly intentional tion of the portrait in The Hague, on the on the sitter’s part, as characteristic of the other hand, is in the catalogue of the sale Ordo Praedicatorum; it is also expressive, of the Vinck de Wesel collection in Ant­ intentionally or not, of his own combative werp in 1813, and this says nothing of its temperament. This lively portrait schema having been in the Dominican monastery : is of Renaissance origin. Titian, for in­ that information is first found in John stance, often used the oratorical gesture Smith’s work of 1830. A second reason to enliven portraits of scholars: a charac­ why the two cannot be regarded as cer­ teristic example is his Pietro Bembo of tainly identical is that the portrait in the C.1540 in the National Gallery, Washing­ Mauritshuis is not of the best quality, and ton.3 In the Netherlands too, the motif of several studio replicas were made of it. a hand thrust out towards the spectator It does not in fact seem to me fully occurs very early in the sixteenth century: authentic: in particular, the rather hard

141 CATALOGUE NO. 12J drawing of the folds of Ophovius’s habit 127. Michael Ophovius gives the impression of being studio work. On the other hand, the very expressive Whereabouts unknown; presumably lost. and sculpturally modelled head must for the most part be Rubens’s own work. It should be pointed out here that the paint­ c o p i e s : (1) Painting (full-length; Fig. 159) ing conceals the beginnings of an earlier ’s Hertogenbosch, Episcopal Palace; can­ work ; however, the X-ray does not make vas, 149 x118 cm. p r o v . Haren, Groot­ it possible to draw any conclusions as to seminarie. l i t . C.H. de Jonge, in Voor- whether the underpainting is by Rubens. loopige Lijst der Nederlandsche Monumenten As to the replicas, one of them, at present van Geschiedenis en Kunst, I, The Hague, on loan to the Rubens House (Fig. 156), is 1931, p.151; A.M.Frenken, ‘De Bossche of a very high standard: R.-A. d’Hulst Bisschop Michaël Ophovius O.P.’, Bos­ actually thought it ‘of no less quality’ sche Bijdragen, VI, 1936, pp.109-111 (repr.) ; than the example in The Hague.61 do not (2) Painting of the head, Madrid, Banco believe, however, that Rubens had any Urquijo; panel, 39x 26cm. p r o v . Duch­ part in it. For one thing, in that version esse de Bogiano; Edouard Warneck, sale, Ophovius’s mouth is not half-open as in Paris (G.Petit), 27 May 1926, lot 72 (repr., the painting at The Hague; the omission as R ubens); Leo Blumenreich; Haarlem, of this subtle detail, which so well fits the F.W. Koenigs (1881-1941) ; Rotterdam, Mu­ argumentative and didactic pose of the seum Boymans; Madrid, Daniel Moreno Dominican prior, can only be explained (1967). e x h . Am sterdam , 1933, N0.46 (repr., as a copyist’s typical mistake. For the as Rubens); Madrid, 1977-78, No. 102 (repr., present, then, the example in The Hague, as R ubens), l i t . Jaffé, Exhibitions, pp.346, despite some weaknesses, is still to be 34 9 ; (3) Painting of the head, whereabouts regarded as the best version and there­ unknown; panel, 52 x41.5 cm. p r o v . fore the most likely to be identical with Stockholm, A.W.Sjöstrand, sale, Berlin the painting that was in the monastery at (Lepke), 21 March 1933, lot 27; (4) Engrav­ Antwerp until the French Revolution. ing by C. II de Passe (C.1597-C.1670) (H oll- stein, XVI, 1974, p.119, N0.97); (5) Engrav­ ing in C. Butkens, Trophées tant sacrés que 1. For his biography see P.J,A.Nuyens, in N ationaal profanes duDuché deBrabant, II,TheHague, Biografisch Woordenboek, V , Brussels, 1972, cols. 659­ 661. 1726, p.427 (V.S., p.185, N0.367). 2. This appears from an entry of 4 February 1631 in O phovius’s fam ous D iarium : ‘Ivi ad D.Rubbenium pro disponenda sepultura’ (first published in M. Rooses, 'Rubens en Ophovius’, Rubens-Bulletijn, V , 1897, p .162). This portrait composition shows Opho­ 3. See Wethey, Titian, II, No. 15, pl.90. vius seated in an armchair in front of a 4. See in this connection Friedländer, XII, pls.205-208. 5. De W it, Kerken, p.59: ‘In Eene van de Kamers van table covered with a cloth of different het Convent siet men het portret van ... Ophovius, colours. On the table is a crucifix and a Laesten Bischop van S’Hertoghen bosch, door Ru­ prayer-book which the sitter holds open bens geschildert. Het selve gaet in print uyt door van den Bergh gesneden'. This may be the portrait with his left hand. Ophovius wears the of Ophovius mentioned, without any artist’s name, habit of his Order (see under N0.126) but in Graf- en gedenkschriften, V, p. 175 (a work based on also the violet skull-cap and gold cross of 18th-century sources). 6. In Cat. Exh. Antwerp, tgyy, under N0.45. a bishop. In addition, the episcopal ring

142 CATALOGUE NO. 127a is shown prominently on his right hand, 127a. Michael Ophovius ; Drawing and on the extreme right of the picture is (Fig. 157) a cartouche with his arms beneath a mitre. Ophovius’s mitre is also seen in the upper Black and red chalk, washed in brown; left corner against the curtain which se­ 234 x 190 mm. parates the composition from the back­ Paris, Cabinet des Dessins du Musée du ground; a glimpse on the right shows this Louvre. Inv. No.RF 2383. to consist of a wooded landscape at p r o v e n a n c e : Bequeathed to the Louvre evening. by Ernest Grandidier, in 1900. The painting at ’s Hertogenbosch has c o p i e s : ( i ) Drawing, Berlin, Staatliche traditionally been associated with Rubens. Museen, Kupferstichkabinett, Inv. No. Burchard accepted this, but pointed out KdZ39oi ; irregularly oval, 253 x 189 mm. that it could not be an autograph work: p r o v . B.Suermondt (Aachen, 1818-1887); it is no doubt a replica of a lost original by purchased from the latter, in 1874. l i t . Rubens. The strongest argument in sup­ Rooses, V, p.270; Bock-Rosenberg, I, p.256, port of this is that in the Cabinet des N0.3901; M ielke-W inner, pp.134-135, Dessins in the Louvre there is an auto­ N0.69 (repr.); (2) Drawing (Fig. 158), Rot­ graph study drawing for a portrait of terdam, Museum Boymans-van Beunin­ Ophovius in almost the same pose as here gen, Inv. No. V.87; 290 x 192 mm. p r o v . (No.127a; Fig.157). In the present work Weimar, The Grand Dukes of Sachsen­ Ophovius is clearly older than in the por­ Weimar; Haarlem, F.W. Koenigs (1881­ trait at The Hague (No. 126; Fig. 155); he 1941). l i t . Rooses, V, pp.269-270. is completely grey, and his features have lost something of their earlier forceful­ e x h i b i t e d : Paris, 19>4, N0.421; Paris, ness. 19)9, No.8; Paris, 197S, N0.27 (repr.).

A terminus post quem is 13 September l i t e r a t u r e : Lugt, Cat. Louvre, École 1626, when Ophovius was consecrated flam ande, II, p. 15, No. 1019, fig.XX; H uem er, bishop. A terminus ante quem might be P ortraits, p.93, fig.39; K.Renger, [Review 30 December 1630, when Ophovius— then of Cat. Exh. Paris, 197#], Kunstchronik, in the North Brabant village of Geldrop— XXXI, 1978, p.307; Anne-Marie Logan, noted in his diary that his steward, Lau­ ‘Rubens Exhibitions, 1977-1978’, M a ster rentius van Lommel, was to bring his por­ D ra w ings, XVI, 1978, p.431 (as not by trait from ’s Hertogenbosch. However, he Rubens). does not mention the artist’s name, nor does the entry indicate whether the por­ trait was newly painted or had existed for A study from life, en buste, for the por­ some time.1 The identification is thus trait of Ophovius as a bishop. The sitter is purely speculative. in the same pose as in the final painting: his body slightly turned to the right, his eyes fixed on the spectator. As in the final portrait, he is seated in an armchair. A 1.‘Respondi Mag. Laurentio, quod ante discessam difference is that he is bare-headed and, meum compercrct hic, ... effigiem Reverendissimi instead of the black cappa of the Domini­ conferret' (A.M .Frenken, op. cit., p.109; this author cans, wears a bishop’s m o z e t t a fastened points out that elsewhere in his diary Ophovius similarly referred to himself as 'Reverendissimus'. with buttons. Lugt, who first published

143 CATALOGUE NO. 128 this sheet, dated it c.1630-35; he was l i t . R eynolds, Journey, p . 186 (as R ubens, A clearly unacquainted with the facts pre­ Chancellor o f Brabant)', Rooses, IV, pp.230- sented by Frenken, which might suggest 231, N0.1018 (as Rubens); K.d.K., ed. Rosen­ a somewhat earlier date (see under berg, p. 106 (as R ubens); Dillon, Rubens, N0.127). Burchard pointed out that the pp.128,212, pl.XLIX (as Rubens); Musées sheet must have been cut down slight­ Royaux des Beaux-Arts de Belgique. Catalo­ ly: the copy at Rotterdam (Fig. 158) shows gue de la peinture ancienne, Brussels, 1927, that more of the sitter’s hands could N0.968 (as R ub en s); [T.Borenius], in Con­ originally be seen, below and on the way, Memorial Volume, p.126, No.317 (as right. Konrad Renger thought that only R ubens); (2) Painting, whereabouts un­ the under-drawing in black chalk was au­ known; canvas, 148 x123 cm. p r o v . Pa­ thentic and that the washed portions were ris, Dr. Paul Mersch, sale, Berlin (Keller added later. I am inclined to agree with and Reiner), 1-2 March 1905, lot 118 (repr., this: the wash shows too much sign of as C .d e Vos); (3) Painting of the head and local colour, which seems to me rather shoulders, Munich, Bayerische Staats­ unusual for Rubens. gemäldesammlungen, Inv. N0.7419; can­

vas, 64x53 cm. p r o v . Zweibrücken, Electoral Collections; brought to the Hof­

128. Petrus Pecquius (Fig. 160) gartengalerie, Munich, in 1836. l i t . Smith, Catalogue Raisonné, II, p.78, N0.243 (as Oil on canvas ; 140 x 119 cm. ; on the letter R ubens); (4) Painting of the head and the monogram P.P.R. shoulders, with a medal, whereabouts

Fareham, Hampshire, Southwick House, Mrs unknown; canvas, 66 x48.5 cm. p r o v . H. F. P. Borthwick-Norton. Sale, New York (Christie’s), 15 June 1977, lot 233. p r o v e n a n c e : Marquess of Ely; Sir Au- dley Neeld (1922) ; Sir W. Neeld, sale, Lon­ exhibited: Winter Exhibition, Royal Aca­ don (Christie’s), 9 June 1944, lot 24; pur­ demy, London, 1878, No.135; W inter chased in 1948 by the present owner, Exhibition, Royal Academy, London, 1910, through Agnew’s, London. No.131; Loan Exhibition of Pictures by Old Masters, on behalf of Lord Haig’s Appeal for c o p i e s : ( i ) Painting, Musées Royaux des Ex-Service Men, Thos. Agnew and Sons, Beaux-Arts de Belgique, N0.968; canvas, London, 1922, No.10; London, 192J, N0.147 142x121cm. p r o v . Antwerp, J.E.Pee- (repr.); on loan to the National Gallery of ters d’Aertselaer (1725-1786), where seen Scotland, Edinburgh, c.1951; London, 1953 by Sir Joshua Reynolds, in 1781; Peeters -3 4 , N0.208. d’Aertselaer sale, Antwerp, 27 August

1817, lot 12 (as R ubens); Brussels, Princes l i t e r a t u r e : Waagen, Treasures, II, p.246 of Arenberg; seized by the Belgian State (as A Man Seated); Rooses, IV, p.314, after the First World War and presented N0.1139 (as Un homme assis); C.Phillips, in to the Musées Royaux at Brussels in 1924. The Daily Telegraph, 18 January 1910;

e x h . Académie Royale, Brussels, 1886, M.W.Brockwell, ‘Une exposition d’an­ N0.193 (as R ubens); London, 1927, N0.317 ciens maîtres à la Galerie Agnew’, G a lette (as R ub en s); De mooiste portretten uit onçe des Beaux-Arts, 1923, pp.57-58 (repr.); m usea, Musées Royaux des Beaux-Arts de [T. Borenius], in Conway, Memorial Volume, Belgique, Brussels, 1961, N0.103 (repr.). p.65, N0.147,

144 CATALOGUE NO. 129

The sitter is shown full-length, seated in 129. Nicolaas de Respaigne (Fig. 161) an armchair. He is in three-quarter view, looking directly at the spectator. He Oil on panel; 206.5 x 12° cni. wears a black gown with a white fluted Kassei, Staatliche Gemäldegalerie. N0.92. collar and cuffs, and holds a letter in his p r o v e n a n c e : Nicolaas de Respaigne; right hand. In the left background is the bequeathed to his wife Cornelia Draeck, base and lower part of a huge column. 1647; purchased in 1751 by Wilhelm VIII, The fact that there are several examples Landgraf of Hessen-Cassel, from the of this portrait suggests that the sitter was Dutch dealer Gerard Hoet. a holder of high office. This and the style characteristics seem to confirm the old c o p i e s : ( i ) Painting by ? David T eniers II, tradition that the portrait is of Pieter whereabouts unknown ; panel, 25 x 19 cm. Pecquius. This identification is first found p r o v. J. B. Lebrun, sale, Paris, 29 Septem­ in the catalogue of the sale in 1817 of the ber 1806, lot 45; Bonnemaison; Cologne, Peeters d’Aertselaer collection, referring Rudolf Peltzer, sale, Amsterdam (F. Mul­ to the studio replica now in the Royal ler), 26 May 1914 et seq., No.191. l i t . Museum, Brussels. Pieter Pecquius (1562­ Rooses, IV, p.293, under N0.1091 ; (2) Etch­ 1625), lawyer and diplomat, whose estates ing by G.P.Longhi (1766-1831 ; Rooses, IV, included Bouchout, Borsbeke and Hove, p.293, under N0.1091). was appointed Chancellor of the Sover­ e x h i b i t e d : A ntw erp , 1930, No. 229; Siegen, eign Council of Brabant in 1616,1 which 1967, not numbered. may well have been the occasion for this portrait. The markedly sculptural compo­ l i t e r a t u r e : J.Causid, Verçeichniss der sition would fit in with this date, and the Hochfürstlich-HessischenGemählde-Sammlung document Pecquius is holding so promi­ in Cassel, Kassel, 1783, p.5, No.13; O.Eisen- nently may well be his letter of appoint­ mann, Katalog der Königlichen Gemählde- ment. galerie çu Cassel, Kassel, 1888, pp.57-59, There is a remarkable similarity of style N0.84; C.Alhard von Drach, in O. Eisen­ with the portrait of Van Thulden in Mu­ mann, op. cit., pp. LX-LXI; Rooses, IV, pp. nich (No.152; Fig.220), which dates from 292-293, N0.1091; H.Knackfuss, R ubens, C.1617 or slightly earlier: the sitter’s pose Bielefeld-Leipzig, 1898, pp.84-85, 96 at an angle to the picture surface is the (repr.); M.Rooses, ‘De Man in Oostersch same, albeit in reverse. The comparison Gewaad uit het Museum van Cassel’, R u- also shows up some weaker sides of the bens-Bulletijn, V, 1900, pp.103-111; Id., present work: in the depiction of the head ‘L’homme en costume oriental du musée we do not find the lively brushwork that de Cassel’, Bulletin de l’Académie Royale de makes Van Thulden’s portrait so expres­ Belgique, Classe des Beaux-Ar Is, 1900.pp.252 sive. There are also evident pentimenti, -267; Rooses-Ruelens, IV, p.377; K. Voll, as in the right arm of the chair. Die Meisterwerke der Königlichen Galerie çu Cassel, Kassel, 1904, pl.129; K.d.K., ed. Ro­ senberg, p.267; Dillon, Rubens, pp.148, n.i,

I. For biographical references see V.Brants, in Bio­ 194, N0.9, pl.CCXXXV; K .d .K ., p.174; graphie Nationale de Belgique, X V , Brussels, 1899, cols. [E. Herzog], Katalog der Staatlichen Ge­ 784-792; L.P.L.Pirenne, ‘Petrus Pecquius, dienaar mäldegalerie zu Kassel, Kassel, 1958, No.92 der aartshertogen', in Voor Rogier, H ilve rsu m , 1964, pp,81-96. (repr.); E.Herzog, Die Gemäldegalerie der

145 CATALOGUE NO. 129

Staatlichen Kunstsammlungen Kassel, Kassel, shortly before he died in 1647.2 We have 1969, p.28, pl.IV; R. A. Ingrams, ‘Rubens some information about his career.3 He and Persia’, The Burlington Magazine, spent a long period in Venice as a com­ CXVI, 1974, p.197, fig.33; R. Baetens, Scho­ mercial agent, at least from 1603 to 1605, ten. De geschiedenis van een tweeluik, Schoten, and married Elisabeth Stappaert, the sis­ 1982, pp.12-13 (repr.); B.Schnackenburg, ter of his partner Orlandus Stappaert; she Flämische Meister in der Kasseler Ge­ died in Venice in 1608. From there he mäldegalerie, Kassel, 1985, p.30. travelled for commercial or other reasons to the Levant, including the Holy Land ; in 1615 we encounter him as a member of The sitter is shown frontally and full- the Flemish Nation in Aleppo. The title length. He stands in an assertive pose, of a ‘Knight of Jerusalem’ was conferred with legs apart and with his left hand on on him in 1611. In his will, mentioned his hip; the right rests on a staff. He is above, he bequeathed to his son Nicolaas dressed in Turkish style. His dark cloak is a ‘Jerusalem cross and chain’ and various trimmed with brown fur; under it is a Turkish garments and accoutrements long violet silk garment ornamented which no doubt date from this period: with pomegranate motifs, and red bree­ ‘het goude cruys van Hierusalem met het ches underneath. He wears a broad sash goude kettenken daeraen gehecht, ende around his waist, and a red and white tur­ oock syne turxce kleederen, bogen, bylen ban. He is standing on an oriental carpet, ende die andere bijgevoegde turxce which enhances the exotic effect. A strong rariteyten’. The ‘Turkish clothes’ no doubt light brings the figure into sharp relief included the costume in which he was against the background of a subdued painted by Rubens, and the palm-branch brownish-green. On the left, at the very in the portrait is a traditional symbol of edge of the picture, is a large palm- pilgrims to Jerusalem.4 From Venice, De branch attached to a handle. Respaigne and his household returned to The identity of this westerner in orien­ Antwerp some time before 24 October tal dress was for a long time unknown. 1619, on which day he married his second However, in 1900, when correcting the wife, Cornelia Draeck. Between then and earlier description in his Œuvre de Rubens, 1630 he is regularly mentioned as amateur Rooses was able to state that it was the in St Luke’s Guild and the Chamber of Antwerp merchant Nicolaas deRespaigne. Rhetoric known as ‘De Violieren’.5 He was There were two clear pieces of evidence also a member of the Romanists’ Guild for this. Firstly, in the upper right corner from 1629 onwards,6 and owned the of the panel there are much worn but still estates of Schoten and Horst. recognizable traces of a coat of arms with This pose in oriental costume is unique a field of gules, a silver chevron and roses in Rubens’s work; however, portraits in and a crowned helmet, these being the exotic costume of Europeans who had arms of the Respaigne family.1 Secondly, travelled in the Near East gradually be­ in the light of this and the facts discussed came fashionable in the seventeenth cen­ further, it was possible to identify this tury. Other well-known examples are portrait with ‘syn turcks contrefeytsel Van Dyck’s Robert Shirley at Petworth7 and gemaeckt van Rubbens’, which Nicolaas several portraits by Rembrandt.8 A por­ de Respaigne bequeathed to his wife trait by Nicolas de Largillière of a man in

146 CATALOGUE NO. 129

Persian costume, now in Brunswick, seems lished the reproduction of this portrait to derive from Rubens’s De Respaigne.9 opposite that of Tomyris and Cyrus, now The self-assured, martial bearing and the in Boston,12 which he dated to about the wide open cloak is, on the other hand, same time. The strongly modelled figure reminiscent of some bravura portraits in Moorish dress in that painting is indeed by Titian such as Fabrizio Salvaresio, which a much better parallel with the portrait I have mentioned earlier as a possible of De Respaigne than the King in the model for Rubens’s portrait of Jan van Adoration of 1024, despite the greater Montfort (No. 123; Fig. [47). similarity of pose. From this point of view Various dates have been proposed for we may w'onder whether De Respaigne the present portrait. The earliest known did not have his portrait painted by Ru­ dating and the one most widely accepted bens on his return to Antwerp, which, as is that of C. Alhard von Drachwhoin 1888, pointed out above, must have been before in a special article in Eisenmann’s cata­ 24 October 1619. The‘Turkish clothes’ and logue of the Kassel collection, proposed the pose would then have been used by the date of c.1624, drawing attention to Rubens some years later, in 1624, for the the very similar pose of the Moorish King Moorish King in the Antwerp Adoration in Rubens’s Adoration of the Magi of that o f the Magi. year in the Royal Museum at Antwerp.10 1. Cf. Rietstap, Armorial Illustré, V, pl.CXLYIII. Rooses agreed, and the same date appears 2. The document was published in extenso, in M .R oo ­ in Erich Herzog’s monograph on the Kas­ ses, ‘De m an in Oostersch gew aad...', o p . c it., sel collection, published in 1969. Burchard, p. 104. 3. These biographical tacts concerning l)e Respaigne on the other hand, took the view that the were taken from It. Baetens, loc. a t . It is to be noted portrait could not be earlier than 1628 be­ that we have no information for the years between cause, according to him, that was the year 1619 and 1623. However, there is no reason to as­ sume with Rooses (Rooses-Ruelens, IV , p.377) that in which De Respaigne visited the Holy De Respaigne went to Jerusalem during those years Land. Burchard cited a letter of 9 March and not earlier. 1628 from Rubens to Dupuy referring to 4. Cf. e.g. the well-known portraits of Jerusalem pil­ grims, painted by Jan van Score 1 (Friedländer. X II, ‘Un amico mio tornato di fresco da Le­ pis.344-347), Marten van 1 leemskerck (R.Gross- vante il quale sen ando à Jerusalemme’,11 hans, Maerten van tleemskerck. Die (ienulhle, B erlin, which, he believed, could only have meant 11)80, pi.52a) and Antonio Moro (Friedländer, XIII, pi. I 6 y ) , as w ell as Rubens's own portrait o f Jan De Respaigne. Burchard did not argue the van der Linden (No.tin; Fig.139). matter further, but his hypothesis does 5. Cf. Rombouts-Van l.erius. I, pp.604,6i3,6ii5,628,629, not seem to be confirmed by the fact that 640, 641, 054, 656, 664, 671 ; II, pp. 12, 20. De Respaigne is continually mentioned at 6. Ibid., I, p.604. 7. Cf. K.d.K., Van Dyck, p.510. Antwerp, particularly in the Liggeren of 8. Cf. e.g. A.Bredius (ed. H.Gerson), Rembrandt. T h e the Guild of St Luke, between 1623-24 C o m p lete Editie« of the Paintings, London, i 960, and 1630. The date of c.1624, and certainly pp. 144. 153. 9. Cf. Jfohanna] Lfessmann], in R.Klessmann, H erzog C.1628, seems to me incompatible with the Anton Ulrich-Museum Braunschweig. M unich, 1978, style of the portrait. The smooth and p p .126-127 (repr.). 10. K .d .K ., p.277. thick paint, the sculptural quality and the n . Rooses-Ruelens, IV , p.374. Rouses, com m enting on use of local colour do not seem to me to this letter (op. c it., p.377), also identified the triend warrant a date after 1620. Accordingly I as De Respaigne, but added that he had returned from the Levant in c. 1624 (see also 11.3 above). much prefer Oldenbourg’s dating of 12. K .d .K ., p. 175; G o r is -H e ld (p.39, N o.83, pl.07) pro­ C.1616-18. Significantly, Oldenbourg pub­ posed the somewhat later date ot c.1620.

147 CATALOGUE NO. I30

130. Gaspar Rinckens (?) (Fig. 162) mann suggested that this represents Gas­ par Rinckens, Prior of the Antwerp Oil on panel; 41 x 29 cm. monastery of Shod Carmelites from 1622 Rotterdam, MuseumBoymans-vanBeuningen. to 1625.2 They were led to this conclusion No. 1739. by the resemblance to a portrait drawing of Rinckens in the Chronographia Sacri p r o v e n a n c e : Charles Sedelmeyer, Paris Carm eli of c.1746, now in the Antwerp (1898); Rodolphe Kann, Paris; Martin City Archives (Fig.163).3 The pointed Bromberg, Hamburg; acquired for the beard and thick lips, the wide open eyes then Museum Boymans, Rotterdam, in and the oblique fold of skin between the 1925. eyebrow and eyelid, are indeed similar. It might even be thought that the eigh­ e x h i b i t e d : Antwerp, 192J, No.5; A m ster­ dam , 1933, N0.49 (repr.). teenth-century drawing is a rather feeble echo of Rubens’s original. This is not so, l i t e r a t u r e : Rooses, IV, p.302, N0.1112; however. The direct model for the draw­ Sedelmeyer Gallery, The Three Hundred ing is a seventeenth-century painting, not Paintings by Old Masters, Paris, 1898, p.186, hitherto noticed, in the Hermitage in Le­ No. 165 (repr.); W.Bode, Catalogue de la ningrad (Fig. 164),4 where it is listed as Collection Rodolphe Kann, I, Paris, 1907, ‘school of Rubens’. This painting proves p.27, pl.26; J.G.van Gelder, ‘Belangrijke that the drawing is not an inferior repro­ aanwinsten in onze musea’, M a a nd bla d duction of Rubens’s portrait. A compar­ voor beeldende Kunsten, 1925, pp.82-84; ison also makes it appear less certain that D.Hannema, ‘Verslag omtrent den toe­ the Rotterdam portrait is of Rinckens: stand en de aanwinsten van het Museum in particular, there is rather too much Boymans over het jaar 1925’, Jaarverslag difference in the mouth. I would there­ Museum Boymans, 1926, p.4 (repr.) ; [D. Han- fore express some reservation as to the nema], Museum Boymans, Rotterdam, P.P. identification proposed by Freedberg and R ubens, Rotterdam, [1934], pp.6, 10, No.2 Haverkamp Begemann. (repr.); E.Haverkamp Begemann, ‘Ru­ The rather accentuated plasticity of this bens in Rotterdam’, A pollo, LXXXVI, 65, portrait presupposes a date not much later 1967, pp.4i-42,fig.7; Museum Boymans-van than c. 1615. If the man represented here Beuningen, Rotterdam. Old Paintings 1400­ is really Rinckens, one must wonder on 1900. Illustrations, Rotterdam, 1972, p.220, which occasion the portrait was made: No. 1739 (repr.) ;E. Haverkamp Begemann, neither Rinckens’s appointment as prior ‘Rubens’ Portrait of a Carmelite Monk in in 1622, nor his death from the plague Rotterdam’, Jaarboek Koninklijk Museum in 1625 can be considered. voor Schone Kunsten Antwerpen, 1980, pp. 227-231, f i g . i .

1. David Freedberg informed me of his views in July Bust of a Carmelite monk, in three-quar­ 1977. 2. Cf. F.D onnet, in Biographie Nationale de Belgique, ter view ; his eyes are fixed on the specta­ XIX, Brussels, 1907, cols.345-346. tor and his hands folded as if in prayer. 3. Cf. also, under No.87. 4. Inv. N0.4625; oil on panel, 46.5 x 35 cm. I am grate­ Independently of each other,1 David ful to Frans Baudouin for drawing my attention to Freedberg and Egbert Haverkamp Bege­ this w ork.

148 CATALOGUE NOS. I3I-I32

131. Nicolaas Rockox corner, by a later hand: Æ T . S V Æ . 51 (in black) j 1628 (in red). Whereabouts unknown; presumably lost. Whereabouts unknown. p r o v e n a n c e : Diego Duarte, Antwerp, p r o v e n a n c e : Dr Bernouilli, Basle, since 1682. 1932; sold through M.Schulthess, Basle, l i t e r a t u r e : G.Dogaer, ‘De inventaris 1934; Agnew’s, London, 1966; L.R.Brad­ der schilderijen van Diego Duarte’, Jaa r­ bury; sale, London (Christie’s), 11 De­ boek Koninklijk Museum voor Schone Kunsten cember 1984, lot 128 (repr., as H enricus A ntw erpen, 1971, p.209. Lancellottus); sale, London (Christie’s), 5 July 1985, lot 19 (repr., as Henricus Lan­ cellottus). In the famous collection of Diego Duarte c o p i e s : ( i ) Painting of the head and there is a mention in 1682 of a portrait of shoulders, whereabouts unknown; panel, Nicolaas Rockox begun by Rubens, but in 64x 40cm. p r o v . Amsterdam, Augusti- which the body and hand were the work nian Fathers; sold by them in 1933; sold of Jan Boeckhorst, known as Lange Jan.1 in Finland through Eric Burg Berger, in From this scanty description it cannot of 1935 ; (2) Painting, with the hands in a course be judged whether the painting different pose, whereabouts unknown; was a replica of the well-known portrait panel, 83 x63cm. p r o v . Brussels, Albert on the left panel of the triptych of The Warnant. l i t . E.Greindl, Corneille de Vos, Incredulity of St Thomas, now in the portraitiste flamand (t 584-1651), Brussels, Royal Museum in Antwerp.2 If so, how­ 1944, pp.79, 97-98, 106, 136, pi. 19 (as C. de ever, Boeckhorst, who did not come to Vos). Antwerp till about 1626,3 must have work­ ed up a much older portrait. It may indeed e x h i b i t e d : On loan to the National have been a painting that remained un­ Gallery, London, c.1967-71; The British finished in Rubens’s studio after his death. Antique Dealer’s Association Golden Jubilee Other works by Rubens are known to Exhibition, Victoria and Albert Museum, have been completed after his death by London, 1968, N0.7 (repr., as H enricus Boeckhorst, such as The Assumption of the Lancellottus) ; Master Paintings, Recent Acqui­ Blessed in the Alte Pinakothek at Munich.4 sitions, Agnew’s, London, 1975, No.17 (repr., as Henricus Lancellottus). 1. ‘Het conterfeytsel van den Borgemeester Rockockx 't lijf en hant van Lange Jan kost guld. 15.' (pub­ l i t e r a t u r e : B.N[icolson], ‘Current and lished in G.Dogaer, loc. cit.). forthcoming Exhibitions’, The Burlington 2 . C f . D.Freedberg, The Life o f Christ after the Passion (Corpus Rubenianum Ludwig Burchard, VII), London, M a g a zin e, CXV1I, 1975, pp.404, 410, 413 1983, pp.87-89, N o .19, fig.50. (repr., as Henricus Lancellottus). 3. Cf. H.Lahrkamp, ‘Johann Boekhorst 1603-1668’, W e s tfa le n , L X , 1982, p.7. 4. Cf. D .Freedberg, op. c it., pp.233-238, N o .53, fig.170. Antonius de Roore (1577-1655), a Bene­ dictine born at Courtrai, became Abbot 132. Antonius de Roore (Figs. 165,166) of St Martin’s at Tournai in 1623. Fie played an important part in the rebuilding Oil on panel; 81.5 x 62 cm; formerly in­ of the abbey complex, and did much to scribed (before 1966) in the right upper stimulate the monks’ devotion and zeal

149 CATALOGUE NO. 132 for learning. The portrait is identified by fication of the sitter as Lancellottus has his arms with mitre and crozier and the been accepted to this day. motto OMNIA VANITAS, which were visi­ It seems to me probable that the date ble in the upper right corner (Fig.166) be­ of 1628 which originally appeared on the fore restoration in 1966.' An inscription painting is that of its execution, which is beneath the arms and motto indicates quite plausible from the stylistic point of that he was aged 51 when the portrait view. The work has suffered from resto­ was painted in 1628. To the few known ration, and in the hands particularly there facts about his life may be added that he are many traces of wear. It is noteworthy, was abbot at Tournai when Jordaens’s however, that we do not find here the painting of St Martin Healing a Possessed plasticity characteristic of Rubens’s earlier M a n (dated 1630, now in the Royal Mu­ Antwerp portraits. The face makes a seum of Fine Arts in Brussels) was com­ somewhat flat impression, and the grada­ missioned for the abbey church.2 He is tions of shadow are more fluid. The work here seen half-length and in three-quarter in fact presages Rubens’s basic evolution, view, holding a prayer-book in his left around 1630, towards a much more fluent hand. His left forefinger is inside the book, pictorial style. It is curious therefore that, and he holds the bookmark-ribbon be­ when the painting was recently exhibited tween the thumb and forefinger of his at Agnew’s, the catalogue stated that it right hand. ‘belongs to the years immediately follow­ Edith Greindl was the first critic, and ing the artist’s return from Italy in 1608’. till now the only one, to identify the sitter The portrait gives an impression of as Antonius de Roore. She did so with re­ tranquillity and reserve, contrasting with ference not to the present painting but to the dynamic extrovert quality that char­ a slightly varied copy in a private collec­ acterizes not only most of Rubens’s prin­ tion in Brussels (see above, Copy [2]), which ces, commanders and burghers but also she mistakenly attributed to Cornelis de such clerics as Ophovius (No. 126; Fig. 155) Vos. Burchard appears to have taken no or Van Thulden (No.152; Fig.220). The account of the information concerning De commissioner of the portrait may well Roore. He proposed to identify the sitter have desired it to show something of the as Henricus Lancellottus (1576-1643), who contemplative piety of the Benedictine was prior of the Augustinians in Antwerp Order. At all events, Rubens did not when, in 1628, Rubens painted his famous resort to a Titianesque compositional Mystic Marriage of St Catherine for the high scheme; instead, as Benedict Nicolson altar of their church.3 The Benedictine rightly remarked, there is a certain habit is black, like the Augustinian, and affinity with portraits of the dawning Ant­ the date and age indicated on the portrait werp Renaissance of the first years of the are about right for Antonius de Roore. sixteenth century. The absorbed expres­ Burchard, however, ignored not only sion and the quiet play of the fingers give Greindl’s information but the fact that the sitter a meditative air that can be the arms in the portrait are not those of similarly felt in the portraits of a Quinten the Brabant family of Lancelots or Lan­ Metsijs or a Joos van Cleve. cellottus; moreover the mitre and crozier i . See Dom U. Berlière, Monasticon Belge, I, Maredsous, are appropriate for an abbot but not for a 1890, p p.289-290. The arm s seem to have been prior.4 Nevertheless, Burchard’s identi­ painted in later, but are certainly those of the monk

150 CATALOGUE NOS. 133-134

in the portrait: they also appear on the two copies work, and I find it hard to recognize his after it (see above, Copies [1] and [2]). The inscrip­ features in the portrait. This must natur­ tion, like the arms, is not autograph hut appears reliable; the date 1629 appears on one of the two ally be compared with the self-portrait in copies ascribed by Greindl to C.de Vos (see above, the group at Cologne,3 which dates from Copy [2]). the beginning ol Rubens’s Italian period; 2. This painting (see R .-A .d'H ulst JacobJ o r d a e n s, A n t­ w erp and London, 1982, pl.97) was form erly above the comparison does not seem in any way the high altar of St Martin’s abbey church. It was to support Burchard’s identification. presumably commissioned on De Roore’s initiative, since his arms with the three roses can be seen on 1. 'het contreleytscl \an Rucbens in s\n jonckheyt van the base of the pillars to the left of the picture. hem selven gedaen’ (Denucé. Konstkamers, p. 123). 3. For biographical data on Lancellottus see G r a f- en Rooses (R o o ses, IV, p p.248-249, No. 1042) and M üller Gedenkschriften, IV, pp.251, 257, 278, and K. van Hofstede (J. Müller Hofstede, ‘Zur frühen Bildnis­ A renbergh in Biographie Nationale, XI, Brussels, malerei von Peter Paul Rubens', P a n th eo n , XX, 1962, 1890-91, cols.245-246. p.286) connected this docum ent with a so-called 4. For the arms of the Lancelots family see R ie tsta p , self-portrait by Rubens, in the A.-CLThiermann A r m o r ia l, II, p .14 (described as ‘aux 1 et 4 d ’or à une sale, Cologne, 20 May 1807 (lot 303,repr.). The small hure de sanglier de sable; aux 2 et 3 de gueule une engraving illustrating the sale catalogue (repro­ étoile d ’or'). duced by J.Müller Hofstede, op . c it., lig .11) shows that the inscription .AFT.iT/N .MW A'.YJ 099 was visible 011 the panel. Ilouccer, the reasons for the proposed identification ol the sitter as Rubens are 133. Peter Paul Rubens (?) (Fig. 167) not very com incing. This identification is based 011 two facts: first, the young man is represented as ,1 painter, with palette and paint-brushes; secondly, Oil on panel; 50.8 x 36.8 cm. the inscribed date and age make it clear that the Whereabouts unknown. sitter was horn c. 1577-78. 1 cannot see any connec­ tion between the likeness of the artist represented p r o v e n a n c e : Private Collection, Lon­ here and that of Rubens in his earliest known self­ don (1947). portrait, the above-mentioned Frcundschafislnhi at Cologne, dating from the painter's Italian years. 2. Goris-Held. pl.t. 3 - Huemer, Portraits, N o.37, tig. 115- Portrait en buste of a young man with medium-length curly hair and a curled moustache. The head and body are in 134. Peter Paul Rubens (Figs. 168,170) three-quarter view, and he is looking straight ahead. He wears a white starched Oil on panel; 78 x 6i cm. pleated collar. Florence, Uffiçi. Inv. No. 1890. Burchard believed this to be Rubens’s p r o v e n a n c e : ? Received by Cosimo III, earliest self-portrait, painted before he Grand Duke of Tuscany, as a gift from his left Antwerp in 1600. In fact, such an early son-in-law Johann-Wilhelm, Duke of self-portrait is mentioned in the collec­ Neuburg and Elector Palatine, c.1713. tion of the painter Abraham Matthijs, in

1649.1 I do not think that Burchard’s c o p i e s : ( i ) Painting, Barcelona, private assumption can be right as regards either collection (1981); canvas; (2) Engraving by the attribution or the identity of the sub­ C.Gregori (1719-1759) from a drawing by ject. I see no stylistic resemblance to the G.B.Campiglia (1692-? 1762) (VS., p. 159. more or less certain work of Rubens’s No,28); (3) Engraving by G.M.Preisler, earliest years, such as the A rchitect or 1781 (V.S., p. 159, No.31); (4) Mezzotint G eographer in rhe Metropolitan Museum engraving by C.Towney, 1778 (V.S., p.161, at New York,2 nor to Rubens’s later No.70).

151 CATALOGUE NO. 134 e x h i b i t e d : Florence, 1977, N0.83 (repr.). blance, which I do not find wholly con­ vincing, to the ‘hidden’ self-portrait of literature: Smith, Catalogue Raisonné, 1628-29 in the Adoration o f the Magi in the II, p.146, No.511; Rooses, IV, pp.253-254, Prado.1 This was generally accepted by N0.1046; K.d.K., ed Rosenberg, p.7; G lück, critics subsequent to Rosenberg and Ol­ R eview , p.54, reprinted in Glück, Rubens, denbourg, in particular Glück, Burchard V a n D yck, p. 157; Dillon, Rubens, pp.92,215, and Evers, and also Bodart. However, as pi. LXXXIII; K .d .K ., p.141; Burchard, Nach­ Jaffé pointed out in 1977, this late dating träge, pp.392-393; Evers, Rubens, pp.462- ‘separates it [the portrait] from the Four 466, 508, fig.265; Daugherty, Self-Portraits, Philosophers’ in the Palazzo Pitti (No. 117; pp.291-297 (as somewhat doubtful) ; M.Jafle, Fig. 140). The present self-portrait indeed 'Rubens in Italy: A Self-Portrait’, The B u r­ appears to be a reverse image of the por­ lington Magazine, CXIX, 1977, p.605 (repr.), trait of Rubens in that work (Fig.169), and and Gentse Bijdragen tot de Kunstgeschiedenis, his features do not appear much older. XXIV, 1976-1978, pp.73-74 (repr.); D.Bo- Hence I would argue for an early dating dart, in Cat. Exh. Florence, 1977, pp.201- of the present work, around 1615, which 202, N0.83 (repr.); Warnke, Rubens, pp.32, would also accord with its plasticity. 34, fig.16; Jaffé, Exhibitions, p. 136; Some correspondence of the Tuscan M.C[hiarini], in Uffiçi, Cat. 1980, p.982, grand dukes in the latter part of the No. A792 (repr.). seventeenth and beginning of the eigh­ teenth century refers to their wish to ac­ quire a self-portrait by Rubens, but it is A bust-length portrait: Rubens’s head is not entirely clear whether this was the in three-quarter view to the left, his eyes present work or the copy after the 1623 fixed on the spectator; his body, however, version in the British Royal Collection is almost in profile. Bare-headed and (Fig. 173). In 1671 Leopoldo de’ Medici ask­ partly bald, he is dressed in a dark cos­ ed the Internuncio in the Southern Ne­ tume with a flat white lace collar. Smith therlands, Monsignor Airoldi, to enquire already expressed the opinion that only about a self-portrait by Rubens which, he the head was painted by Rubens, the rest had heard, was in the possession of Juf­ being a later addition so that the piece frouw Duarte in Antwerp. As a result the could be included in the Tuscan Grand Monsignore ascertained that a certain ‘De Ducal Collection of portraits of artists. Voet’ in Antwerp— evidently Alexander Burchard was the first to establish that the Voet— possessed a portrait of Rubens and whole lower part, as far as 26 cm. from also one of Van Dyck, both of the same the bottom, is a later, unauthentic addi­ format and both painted by the latter ar­ tion; there is also an added strip on the tist.2 At the end of 1693, portraits of Rubens right, 8 cm. wide from top to bottom. and Van Dyck were offered to the grand The whole of the costume is heavily over­ duke, but without result.3 Earlier how­ painted. ever, on 26 February 1683, Cosimo de’ Opinions vary as to dating. Rosenberg Medici III wrote that he had acquired a placed the portrait in Rubens’s Italian portrait of Rubens and one of the latter’s years, at c.1602. Oldenbourg preferred wife during his stay in the Netherlands in to date the work c.1615-18. Rooses pro­ 1667 or 1669,4 This set may well be identical posed C .16 28 o n th e strength of a resem­ with, on the one hand, the Uffizi copy of

152 CATALOGUE NO. I35

Rubens’s Self-Portrait of 1623, made for the lot 1275; purchased by Bass and others; Prince ofWales (No.i35,Copy[2]; Fig. 173), recovered for the Royal Collection at the and, on the other hand, the portrait of Restoration, and successively exhibited in Isabella Brant, also in the Uffizi (N0.76; Whitehall (1687-88), Kensington Palace, Fig.41): both pictures have similar mea­ Windsor Castle (1776), Carleton House surements and it may be conjectured that (1819) and Buckingham Palace (1833). one of the first owners of Isabella’s por­ trait had the copy of Rubens’s Self-Portrait c o p ie s : ( i) Painting (Fig. 172), Canberra, made, so as to form a pair of companion National Gallery of Australia; canvas, pieces. Cosimo also acquired another self­ 89x67cm . p r o v . Nicolas Claude Fabri portrait by Rubens some time before de Peiresc (1580-1637); bequeathed by 22 August 1713, as on that date he thank­ him to Boniface Bourilly, Aix-en-Proven­ ed his son-in-law Johann-Wilhelm, Elec­ ce (1564-1648); Aix-en-Provence, Michel tor Palatine and Duke of Neuburg, for a Bourilly (1596-1688); Aix-en-Provence, present of two self-portraits by Rubens Michel de Fabri-Bourilly (1659-1726); Aix- and Van Dyck respectively.5 That Rubens en-Provence, Gaspard de Fabri-Bourilly; portrait may be identical with the paint­ Honoré-Sauveur de Fabri-Bourilly (1737— ing discussed here. 1821); bequeathed by the latter to Fran­ çois Bermond, Aix-en-Provence (1752­ 1. K.d.K., p.26. 1842); bequeathed by the latter to 2. Cf. W .P rin z, Die Sammlung der Selbstbildnisse in den M.Roux-Alpheran, Aix-en-Provence(i777 Uffizien, I, Berlin, 1971, pp.95, 159, nn,507-509. Both portraits had an oval form; they were still in Voet's -1858); Aix-en-Provence, Mme de la possession at the moment of his death, in 1689 (see Lauzière, the latter’s daughter; Paris, Denucé, Kcnstkamers, p.311). Kraemer; purchased by Léopold Goldt- 3. W .P rin z, op. cit., pp.113, 161, nn.713-714, 4. Ibid., pp.123, 162, n.815. schmidt, Paris, in 1900; Paris, Vicomte 5. Cosimo’s letter has been translated in full into Ger­ Louis de Sartiges, son-in-law of the latter man by T.Levin, in; ‘Beiträge zur Geschichte der (d.1924); Paris, Gilberte de Sartiges, the Kunstbestrebungen in dem Hause Pfalz-Neuburg', Jahrbuch des Düsseldorfer Geschichtsvereins, XX, 1906, latter’s daughter (d.1943); Louis Greyfié p.179. The information is also given, though de Bellecombe, 1943—1977 ; sale, London without the date, by Mols, according to Rooses, IV, (Christie’s), 15 July 1977, lot 214 (as Studio p .254, under No. 1046. o f Rubens), l i t . P.-J. de Haitze, Les curiosi­ tés les plus remarquables de la ville d’Aix, Aix-en-Provence, 1679, p.61 (as Le Portrait 135. Peter Paul Rubens (Figs. 171,176) de Rubens par le Vandeix son Disciple et son élève; Inventaire du cabinet de feu Mons. Oil on panel; 86x 62 cm.; inscribed and l’Abbé de Bourilly d’Aix-en-Provence, [1726], dated at the top: Petrus Paullus Rubens / ed. by E. Bonaffé ; 'Un dossier de catalogues Se ipsum expressit / A.D. MDCXXIII/Æ tatis inédits’, Galette des Beaux-Arts, 1878, Suae X X X V . pp.414-428 (as le portrait de Rubens peint W indsor Castle, Collection of H. M . the Queen. par Van Die); Rouard, Notice sur la biblio­ provenance: Painted in 1623 for Char­ thèque d’A ix précédée d’un essai sur l’histoire les, Prince of Wales, afterwards Charles I, littéraire de cette ville, Paris-Aix-en-Pro- King of Great Britain, and hung in St vence, 1831, p.76 (as le portrait de Rubens par James’s Palace, Westminster; Common­ V an D ick); A.Michiels, L’Art flamand dans wealth sale, London, 19 December 1651, l’Est et le Midi de la France, Paris, 1877,

153 CATALOGUE NO. I35 p.272 (as A. Van Dyck); G.Hipp [H.GuilIe- l i t . H.G. Evers, 'Selbstbildnisse von Ru­ bert], ‘Un portrait de Rubens par Van bens’, in Cat. Exh. Siegen, 1967, pp.38-40 Dyck’, L’ A rtiste, October 1887, pp.262-272 (repr., as R ubens) ; ‘Notable Works of Art’, (as A. Van Dyck) ; M. Rooses, 'Un portrait The Burlington Magazine, CIX, 1967, p.728 de Rubens par Van Dyck’, Rubens-Bulletijn, (repr.); G.C.Vieten, ‘Verkaufsausstellung III, 1888, pp.238-243; Rooses, IV, pp.252- bei Cramer, Den Haag’, W eltkunst, 253, No.1045; Daugherty, Self-Portraits, XXXVIII, 1968, p.396; B.Roedig, V ie pp.312-317; M.Jaffé, 'Rubens to himself: Siegener Rubensgemälde’, Siegerland, the portraits sent to Charles I and to N.-C. LXII, 1976, pp.79-81 (repr.); (5) Painting, Fabri de Peiresc’, in [Mina Gregori ed.], whereabouts unknown; canvas, 77.5 x

R ubens e F iren ze, Florence, 1983, pp. 19-32 62.9 cm. p r o v . Venice, Antonio Michieli; (repr.); (2) Painting (Fig. 173), Florence, Blenheim Castle, The Dukes of Marl­ Uffizi, Inv. No. 1884; panel. 85 x61cm . borough, sale, London (Christie’s), 24 July p r o v . ? Purchased in the Netherlands by 1886, lot 71 (as R ubens); London, Col-

Cosimo III, Grand Duke of Tuscany, in naghi. l i t . Smith, Catalogue Raisonné, II,

1667 or 1669. e x h . Florence, J977, N0.84 p.248, No.844 (as Rubens); Scharf, Cat.

(repr.). l i t . F.Zacchiroli, Description de la Blenheim , p.59 (as R ubens); (6) Paint­ galerie royale de Florence, II, Florence, 1783, ing, whereabouts unknown; canvas, 78 x p.274 (as Rubens); Smith, Catalogue Rai­ 62 cm. p r o v . Brussels, C.-L.Cardon, sale, sonné, II, p.145, No.510 (as Rubens); Rooses, Brussels (Fiévez), 27-30 June 1921, lot no IV, pp.251-252, No.1044 (as Rubens); Evers, (repr., as R ubens); (7) Painting, where­ Neue Forschungen, p.328, fig.349; D. Bodart, abouts unknown; panel, 82.5x62.2cm. in Cat. Exh. Florence, 1977, p.204, No.84 p r o v . Paris, Mme Tampé; New York,

(repr.); M,C[hiarini], in Uffiçi, Cat. 1980, André de Coppet. e x h . Detroit, 1936, p.982, No. A793 (repr.); (3) Painting, lost; No,28 (as R ubens) ; World’s Fair, New York, panel, 84.5 x 64cm. p r o v . Potsdam-Sans­ 1939, No.332 (as R ubens), l i t . W.Heil, in souci, Bildergalerie, until 1945. l i t , The Antiquarian, XV, December 1930, M. Oesterreich, Beschreibung der königli­ pp.45-49 (repr., as R ubens); P.Hendy, in chen Bildergalerie und des Kabinetts im Sans­ Parnassus, V, April 1933, pp.12-13 (repr., Souci, Potsdam, 1764, No.82; E.Henschel- as Rubens); E.F.Richardson, in Bulletin of Simon, Die Gemälde und Skulpturen der the Detroit Institute of Arts, XV, 1936, pp. Bildergalerie von Sanssouci, Berlin, 1930, 61-63 (repr., as Rubens); Valentiner, Rubens N0.111; Bernhard, Verlorene Werke, p.56; in America, p. 163, N0.85 (as Rubens); (4) Painting after (2), Siegen, Museum des Goris-Held, p.46, No. A14; Larsen, Rubens,

Siegerlandes ; panel, 74 x56 cm. p r o v . pp.170, 172, 217, N0.67 (repr., as R ubens); Sluis, Mattheus Hennequin (1843); un­ (8) Painting, whereabouts unknown ; can­ divided property of the families Henne­ vas, 76x63.5 cm. p r o v . Santa Barbara, quin, Stern and Verhoefif; purchased for Cal., A.Falvy. l i t . Goris-Held, p.47, No. the Siegen Museum in 1972. e x h . Rubens- A17; (9) Painting, whereabouts unknown. huis, Antwerp, 1961-66 (on loan, as R u ­ p r o v . Duke of Norfolk (1782). l i t . Rooses, bens); Siegen, iç6y, not numbered (repr., IV, p.250, under No. 1043; (10) Painting, as Rubens); Masterpieces from three Cen­ whereabouts unknown, p r o v . Count turies, Cramer, The Hague, N0.29 (repr., Wallmoden Grimborn (1804). l i t . Rooses, as R ub en s); North Carolina Museum of IV, p.250, under N0.1043; (11) Engraving Art, Raleigh, 1968 (on loan, as R ubens). by Paulus Pontius, 1630 (Fig. 174; VS.,

154 CATALOGUE NO. 135 p.157, No.i); (12) Engraving after (9) by Daugherty, Self-Portraits, pp.298-302; J.G,Facius after a drawing by J.Boydell, Warnke, Rubens, pp.29-30, 32, fig-Li; 1782 (VS., p. 159, N0.29); (13) Mezzotint M.Jaffé, ‘Rubens to himself: the portraits engraving after (10) by J.G.Huck, 1797 sent to Charles I and to N.-C.Fabri de (VS., p.159, N0.34). Peiresc’, in [Mina Gregori ed.], R ubens e F iren ze, Florence, 1983, pp. 19-32 (repr.). e x h i b i t e d : British Institution, London, 1820, N0.95; British Institution, London, 1826, No.52; British Institution, London, Rubens is here shown to bust-length in 1827, N0.87; Art Treasures of the United three-quarter view, looking directly out Kingdom, Manchester, 1857, No.550; N a ­ of the picture. His dark costume is re­ tional Exhibition of Works of Art, Leeds, lieved only by a flat white lace collar. He 1868, N0.612; Royal Academy, London, wears a broad-brimmed hat encircled 1870, No. 126; Royal Academy, London, with a gold cord. Just below his collar can 1876, No.152; London, 1938, N0.55; The be seen links of a gold chain, hanging on King’s Pictures, Royal Academy, London, his breast under a black cape. The back­ 1946-47, No.281; London, 1933-54, No. 190; ground is a rock formation. To the left of London, 1972, No.15 (repr.). it there is a glimpse of a late afternoon sky. l i t e r a t u r e : A. van der Doort, [C a ta ­ This portrait, exceptionally, is signed logue of the Collections of Charles [], ed by and dated, and its history is well known. O. Millar, in The Walpole Society, XXXVII, On i March 1623 William Trumbull, the 1958-60, p.37; W.Bathoe, A Catalogue of English minister in Brussels, wrote to Sir Pictures belonging to the King James the Sec­ Dudley Carleton that he had been instruct­ ond, London 1758, p.10, No.109; G, Ver­ ed to negotiate with Rubens lor a self­ tue, Note Books, ed., in The Walpole Society, portrait that the Prince of Wales, later XXIV, 1936, pp-97, 130; Smith, Catalogue Charles I, wished to have in his gallery.' Raisonné, II, pp. 159-160, No.558; W aagen, According to the date of 1623 on the por­ Kunstwerke, I, pp.171-172; Waagen, Treas­ trait itself, it must have been painted ures, II, pp.435-436, 478; N.Sainsbury, immediately. The prince’s commission Original Unpublished Papers illustrative of was conveyed by Earl Danbyd This is the Life of Sr Peter Paul Rubens..., London, probably the basis for the statement in 1859, pp.64, 355; Rooses, IV, pp.249-253, Van der Doort’s inventory of Charles I’s No,1043; K.d.K., ed. Rosenberg, frontis­ collection in 1649 that the portrait was a piece, p.454; Dillon, Rubens, pp. 159, 2.28, gift from Danby to the King.3 That Char­ pi, CCXLII; K .d .K ., frontispiece; C.H,Col­ les in fact commissioned it himself is clear lins Baker, Catalogue of the Principal Pict­ from Rubens’s letter to Valavez of 10 Ja­ ures in the Royal Collection at Windsor nuary 1625, where the painter writes that Castle, London, 1937, p.275; Evers, Rubens, the prince had asked so pressingly for his pp.258, 298, 460-462, 466, 508, 510, fig.262; self-portrait that he could hardly refuse, Evers, Neue Forschungen, pp.328, 330, 333— even though he did not think it fitting to 345, fig.347; A. Blunt and M.Whinney, present such a work to a prince of such The Nation’s Pictures, London, 1950, p.20; high degree.4 As Oliver Millar suggested O. Millar, ‘Abraham van der Doort’s in 1972, the portrait may have been re­ Catalogue of the Collections of Charles I’, garded to some extent as a substitute for The Walpole Society, XXXVII, 1958-60, p.37; a painting commissioned from Rubens in

155 CATALOGUE NO. 135

1621 which had not met with the prince’s From other letters, written by Peiresc, favour, as it turned out to be ‘a peece we know that this painting was a copy. scarse touched by his [Rubens’s] hand’. A letter to the Dutch painter Abraham de This is the most famous of all Rubens’s Vries, on 28 April 1628, makes this quite self-portraits: copied more than any clear. In that letter Peiresc is asking de others, it has done most to form posterity’s Vries, whom he had met earlier in Aix- view of the artist’s appearance. This is un­ en-Provence10 and who now resided in doubtedly due to the fine engraving that Antwerp, if he could not find ‘quelque Paul Pontius made of it in 1630 (Fig. 174) galant homme qui prendra la peine d’en on his own initiative and, as the address (i.e. from Rubens’s Self-Portrait) tirer une indicates, after his own design and not bonne copie pour l’amour de moy’.1' On one by Rubens.5 It need not be, as Renger 30 June, Peiresc daims to be satisfied with suggests, that Pontius made his design for a copy, as he considers himself not im­ the print before Rubens’s portrait was portant enough to ask Rubens himself to sent to England. The engraver may well paint the portrait.12 We also learn from have worked from a workshop copy, such the correspondence between the two as the ones listed above. men that Rubens’s portrait was to join a There is other evidence too of copies collection devoted to celebrated contem­ made years after the original was dis­ porary humanists : thus we are informed patched to the Prince of Wales. On 8 March that Peiresc also wished to have portraits 1627, Peiresc wrote to Jean Chalette that of such men as Gevartius and Erycius Rubens had promised to send him a self- Puteanus.'3 portrait,6 and on 2 December 1628 Ru­ The portrait, now in Canberra (Fig. 172), bens wrote to Peiresc from Madrid that is a replica on canvas of the panel in the he hoped the painting had reached him. British Royal Collection (see above, The letter added that, some time before Copy [1]) and is from Peiresc’s possession, leaving for Spain, Rubens had entrusted as the above pedigree makes dear. In the task of forwarding the picture to the 1679 it was attributed to Van Dyck. This brother-in-law of Nicolaas Picqueri, his attribution, wrong though it is, may nev­ own future brother-in-law.7 It must, how­ ertheless suggest that among Peiresc’s ever, have been very much delayed. On descendants there existed from the begin­ 9 August 1629, Rubens wrote anxiously ning a tradition of connecting the por­ to Peiresc that if it was still in Antwerp he trait with Rubens’s workshop rather than would ask for the crate to be opened, as with the master himself. The attribution the work might have suffered from being to Van Dyck was rightly rejected by Roo­ deprived of light for so long. In particular ses, but both he and Burchard also had it might have yellowed, in which case it doubts as to Rubens’s authorship. I agree should be exposed to the sun for a time to with them in regarding it as a studio pro­ restore the freshness of the colours.8 How­ duct. In this connection I would recall ever, the painting must have reached Rubens’s expressed fear that the colours Peiresc before 23 August, as on that day might have become damaged. This fear the poet Nostradamus wrote to his friend may have been genuine, but conceivably that he understood the latter had received it was designed to excuse the inferior Rubens’s self-portrait, and he enclosed a pictorial quality of the studio replica. Only sonnet to celebrate the event.9 Jaffé, in a recent article, thought both the

156 CATALOGUE NO. 136

Windsor and Canberra versions to be valli torna ad imbrunirse bisogna di novo esporlo ai raggi solari che sono l’unico antidoto contra originals of equal quality.14 questo morbo cardiaco’ (Rooses-Ruelens, V, PP-I53- 154). 1. ‘My L: Davers [i.e. Lord Danby].,, doth by a lettre 9. ‘J’ai appris que vous avez receu le pourtrait de M, commande me, to traete with him [i.e. Rubens] for Rubens de sa propre main, sur quoy admirant ce his owne Pourtrait, to be placed in the Princes personage et sa réputation, j ’ai fait le sonnet que G allery’ (Rooses-Ruelens, 111, p .134). je vous envoie; que si vous l’estimés digne de lui et 2. See above, n .i. de moy, vous luy ferés tenir avec mes tres humbles 3. '... 2 ... Item the Picture of Sir Peeter Paule Ru­ recommandations: n'estant pas chose nouvelle bins, in a black hatt and Cloake, and a gouiden que la vertu nous face aymer et admirer ceux que cheyne Being his owne picture done by himselfe nous n’avons jamais veus’ (G.Hipp, o p . c it., p.266). Soe bigg as the life to the Shoulders, In a black The sonnet reads as follows: 'AU TRÈS EXCEL­ Ebbone frame. Given to j u M by my Lo: danbie' LENT ET DIVIN RUBENS (O. Millar, 'Abraham van der Doort's catalogue of the collections of Charles I’, op . c it., p .37). Si soubs le firmament et la grande ceinture 4. ‘aussy Monsieur le prince de Galles... est le prince Par ou chasqu’an Phoebus les dou^e signes fait plus amateur de la peinture qui soit au monde. Se voit quelque mortel si digne et si parfait, Il... m ’a demandé, par l’agent d’Angleterre rési­ Q u e l'o n doive tenir pour Dieu de la peinture: dant à Brusselles avec telle insistance mon pour- traict, qu’il n’y eut aulcun moyen de le pouvoir Rubens, ange plustost qu’humaine créature, refuzer encores qu’il ne me sembloit pas convena­ Miracle de cet âge, est l'unique en ejfait, ble d’envoyer mon pourtraict à un prince de telle Q u i veut que son labeur estonne la nature qualité, mais il forza ma m odestie...’ (Rooses-Rue­ Bien plus vif et parlant, que vif et contrefait. le n s , III, p .320). 5. The text of the address reads as follows: P a u lu s Don qu'à ce Belge seul Jupiter distribue Pontius sculpsit et excudit. Cum Privilegio. The d raw ­ Mais qu’aux heureux aspects il faut qu’on attribue ing, which was the model for the engraving, was Plus qu’à toute industrie et tout scavoir humain. part of the Crozat collection (sale, Paris, 10 April- 13 May 1741, lot 821); it is now lost. Another draw­ ing was recorded by Michel, in 1771 (M ic h e l, Si que s'ilç reprenoynt cette mortelle fange, H isto ire , p.102): it belonged to the Antwerp Jesuits Freminet, Titian, Raphaël. Michel-Ange and is supposed to have been taken to Vienna after Dresseroynt des autel- à sa divine main.' the suppression o f the Jesuit O rder in 1773 (cf. (G .H ipp, op . c it., p.267). R o o ses, IV, p.250). Four states o f Pontius’s en grav­ ing are known (cf. H. Hymans, ‘Rubens d’après ses to. See J.Foucart, ‘Abraham de Vries en France', portraits. Étude iconographique’, Rubens-ßulletijn, Bulletin de la Société de l’histoire de l’art français, 1980, II, 1885, p p .ii-2 0 ). It w ould not be useful to pp. 127-13 5. enumerate here the many works copied or derived 11. Published in C.Rueletis, ‘Le peintre Adrien de from Pontius’s celebrated engraving. Above I have V ries’, Rubens-Bulletijn, I, 1882, p.8b, only listed the 17th-century engravings which are 12. ‘Quant au portraict de M. Rubens, c’est sans doute copies of the Pontius prototype; for the later deri­ que je ne puis reporter qu’a grand heur et advan- vations from the type, see especially D a u g h e r ty , taige de l’avoir de sa main mesme, ne croyant pas Self-Portraits, pp.48-00. avoir mérité de luy donner ceste peine, je me 6. Published in modern French by Tamizey de serais bien contenté d’une copie..,’ (C. Ruelens, Larroque, in Revue de Champagne et de Brie, 1884, o p . c it., p .88). according to G.Hipp, o p . c it ., p .265. 13. Cf. C .R uelens, op. cit., passim. 7. ‘Spero ehe V.S.haveva gia ricevuto il mio ritratto 14. Rubens, when writing about his self-portrait, ehe consignai molti giorni, inanzi la mia partenza speaks o f 'm io ritratto' (see above, nn.8 and 9). d’Anversa, al cogniato del Sr Pycqueri corne egli mi This, however, is no proof of Rubens's authorship, haveva ordinato’ (Rooses-Ruelens, V , p .11). as Jaffé (op . c it., pp.25-26) seems to suggest. 8. ‘Se io sapessi chel mio ritratto fosse ancora in An- versa io lo farei ritenere per aprir la cassa et vedere se sendo stato rinchiuso tanto tempo in una cassa senza veder l'aria, non sia guasto, et si corne suole accadere agli colori freschi ingialdito di maniera 136. Peter Paul Rubens (Figs. 177,178) ehe non parirà più quello ehe fu. Il renredio péri), se arrivarà cosi mal trattato, sarà di metterlo più Oil on panel; 61.5 x 45 cm. volte al sole ehe sa macerare questa ridundanza del oglio che causa questa mutanza, e si per inter­ Antwerp, Rubenshuis.

157 CATALOGUE NO. 136 p r o v e n a n c e : Prince deRubempré, sale, Vienna, 1822). e x h . Brussels, 1965, N0.345 Brussels, n April 1765, lot 67; Canon (repr., as R ubens); Vienna, Albertina, 1977, Pierre Wouters, sale, Brussels, 1 April N0.67 (repr.). lit. Rooses, V, p.276,No.i529 1794 et seq., lot 1 ; Schamp d’Aveschoot, (as Rubens); Gltick-Haberditçl, p.55, No.191 sale, Ghent, 14 September 1840 et seq., (repr., as Rubens); Evers, Neue Forschungen, lot A; Dukes of Arenberg, Brussels and p.330 (repr., as Rubens); Field, Drawings, I, Beaulieu sur Mer; purchased c.1956 by p.13, fig.ii ; E.Mitsch, in Cat. Exh. Vienna, Mr and Mrs Stavros Niarchos, New York ; Albertina, 1977, pp.156-157, N0.67 (repr.); sale, London (Christie's), 8December 1972, (6) Etching by Willem Panneeis, 1630 lot 47 (repr.), where purchased by the (Fig. 175; V.S., p.160, N0.46); (7) Etching City of Antwerp. after (6) by Wenzel Hollar, c.1644-51 (G. Parthey, Wendel Hollar. Beschreibendes c o p ie s : (i) Painting, whereabouts un­ Verzeichnis seiner Kupferstiche, Berlin, 1853, known; canvas, 66.5 x 51 cm. p r o v . Sale, p.339, N0.1498; V.S., p.159, N0.37). London (Christie’s), 25 February 1966, lot 105; (2) Painting, enlarged to a knee- l it e r a t u r e ; F.-X. de Burtin, Catalogue length representation, together with one des tableaux vendus â Bruxelles depuis 1773, of Rubens’s sons, Leningrad, Hermitage, Brussels, 1803, p.239; Smith, Catalogue Inv. N0.7728; canvas, 138 x 112 cm. p r o v . Raisonné, II, p.260, No.880; IX, p.330, St Petersburg, Stroganoff Collection, N0.316; Rooses, IV, pp.255-256, N0.1048; where first mentioned in 1807; in the J.Nève, ‘Quelques portraits de la Galerie Hermitage since 1932. e x h . Leningrad, d’Arenberg’, Annales de l’Académie Royale 1978, N0.74 (repr.). lit. Collection d’estam­ d’Archéologie de Belgique, X, 1897, p.275; pes d’après quelques tableaux de la galerie de K.d.K., ed. Rosenberg, p.308, left: D illon, Son Excellence Mr. le Comte A. Stroganoff, R ubens, pp. 159, 212, pl.CCCXLVII; K .d .K ., St Petersburg, 1807, not paginated (as p.453 (as a copy); L.Van Puyvelde, The R ubens); G. F.Waagen, Die Gemäldesamm­ Flemish Drawings in the Collection of His lung in der Kaiserlichen Eremitage çu St Pe­ Majesty the King at Windsor Castle, London, tersburg nebst Bemerkungen über andere 1942, p.46, under N0.281 (as W .P a n n eels); dortige Kunstsammlungen, Munich, 1864, Held, Drawings, I, p.13, fig. 13; Kunstwerken p.403; Rooses, IV, pp.264-265, No. 1053 (as tentoongesteld in het Rubenshuis, Antwerp, Rubens); Musée de I'Ermitage, Département 1974, No.10 (repr.); Daugherty, Self-Por­ de l’Art Occidental. Catalogue des peintures, traits, pp.324-328 (as possibly by Van Dyck II, Leningrad, 1958, p.52, N0.7728; (3) or Pannee Is). Painting, same type as (2), Göttingen, Ge­ mäldesammlung der Universität; canvas, 134 x115 cm. lit. Katalog der Gemälde­ A head and shoulders portrait, the head sammlung der Universität Göttingen, Göttin­ and body turned slightly to the left and gen, 1926, N0.152; Evers, Neue Forschungen, the eyes, as usual, looking straight at the P-33 L fig.358 ; (4) Painting, whereabouts spectator. The painter wears a black unknown, p r o v . Berlin, F.Arany (1930); costume with slits of a lighter colour, and (5) Drawing, Vienna, Albertina, Inv. a dark broad-brimmed hat. N0.8202; black and red chalk, pen, 280 x Oldenbourg and Evers, who had not 195 mm. p r o v . Duke Albert of Sachsen- seen this work, regarded it as a copy after, Teschen (Moritzburg near Dresden, 1738 - respectively, the Walk in the Garden

158 CAT ALO GUI- NO. I 37 in Munich (No.139; Fig. 192) and the 137. Peter Paul Rubens above-mentioned engraving by Panneels (Figs. 179,180,183) (Fig. 175). It is not free from damage. The features seem for the most part to be Oil on canvas; 109.5 x85 cm. Inscribed unimpaired and authentic, but the hat, on the column at the left, by a later hand: costume and background have suffered P. P. RUBINS. considerably from overpainting and re­ Vienna, Kunsthistorisches Museum. Inv. storation. No.527. The latest possible date is 1630, the year which figures on Willem Panneels’s p r o v e n a n c k : First mentioned in the engraving. This means that the portrait Imperial Collection at Vienna, in Storffer’s must have been painted either before painted inventory of 1730.' 28 August 1628 or soon after the end of c o p y : F.tching by A.J.Premier, 1735 March 1630, as between those dates Ru­ (V.5 ., p.163, No.79). bens was continuously in Kngland, Spain or Holland. Baudouin thinks the earlier e x h i b i t e d : Brussels, 1910, No.318; A n t­ period more likely, as Rubens in his opin­ w erp, 1930, No.227; Paris, 1936, N0.90; ion looks younger than in the ‘hidden Zürich, 1946-47, No.368: Chefs-d'Œuvre self-portrait’ in the 1628 addition to the des Musées de Vienne, Palais des Beaux- Adoration of the Magi in the Prado, Ma­ Arts, Brussels, 1947, No.99 (repr.); A rt drid.1 It seems to me more probable, Treasures from Vienna, Arts Council, Lon­ however, that the portrait was painted don, 1949, No.135; C’raç, 19)4, No.19; De after Rubens’s return to Antwerp. It was schilder in çijn wereld, Koninklijk Museum used as a model for two group portraits voor Schone Kunsten, Antwerp, 1965, with Hélène Fourment, dating respective­ No.102(repr.); Vienna, 1977, No.58 (repr.). ly from c. 16 3 0 -3 1 (No. 139; Fig. 192) and C.1632-33 (No.14 1; Fig.195). Its informal lit e r a t u r e: Stampart-Prentier, p.21 ; Mi­ character and the neutral background die/, H istoire, p.305; Mechel, Verzeichnis, suggest that it may have been a kind of p.114, No.15; Smith, Catalogue Raisonné, II, prototype that Rubens kept specially p.96,No.311 ;Engerth,Cat.Vienna, No.1180; with the intention of using it later in Rooses, IV, pp.257-258, No.1049; K .d.K ., more finished and detailed portrait com­ ed. Rosenberg, p.437; Dillon, Rubens, pp. 159, positions. 209, pl.CCCCL; K .d .K ., p.427; Cat. Vienna, Again, we know that in 1628, just before 1928, N0.859; Cat. Vienna, 1938, No.859; he went abroad, Rubens had a studio Evers, Rubens, pp.459.496-467, [>o8,fig.266; replica painted which was a faithful copy Evers, Neue Forschungen, pp.330, 333, 335; of the portrait commissioned by the Held, Drawings, I, p.143, under No. 123; Prince of Wales in 1643 (cf. No. 135, Buychard-d'Hulst, Drawings, I, p.324, under Copy [1] ; Fig. 172). It may be wondered No.202; Cat. Vienna, 1973, p.148 (repr.); whether he would have chosen that earlier Daugherty, Self-Portraits, pp.308-311; pose if the present portrait had existed at Warnke, Rubens, pp.32 and 35 (repr.); K. the time. Schütz, in Cat. Kxh. Vienna, 1977, PP-L35 -136, No. 58 (repr.); J. R. Martin, ‘The Hand of Rubens’, The Iiingling Museum o f A rt i. K .d.K ., p .26. Journal, 1983, pp. 118-119 (repr.).

159 CATALOGUE NO. 137a

A knee-length portrait. Rubens wears a 137a. Peter Paul Rubens: Drawing dark-blue costume under a dark-grey (Fig. 182) cloak, and an unstarched white fluted col­ lar. His customary broad-brimmed hat, Black chalk, heightened in white, with as a pentim ento indicates, was originally some traces of pen and ink ; 461 x 287 mm ; rounder in appearance instead of being brown spots due to the penetration of ink upturned. He is seen somewhat from from figure sketches on the verso; below below, in three-quarter view and with his on the right, the mark of J. Richardson eyes fixed on the spectator. His left hand Senior (L.2184); below in the middle, rests on a sword-hilt; his right hand is the mark of the Louvre (L. 2207). Fully gloved, and in it he holds the other glove. mounted. — Verso: a strip of paper with He has depicted himself with broad locks the mark of L. Barnard (L.1420). covering the whole of his head, though in Paris, Cabinet des Dessins du Musée du fact he was largely bald at an early age Louvre. Inv. N0.20.195. (cf. N0S.117 and 134); this must mean that p r o v e n a n c e : J.Richardson Senior, Lon­ he wore a hair-piece, as became customary don (1665-1745); T. Hudson, London (1701 in the course of the seventeenth century.2 -1779); J.Barnard, London (d.1784); con­ The portrait is deliberately a self-flatter­ fiscated as refugee property during the ing one. The monumental pose and the French Revolution. impressive column on the left give it the

air of a ceremonial portrait such as was c o p i e s : (i) Drawing, London, British generally associated with outstanding po­ Museum; black chalk, heightened in

litical and military personalities. Rubens white, 452 x275 mm. p r o v . Paris, Pai- is careful to pose with his sword, sym­ gnon-Dijonval (1810); Paris, Marquis Mo­ bolizing the noble rank which he had rel de Vindé (1759-1842); London, Sir attained in 1624. He also perhaps meant Thomas Lawrence (1769-1830). LiT.M.Bé- to suggest the more aristocratic way of nard, Cabinet de M.Paignon-Dijonval, Pa­ life he had adopted since acquiring Het ris, 1810, p.65, N0.1321 (as R ubens); H in d, Steen at Elewijt in 1635. R ubens, p.46, N0.123; (2) Engraving by This work is generally assigned to Ru­ Simon Watts, 1768 (V.S., p.159, N0.26). bens’s last years, c. 1638-40. This seems to exhibited: Brussels, 19J8-J9, N0.20 me acceptable, especially as his features (repr.); R otterdam , 1939, No.39 (repr.); clearly look elderly and drawn. It must P aris, 1949, N0.108; P aris, 1959, N0.6; Ant­ be left undecided whether, as has been werp, 1977, No. 173 (repr.); P aris, 19J8, suggested, they also show signs of the N0.31 (repr.). gout from which he had suffered for some time. Held was alone in preferring a some­ l i t e r a t u r e : C . Rogers, Collection o f Prints what earlier date, c. 1633-35, on the in Imitation o f Drawings, II, London, 1778, grounds that, in his opinion, the study of p.211 ; M. Reiset, Notice des dessins, cartons, the artist’s head at Windsor (No. 137b; pastels, miniatures et émaux ...a u Musée Fig. 181) made him look older still. National du Louvre, Paris, 1866, N0.555; Rooses, V, pp.276-277, No.i53o;T.W.Mu- 1. F. a Storffer, Neu Eingerichtetes Inventarium der Kayl,- chall-Viebrook, Flemish Drawings o f the Se­ Bilder in der Stallburg..., II, 1730; manuscript in the venteenth Century, London, 1926, p.30, No. Kunsthistorisches Museum, Vienna. 2. Cf. under N0.82. 19 (repr.); Gltick-Haberditçl, p.62, N0.235

160 CATALOGUE NO. 137b

(repr.); J.Bouchot-Saupique, ‘Quelques L rr e r a T u R e : L. Van Puyvelde, The Flemish dessins flamands du Fonds du Musée du Drawings of His Majesty the King at Wind­ Louvre’, De kunst der Nederlanden, 1930, sor Castle, London, 1942, pp.46-47.N0.281 ; p.86 (repr.); Lugt, Cat. Louvre, École H eld, D raw ings, I, pp. 143-144, No. 126; II, flam an de, II, pp.14-15, N0.1017 (repr.); pi. 139; J.G. van Gelder, ‘Rubens Drawn Held, Drawings, I, p. 143, No.123; II, pl.126; by Jordaens’, Muster D raw ings, IV, 1966, Burchard-d’Hulst, Drawings, pp.323-325, p.288, pi.21 ; Daugherty, Self-Portraits, No.202 (repr.); R.Bacou and A .Calvet, pp.342-344; Rowlands, Rubens Drawings, Dessins du Louvre. Écoles allemande, fla­ p.165, N0.223 (repr.); A.-M.Logan, ‘Ru­ mande et hollandaise, Paris, 1968, No. 59 bens Exhibitions 1977’, Master Drawings, (repr.); Kuçnetsov, Risunki, No.i (repr.). XV, 1977, pp.411, 414 ; Liedtke, Cat. New York, I, p. 181.

This preparatory study for the self-portrait in Vienna (No. 137; Fig. 180) differs only An almost frontal study of the artist’s in detail from the final version. The sword head. Held pointed out that it was cut does not yet appear; Rubens holds his from a larger sheet containing various cloak with his left hand, which in the studies in ink, as may be seen from the finished painting rests on the sword-hilt. cut-off details of an arm in the upper left His hat-brim is not upturned as in the corner and what appears to be a costume Vienna Self-Portrait, but is more like the study, lower right. The eyes and left first version thereof as shown by the contour of the head are retraced. Des­ pentimento. Consequently Rubens’s fore­ pite the rather sketchy draughtsman­ head in the sketch is not partially in shadow ship this is a remarkably penetrating and as it is in the final painting. lifelike study of the elderly, infirm painter Clearly this drawing is only a study for at the end of his life. There is no ground the pose which Rubens wished to adopt, for Van Puyvelde’s claim that it is a study and the face is treated rather schemati­ for the Walk in the Garden in Munich of cally, without the unmistakable signs of c. 1630-31 (No. 139; Fig. 192). Nor can we age that are so conspicuous in the Vienna relate it to Rubens’s first portrait in the painting. New York group portrait with Hélène Fourment (No. 141 ; Fig. 195), as suggested by Liedtke. Held rightly dated it very late 137b. Peter Paul Rubens: Drawing in Rubens’s career, c. 1635-40. This is con­ (Fig. 181) firmed by a drawing on the back, show­ ing a man and a woman embracing: as Black and white chalk, with some pen and Anne-Marie Logan has pointed out, this ink; 200 x 160 mm. is connected with one of the nymphs in Windsor Castle, Collection of H.M. the the very late Nymphs and Satyrs in the Queen. Inv. N0.6411. Prado.1 Held also thought that Rubens’s features in this sketch showed him to be p r o v e n a n c e ; Probably acquired for the even older than in the Self-Portrait in Royal Col lection in the eighteenth century. Vienna (No. 137; Fig. 180) and the connect­ e x h ib it e d : Brussels, 196), No.346 (repr.); ed drawing in Paris (No. 137a; Fig. 182), to London, 1977, No.223r. (repr.). which he therefore assigned an earlier

161 CATALOGUE NO. 138

dare. I do not share this view: the puffiness e x h i b i t e d : Brussels, 1948, No.88; Berne, of the features and the expression of 19 4 9 -50, N0.72; London, 1949, N0.92. fatigue in the drawing seem to me to

depict a man of the same age as in the l i t e r a t u r e : Karsch, Cat. Düsseldorf, Vienna painting. I wonder therefore if N0.168; Van Gooi, Nieuwe Schouburgh, II, this is not an informal study, made per­ p.543; de Blainville, Travels, p.61; Cat. haps along with several other poses, for Düsseldorf, 1770, p.18, N0.18; Michel, His­ Rubens’s last self-portrait. toire, p.299, No.18; J.J.W.Heinse, in Teut- scher Merkur, 1777, III (reprinted by i. K .d .K ., p .381. A.Winkler, as Briefe aus der Düsseldor­ fer Gemäldegalerie, Leipzig-Vienna, 1914, pp. 184-186); Pigage, Cat. Düsseldorf, 138. Peter Paul Rubens and Isabella N0.286; Smith, Catalogue Raisonné, II, Brant in the Honeysuckle Bower pp.63-64, N0.181; Dillis, Cat. Munich, (Fig. 184-188) N0.261; Parthey, Bildersaal, II, p.433, N0.349; Marggraff, Cat. Munich, N0.256; Oil on canvas, mounted on panel; 178 x Reber, Cat. Munich, N0.782; Eastlake, Notes, 136 cm. pp.188-189, No.782; Rooses, IV, pp. 259­ Munich, Alte Pinakothek. No.334. 261, No. 1050; M. Rooses, in Rubens-Bulle- tijn, IV, 1896, p.216; Rooses-Ruelens, II, p r o v e n a n c e : Estate of Jan Brant II, pp.53—55 ; J. Burckhardt, Erinnerungen aus Antwerp, 1639; first mentioned in the R ubens, Basle, 1898, pp.270-271 (as not by collection of Johann-Wilhelm, Prince R ubens); K.d.K., ed. Rosenberg, p.40; D illon, Elector of the Palatinate, Düsseldorf, in R ubens, p.200, N0.4, pl.XXXVII; Burchard, 1705, by Mr de Blainville; transported to Anmerkungen, C0I.2Ó2; K .d .K ., p.35; Cat. the Hofgartengalerie, Munich, 1806; trans­ M u nich , 19-46, p.229, No.334; Evers, Rubens, ported to the Alte Pinakothek in 1836, the pp.81-84; J.G. van Gelder, ‘Rubens in year of its foundation. Holland in de zeventiende eeuw’, N eder­

c o p i e s : ( i ) Painting of Rubens’s head, lands Kunsthistorisch Jaarboek, 1950, p.122; whereabouts unknown; canvas, 84 x H. Kauffmann, ‘Rubens und Isabella Brant

64 cm. p r o v , Mesdemoiselles de Knyff; in der Geissblattlaube’, in Form und Inhalt. Marquis de Pietro ; Roland Baudouin, sale, Festschrift fü r Otto Schmitt, Stuttgart, 1950, Antwerp (Cercle Artistique), 23 Novem­ pp.257-274; U.Moussalli, ‘Rubens etCara- ber 1925, lot 5 (repr.); (2) Painting of Isa­ vage’, Etudes d’art publiées par le musée na­ bella Brant’s head, Trieste, Anna R.E. tional des Beaux-Arts d’Alger, 1955-56, Calza (1969); canvas, 78 x 58 cm.; (3) En­ pp.90-91; W. Schone, Rubens. Die Geiss­ graving by Carl Hess, 1797 (V.S., p.164, blattlaube, Stuttgart, 1956; E. de Jongh and N0.86); (4) Engraving by Bartholomeus P.J. Vinken, ‘Frans Hals als voortzetter Weiss (c.1740-1814; Rooses, IV, p.261, van een emblematische traditie’, O ud under No. 1050); (5) Lithograph by Wolf­ H olland, LXXVI, 1961, pp.145-146; W arnke, gang Flachenecker (1792,—c.1847 ; Rooses, Kommentare, p.31 ; Daugherty, Self-Portraits, IV, p.261, under N0.1050); (6) Lithograph pp.155-164, 279-281, N0.I-2; Warnke, Ru­ of the head of Isabella Brant by Achille bens, pp.n-16; R.Liess, Die Kunst des Ru­ Devéria (1800-1857; Rooses, IV, p.261, un­ bens, Brunswick, 1977, pp.227-256; L.Ditt- der No. 1050). mann, Versuch über die Farbe bei Rubens, in

162 CATALOGUE NO. I}8

[E.Hubala, ed.], Rubens. Kunstgeschicht­ depicted in a garden, in front of a honey­ liche Beiträge, Konstanz, 1979, pp. 52-54; suckle bower. This is associated with the an der Heiden, Bildnisse, pp.6-7 (repr.); medieval jardin d'amour, and in antiquity U[lla] Kjrempel], in Cat. Munich, 1983, also a garden was regarded as a symbol of p.432, N0.334, pl.XIX. love. The honeysuckle completes the symbolism: its entwining tendrils typify the all-embracing power of love, and its Rubens and his first wife are seen in front fruit, like love, becomes sweeter the more of a honeysuckle bovver, both looking one tastes of it. There is 110 doubt that towards the spectator. The painter sits on Rubens intended the painting as a visuali­ a stool, his left leg crossed over the right. zation of the idea of love. Wilhelm Heinse He wears a black hat with a gold-coloured ini777gave the first literary interpretation copper clasp, a golden satin doublet with of it as ‘ein liebliches Bild geistiger ehe­ black loops and bands, and a flat, open­ licher Zärtlichkeit für den, ders fühlen work lace collar, open at the neck. He kann’. The composition itself is directly has black puff-breeches and light brown influenced by the woodcut Infidem uxoriam silk stockings with bows at the calf. Isa­ (Conjugal Fidelity) that illustrates the bella Brant is seated at a lower level, famous Em blem ata of Andrea Alciati.3 perhaps actually on the ground, though There the concept is symbolized by a this is not clear. She wears a tall pointed man and a woman joining their right hands straw hat lined with silk, and a lace cap (the traditional 'dextrarum iunctio’)4 and on the back of her head. A lace fluted ruff seated, as in Rubens’s painting, before a closely encircles her neck. Her white satin motif expressing love and fertility, in this (?) bodice, tapering to a peak in front, is case an apple-tree. From the compositio­ ornamented with flower motifs in gold nal aspect, Rubens’s work in every way embroidery. Over it she wears a striped emphasizes the strength and inviolability cloak, black on black, with white lace of the marriage bond. The two figures in cuffs. A red skirt ornamented with gold contrapposto form a perfect unity. O f the bands covers her legs in ample folds. way in which they are thus ‘blended’ The emblematic and allegorical charac­ together, Kauffmann offers the vivid ter of this matrimonial double portrait comparison that ‘the two figures adapt has often been pointed out, especially by themselves to a circumscribing oval like Hans Kauffmann and Wilhelm Schöne, two late Gothic “ Fischblasen” motives’. who have located it within a tradition The portrait is also indicative of social going back to the late Middle Ages. The attitudes of the time. Rubens is seated at following interpretation is based on the a higher level than his wife, signifying his penetrating analysis of these art historians. role as master and protector, while she The loving contact of the two spouses as sits on or near the ground in the medieval they lean towards each other was already attitude of hum ilitas. Rubens was to use this the essential motif of such fifteenth-cen­ schema again in works especially concern­ tury matrimonial portraits as Van Eyck’s ed with the allegory of love, such as the Giovanni Arnolfini and his Wife1 and the much later Pausias and Glycera in the John Loving C ouple of the German Master of and Mabel Ringling Museum of Art in the H ausbuch.1 There is also symbolism in Sarasota.5 the fact that the married lovers are The portrait was most probably painted

163 CATALOGUE NO. 138a for Jan Brant II, Isabella’s father, either at Kupferstiches im XV.Jahr hundert, Vienna, 1908-34, VIII, p.153, N0.80, pl.219, N0.524. his request or as a present from the young 3. A .A lciati, E m b lem a ta , [first ed.] Augsburg, 1531. couple. The inventory drawn up on his KaufFmann and Schöne (o p . c it.) refer to the wood­ death, dated 31 August 1639 and follow­ cut after Bernard Salomon's drawing, in the edition of Alciati's book, which was published at Lyons in ing days, mentions ‘Een stuck schilderije 1546; in Warnke, Rubens (p.14, pl.2) on the other van Heer Petro Paulo Rubbens met sijn hand, is another woodcut from the edition of the eerste huysvrouwe, op panneel, olieverve, E m b lem a ta , also published at Lyons, in 1551. It appears to me that the disposition of the figures in in lijste’.6 The work is recorded much this latter edition is closer to Rubens’s composition earlier, however, in the celebrated con­ than the woodcut after Bernard Salomon. gratulatory verse by the Leiden humanist 4. Cf. E.de Jongh and P.J. V inken, op . c it., p .145. Dominicus Baudius in a letter to Rubens 5. Cf. Goris-Held, p .38, N o.78, pl.8o. 6. Published in P.Génard, ‘Het testament van Jan of ii April 1612.7 This does not mention Brant en Clara de Moy’, Rubens-BuUetijn, IV, 1896, the owner, but there is no doubt that p.230. Rooses for his p art (in Rubens-Bulletijn.Ioc. c it.) doubted that the work mentioned in the Brant Baudius’s ecstatic praise refers to the inventory was identical with the present painting, portrait then in the home of Jan Brant II. because the latter is on canvas. These doubts are He and Brant had long been friends, groundless and are not shared by any other critic: the present portrait was unquestionably transferred and it may have been through Brant that from panel to canvas a long time ago, perhaps in Rubens himself first met Baudius.8 When the 18th century. the latter saw the painting in Antwerp 7. ‘In effigiem celeberrimi pictoris Petri Rubenii et cannot be precisely determined, but it uxoris eius ab ipso expressam, cum naturae veri­ tate certantem. may have been 1610, in which year, as van Principis os pictoris habes cum conjuge fida, Gelder has pointed out, Baudius travelled Cui par dulce jugum vix vetus ordo tulit. from Paris to Holland by way of Brussels Æmulus ille manu naturam exaequat et arte. Haec ipsam formae vincit honore Cyprin. and Antwerp. Caetera concordes, lis est haec una duorum, That year is in any case an acceptable Officio atque fide quis potiora ferat.’ (Rooses-Ruelens, op. cit., p.53). terminus ante quern for the painting. Ru­ 8. See for Baudius: Baron de St.Génois, in B io g ra p h ie bens was again active in Antwerp from Nationale de Belgique, I, Brussels, 1866, cols.792-796; October 1608, and married Isabella Brant P.L.M.Grootens, Dominicus Baudius, een levensschets exactly a year after his return. It is as­ uit het Leidse humanistenmilieu, N ijm egen, 1942. sumed by almost all writers that the por­ trait was painted on the occasion of the marriage ; only Reinhard Liess, for not very 138a. Peter Paul Rubens: Drawing clear reasons, has recently suggested that it cannot be earlier than 1612. However, Black and red chalk; c.217 x c.156 mm. its style is also in favour of a very early Whereabouts unknown; presumably lost. date: the concentrated grouping in the p r o v e n a n c e : J. de Julienne, sale, Paris, foreground, the strongly sculptural quali­ 30 March-22 May 1767, lot 498. ty and the richly variegated glow of local colour are all common features of this c o p i e s : (1) Drawing by Antoine Watteau, portrait and other works dating from just whereabouts unknown; black and red after Rubens’s return from Italy. chalk, 218 x 176 mm. p r o v . ?Paris, Pierre Crozat (1665-1740); ?Stockholm, Count 1. London, National Gallery; see repr. in Friedländer, Carl Gustav Tessin (1695-1770); ?Luise- I, pi.20. Ulrike, Queen of Sweden, 1748; ?Princess 2. See repr. in M .Lehrs, Geschichte und kritischer Kata~ log des deutschen, niederländischen und französischen Albertine of Sweden; ?Count Gustav

164 CATALOGUE NO. 139

Harold Stenbock (1764-1833); ?CountNils 139. Peter Paul Rubens, Hélène Barck, Paris and Madrid (1820-1896); Fourment and Nicolaas Rubens ?Count Adolphe Thibaudeau, sale. Paris, (‘The Walk in the Garden’) 20-25 April 1857, lot 318 (as R ubens), lit. (Figs. 192,193) Rooses, IV, p.261, under N0.1050 (as R u ­ bens); (2) Counterproof of drawing by Oil on panel; 98 x 130.5 cm. Antoine Watteau (Fig. 189); New York, Munich, Alte Pinakothek. No.313. Mr and Mrs Eugène V.Thaw; black and p r o v e n a n c e : Gisbert van Colen (Ant­ red chalk, 212 x 151 mm. p r o v . London, werp, d. 1703); purchased from the former L.Franklyn, 1957 ; sale, London (Christie’s), by Max Emanuel, Elector of Bavaria for 25 June 1968, lot 152 (repr.). e x h . D ra w ­ his Castle at Schleissheim, 1698; trans­ ings from the Collection of M r & Mrs Fugène ferred to the Hofgartengalerie, Munich, V .T h a w , The Pierpont Morgan Library, in 1781; transferred to the Alte Pinako­ New York, 1975, No.31 (repr.). lit. Parker- thek in 1836, the vear of its foundation. M athey, I, p.44, N0.297 (repr.); Felice

Stampfle and Cara D. Denison, in Cat, c o p y : Painting of the Rubens family in Exh. Drawings from the Collection of Mr & half length, whereabouts unknown; oil

Mrs Eugène V.Thaw, op. cit., pp.44-45, on paper (grisaille), 28x43 cm. p r o v .

N0.31 (repr.); (3) Engraving by Cornelis King Carol I of Rumania, l i t , L. Bachelin, Ploos van Amstel (1726-1798; V.S., p. 163, Tableaux anciens de la Galerie de Charles 1er, No.73bis); (4) Engraving by Gilles De- Roi de Roumanie, Paris, 1898, pp.165-166, marteau (1722-1776), after (1) (V.S., p.162, No.119 (as R ubens). N0.73; E.Dacier and A. Vuaflart, Jean de e x h ib it e d : Brussels, 194.S, No.91 (repr.); Jullienne et les graveurs de Watteau au Schleissheim, 1976, No.780 (repr.). XVIIIe siècle, I, Paris, 1929, pp.194-195, fig.83); (5) Engraving by Paul Chenay l it e r a t u r e : Michel, Histoire, p.311, (1818-1906), after (1) (Rooses, IV, p.261, N0.8; Smith, Catalogue Raisonné, 11, p.72, under No.1050). No.217; IX, p.274, No.108; Dillis, Cat. M u n ich , No.306; Marggraff. Cat. Munich, No,287; Reber, Cat. Munich, N0.798; Rooses, In the Julienne collection in Paris there IV, p.262, N0.1051; K.d.K., ed. Rosen­ was in 1767 a drawing attributed to Ru­ berg, p.320; Dillon, Rubens, pp. 164, 202, bens and described as ‘La tête de Rubens pl.CCCXLVl; K .d .K ., p.321; Gliick’, Liebes- ayant un chapeau en pain de sucre ; dessiné garten, pp.74, 77, 80 (repr.), reprinted in à la sanguine et à la pierre noire’. Rooses Gliick, Rubens, Van Dyck, pp.122-123 identified this with a sheet which belong­ (repr.); Cat. Munich, 1936, N0.313; Evers, ed to the Swedish Count Nils Barck in the R ubens, pp.491, 508, 510; Evers, Neue For­ last century. He was probably confusing schungen, pp.333. 336-341. figs.359, 362 (as it, however, with Watteau’s drawing not by Rubens); G.Gliick, Die Landschaften after Rubens, which is also lost. The draw­ von Peter Paul Rubens, Vienna, 1945, pp.29- ing is accurately reproduced in a counter­ 30, 61-62, No.19 (repr.); H.KaufFtnann, proof by Watteau himself (Fig. 189) and ‘Rubens und Isabella Brant in der Geiss- the engravings made after the copy: Ru­ blattlaube’, in Form und Inhalt, Festschrift bens is depicted with his hat on, clearly as a für Otto Schmitt, Stuttgart, 1950, pp.265- study for the double portrait in Munich. 267 (repr.); Köhler-Lutterbeck, pp.39-61 ;

165 CATALOGUE NO. 139 J. S. Held, ‘Zwei Rubensprobleme’, Zeit­ Rubens House in Antwerp (No. 136; schrift für Kunstgeschichte, XXXIX, 1976, Fig.178). The features of Hélène Four­ p.44; Krempel, M ax Emanuel, pp.223, 229 ment are generally similar to those in the (repr.); U[lla] K[rempel], in Cat. Exh. large full-length portrait showing her Schleissheim, 1976, II, pp.338-339, under seated, also in Munich, (N0.98; Fig.92). N0.780 (repr.); Daugherty, Self-Portraits, Those of Nicolaas, born in 1618, are known pp.328-332, N0.II-4 (as partially by R ubens) : from the double portrait of Rubens’s sons J.Foucart, ‘Un nouveau Rubens auLouvre : in the collection of the Prince of Liechten­ Hélène Fourment au carrosse’, La R evue stein at Vaduz (No.142; Fig.200); in that d u Louvre, 1977, p.349, fig.8; M.Winner, in painting, which must be dated c. 1626-27, Mielke-Winner, pp.103-106, under No.37; he appears somewhat younger than in the Held, Oil Sketches, I, pp.321-332, fig. 17; an present work. The fact that no children of der Heiden, Bildnisse, pp.28-32 (repr.); Hélène Fourment are present indicates U[lla] K[rempel], in Cat. Munich, 1983, that the panel must have been painted pp.435-436, N0.313 (repr.). very shortly after Rubens’s second mar­ riage on 6 December 1630, or perhaps even at the time of the marriage. We may In the centre of the scene, Rubens and wonder why Albert, the only other sur­ Hélène Fourment together with Nicolaas, viving child of Rubens’s first marriage, is the youngest son of the painter’s marriage not in the picture also. The reason is to Isabella Brant, are walking towards a probably that Albert, who was aged 16, pavilion in which a table is laid, and was appointed secretary of the Conseil which closely resembles the structure Privé du Roy in Brussels on 15 June 1630 still to be seen in the garden of the Ru­ and hence no longer lived in the parental bens House. For this reason it was long home.1 supposed that the scene of the family The popular title ‘Walk in the Garden’, group was the painter’s own garden, but, under which this painting has become as Evers first pointed out, this is impossi­ known,2 is typical of the eighteenth and ble: even in Rubens’s time the garden of nineteenth century predilection for inter­ his house must have been much smaller preting groups of this kind in a narrative- and more shut in than is suggested here. anecdotal sense. What we actually have On the right of the picture is a tulip-field here is a realistic portrayal of an abstract enclosed by a hedge, and on the left a theme— an allegory of love in the same glimpse of a large parterre with a foun­ spirit as the so-called Honeysuckle Bower tain in the middle, adorned by a putto (No. 138; Fig. 184) or the double portrait astride a water-spouting dolphin. The with Hélène Fourment in the Metro­ vista beyond the garden is closed by tall politan Museum, New York (N0.141; trees. In the left foreground is an old wo­ Fig. 195)- This was first clearly noticed by man feeding peacocks; somewhat further Hans Kauffmann, who, in the light of off are other domestic fowl including comparison with the other two group turkeys. In the right foreground a dog is portraits, correctly interpreted this one seen running. as a ‘Garden of Love’. He pointed to such There can scarcely be any doubt as to details as the trees, bushes and flowers the identity of the figures. Rubens is in symbolizing love and fertility, the dog for the same pose as in his Self-Portrait in the faithfulness and the peacocks sacred to

r 66 CATALOGUE NO. 139

Juno, the patroness of wedlock. Julius on the right and one of 8.3 cm at the Held also pointed out recently that the bottom. As the same author points out, the fountain and dolphin in the background differences in technique that are notice­ are a symbol, already known in anti­ able at these points are not entirely due quity, of the brevity and impermanence to a different hand. Rubens certainly of love.3 It may be added that the pavilion planned the enlargements and began to with its invitingly laid table is clearly execute them, but it must have been at intended as a lovers’ bower, and this is the end of his life and he did not complete emphasized by the two turtle-doves on the work. It must, as Ulla Krempel says, the roof. have been finished by another artist ; parts The most penetrating analysis of the which she thought particularly weak, and work, however, was published in 1977 by not by Rubens, were the tulip-field and Matthias Winner, who interpreted the the pots containing pineapple plants. To old woman as Vertumnus, god of fertility. these I would add the three tree-tops in This deity, in various disguises including the right background (contrasting with that of an old crone, wooed and finally the much more convincing ones on the won the heart of Pomona, goddess of left), the dog and the birds below on the gardens and fruit-trees— just as Rubens, right. As Ulla Krempel remarked, weak­ despite his advanced age, gained as his nesses such as these were no doubt part bride the sixteen-year-old Hélène Four­ of the reason for Fivers’ negative judge­ ment. As Winner points out, Hélène is ment of the work. seen here in rustic garb, with a straw hat The painting has had some influence. and a gardener’s apron. In the same con­ In particular, David Teniers the Younger’s nection Winner drew attention to the Company in a Garden (1651) in the Edgar striking resemblance to Rosso Fiorenti- Evens collection in London seems to me no’s Vertumnus and Pomona, executed in unthinkable without it. It depicts an essen­ 1532.—35 for the Pavillon de Pomone at tially similar ‘Garden of Love’, with a pa­ Fontainebleau. There we see a figure of vilion of like appearance and a fountain Vertumnus in front of an enclosed garden with a putto astride a dolphin.5 with a small gate, in a pose very similar to that of the old woman and the enclo­ 1. Cf. e.g. M.Rooses. in Biographie \ationale, XX, Brus­ sels, 1908-10, eol. u I. sure in the Munich painting.4 2. The earliest known explicit description is that by Evers alone did not believe this paint­ Michel in 1771 : he calls it a 'petite pièce, Rubens se ing to be authentic. He rejected the attri­ promenant avec sa femme'. All later descriptions emphasize the 'promenade' aspect. bution to Rubens and regarded the work 3. J.Held, ‘Zwei Rubensprobleme', loc. cit. as a pastiche executed after his death, 4. Winner also drew attention to a drawn copy of the as an idealization of the painter’s happy design for this fresco in the Cabinet des Dessins of the Louvre, made by a follower of Rosso and, ac­ marriage. This view is basically wrong, cording to Winner, retouched with body-colour by but can to some extent be understood Rubens. For Rosso’s compositions and the copy when it is observed that the painting was drawing see E. A.Carroll, The Drawings of Rosso Fiorentino, New York-London, 1970, II, p .308, No. originally smaller and has been worked P39, iig.io.t (the drawing), 104 (engraving by Fan- up by another hand, As Ulla Krempel re­ tuzzi after Rosso's lost fresco for Fontainebleau). cently pointed out, the panel has been en­ 5. The painting is reproduced in R.D.Lepperi, 'David Teniers the Younger and the Image of Music', J a a r ­ larged on three sides, with a strip of boek Kon. Museum voor Schone Kunsten Antwerpen, C.16.8-17.4 cm at the top, one of 30.5 cm 1978, p. 115, fig.36.

167 CATALOGUE NO. l ^ c l - I ^ b

139a. Peter Paul Rubens, Hélène of the costume : witte halsdoeck j vuyl blauw/ Fourment and Nicolaas Rubens : vuyl steurse van omber / swart en wit (from Drawing (Fig. 190) above to below, at the left); canefas / vuyl blauw I swa[rt] j swarte overtreck mauwen / Black and red chalk; 381 x 292 mm. canefas / root / vuyle gescheurde veurschoot London, British Museum. Inv. N0.1893. (on bodice and shoulder); witte halsdoeck/ F.31.21. ca neffas] j blauw j ...j blauw (below, at the right, clockwise).— Verso: BathingWomen. p r o v e n a n c e : See above, under No.75a. Berlin, Staatliche Museen Preussischer Kultur- e x h i b i t e d : London, 1977, No.154 (repr.). besitç, Kupferstichkabinett. Inv. No.KdZ 12223. l i t e r a t u r e : M.Jaffé, ‘Rubens as a Draughtsman’, The Burlington Magazine, PROVENANCE:Earlof Aylesford (London, CVII, 1965, p.381, fig.46; C.White, R u ­ 1786-1859); Adolf von Beckerath (Berlin, bens and his World, London, 1968, p.78 1834-1915); purchased from the latter in (repr.); Daugherty, Self-Portraits, pp.339— 1902. 342, N0.III-1 ; Rowlands, Rubens Drawings, p.114, No.154 (repr.); M.Jaffé, ‘Ripeness e x h i b i t e d : Berlin, 1977, No.37 (repr.). is All. Rubens and Hélène Fourment’, literature: J.Rosenberg, ‘Federzeich­ A pollo, CVII, 1978, p,4 (repr.). nungen von Rubens im Berliner Kupfer­ stichkabinett’, Berliner Museen, XLVII, 1926, pp.86-88 (repr.); Glück-Haberditçl, This rapid sketch on the reverse of the p.55, N0.190 (repr.); Bock-Rosenberg, I, head study of Isabella Brant (No.75a; p.252, No.12223; G. Glück, Die Landschaf­ Fig.38) shows the artist with Hélène Four­ ten von Peter Paul Rubens, Vienna, 1945, ment and a boy. It was discovered only in pp.30,62, under No. 19 (repr.) ; Held, Draw­ 1964, when the sheet was remounted. ings, I, pp.44-45, 55, fig. 19; B u rcha rd - Daugherty rightly pointed out the strik­ d’Hulst, Drawings, I, p. 199; M.Winner, in ing resemblance between this drawing Mielke-Winner, pp.103-106, N0.37 (repr.). and the Walk in the Garden in Munich (No.139 ; Fig. 192) ; Hélène Fourment’s pose is especially similar. I thus believe this to Two studies of an old peasant woman: in be a study for the painting in Munich, and profile to the right and, less finished, in that the boy is Nicolaas Rubens. This was three-quarter view from behind, as far as not the opinion of Jaffé, who considered the waist. These studies from life were the sketch a study for the New York first recognized as authentic by Rosen­ family portrait (No. 141; Figs.195-197). berg; they were clearly the model for the old woman feeding peacocks in the left foreground of the Walk in the Garden 139b. An Old Woman in Two Views: (N0.139; Fig.192). Drawing (Fig. 191) Like the drawing of the dwarf Robin for the Portrait of Lady Arundel and her Pen in brown on greyish paper; 396 x Train (No.72a; Fig.28), this is a costume 233 mm; several inscriptions in Rubens’s study ‘Naar het Leven’. The colour indi­ hand, referring to colours and materials cations, however, do not wholly agree

168 CATALOGUE NO. I40

with the dress of the woman in the Mu­ body is almost in profile, but she looks nich painting: for example, the back of directly at the spectator. Rubens stands the woman’s bodice is marked as blue but on the right; only his head is properly is red in the picture. Her pose is also dif­ finished, the structure of his body is not ferent : in the painting she is bent forward, clear. A boy stands on the left in a natural and not upright as here. Finally, in the attitude, with arms and legs crossed. The drawing she has a purse and a bunch of sketch is almost entirely in brown mono­ keys which are missing in the painting, chrome, with some white highlights in the Rubens reused this drawing somewhat central group. Red lines can be seen on later on: it is clearly the basis for the old the boy’s arm and shoulder. The compo­ peasant woman in Return from the Harvest sition is varied by a background of grey in the Palazzo Pitti, a painting of c.1635.1 tonality which, as Held observes, seems to have been added by another hand. i. See A d le r , Landscapes, N o.48, tig.127. This sketch was first published as an authentic work of Rubens by Valentiner. Partly on account of its poorstateofpreser- 140. Peter Paul Rubens and Hélène vation Held, in his study of Rubens’s works Fourment, with Nicolaas and Clara­ in America (1947), did not accept this un­ Johanna Rubens: Oil Sketch (Fig. 194) reservedly, and wondered if it was not a pastiche by some later hand. However, he Oil on panel; 35.5 x 38.2 cm. expressed a different view in his recent Philadelphia, Philadelphia Museum of Art, study of Rubens's oil sketches. He ob­ John G.Johnson Collection. N0.662. served, rightly in my opinion, that Hélène

p r o v e n a n c e : ?M.Kappel, Berlin ( 1910); Fourment and the two children were ?Art Market, Munich, 1912; ?Lord Darn- painted in a lively and fluent style; but a ley, Cobham Hall. principal reason for his change of mind was the relationship, which had been e x h i b i t e d : 1 Brussels, 1910, No.399. neglected, between this sketch and some

l i t e r a t u r e : W. Valentiner, Catalogue of of Rubens’s compositions after 1630. Two a Collection of Paintings and Some Art Ob­ figures directly based on it are the seated jects, Flemish and Dutch Paintings, 11, Phila­ Madonna in Rest on the Flight into Egypt, delphia, 1913, p.163; id., The Art of the known from a woodcut by Jegher and a Low Countries, New York, 1914, p.236; painted version in the Prado in Madrid,1 Valentiner, Rubens in America, p. 164, and the seated woman in the centre of N0.111; Goris-Held, p.47, N0.A.18 (as the Garden of Love, also known from a d ou b tful); B. Sweeny, Catalogue of Flemish w'oodcut by Jegher2 and a painting in the and Dutch Paintings, John G.Johnson Collec­ Prado.3 Held also pointed out that Ru­ tion, Philadelphia, 1972, p.76, No.662; bens’s head is a copy in reverse of the Daugherty, Self-Portraits, p.348 (as not by Self-Portrait of 1623 in the British Royal R ub en s); Held, Oil Sketches, pp.399-401, Collection (No. 133; Fig. 171), though it N0.296, pi.296. should be noted that in the sketch the painter’s gaze is fixed on his wife and not on the spectator. Held also tried to identi­ Hélène Fourment is seated in the middle, fy the two children. The sleeping baby with a naked child sleeping in her lap. Her must be Clara-Johanna, born on 18 Janu-

169 CATALOGUE NO. 141

ary 1632, the first child of Rubens and Hé­ in 1978; donated to the Metropolitan lène Fourment, while the boy can hardly Museum in 1981. be any other than Nicolaas, Rubens’s son by Isabella Brant, who was 14 in that year. c o p i e s : ( i ) Painting, with the features of Held wondered why Nicolaas’s elder Charles and Mary Churchill, by J.Eccardt, brother Albert was not present: in my 1751, Farmington, Conn., The Lewis­ opinion the reason is clearly that, as I have Walpole Library, l i t . Liedtke, Cat. New noted elsewhere, Albert had left the York, I, p.182, fig.46; (2) Drawing, 17th parental home some time previously.4 century, Cambridge, Fitzwilliam Museum, Nicolaas’s pose with crossed legs is bor­ Inv. N0.PD44-1961 ; black chalk, pen and rowed from that of Albert in the famous brown ink, 185 x141m m . p r o v . P.H. portrait of the two brothers dating from Lankrink (London, 1628-1692) ; J. Richard­ c. 1626-27 (No. 142; Fig.200), but the posi­ son Senior (London, 1665-1745); T. Hud­ tion of the head and torso is different. son (London, 1701-1779); Sir Joshua Rey­ This sketch was evidently never used for nolds (London, 1723-1792) ; T. Banks (Lon­ a finished painting, but a few years later don, 1735-1805); Sir E.J.Poynter, sale, it inspired a composition by Rubens in London (Sotheby’s), 25 April 1918, lot 288 which Hélène Fourment is the central (repr., as R ub en s); Charles B.O.Clarke; figure (N0.98; Fig.92), Louis C.G.Clarke, e x h . Royal Academy, London, 1879, N0.445; Drawings from the

1. See Adler, Landscapes, pp.143-146, N0.43, fig.120. Collection o f Louis C.G. Clarke, Fitzwilliam 2. For Jegher’s w oodcut and the prelim inary draw ing Museum, Cambridge, 1981-82, pp.8-9, for it in the Metropolitan Museum at New York, notnumbered (as attributed to A. vanDyck). cf. Held, Drawings, I, N o .152 and Burchard-d'Hulst Drawings ,1, N o .180. l i t . Liedtke, Cat. New York, I, p.182; (3) 3. K .d .K ., p.348. Mezzotint engraving by J.McArdell (1728 4. See under N0.139. -1765; VS., p.163, N0.84).

e x h i b i t e d : British Institution, London, 141. Peter Paul Rubens, Hélène 1865, N0.52 ; Les chefs-d'œuvre des collections Fourment and Clara-Johanna Rubens françaises retournés en Allemagne, Paris, (Figs. 195-197) 1946, N0.69.

l i t e r a t u r e : Marlborough Jewels and Oil on canvas; 204 x 153.5 cm. P ictures (Manuscript, British Museum, New York, Metropolitan Museum of Art. Add. Mss. 9125; Coxe Papers, XLVIII), Inv. No. 1981-238. [?i7i8], fol. 7v; [T.Martyn], The English p r o v e n a n c e : ?Philip Rubens, Antwerp’ Connoisseur, I, London, 1766, p.17; Tour 1676; donated by the City of Brussels to from Stow to Blenheim and Ditchley, the seats John Churchill, first Duke of Marlborough of his Grace the Duke of Marlborough and the (1650-1722), in 1706; Blenheim Castle, Rt. Hon. the Earl of Litchfield, London Dukes of Marlborough; purchased in 1885 [’ 1770], p.6; H.Walpole, Anecdotes of by Baron Alphonse de Rothschild (Paris, P ainting, 4th ed., II, London, 1786, p.144; 1827-1905); Baron Edouard de Rothschild [W. F. Mavor], New Description o f Blenheim, (1868-1949), Paris; Baronne Germaine de London, 1789, p.58; J.Ferington, The Rothschild, Paris; purchased from her by Ferington Diary, [1801], [ed. by J.Greig, I, Mr and Mrs Ch.Wrightsman, New York, London, 1922], p.311; Smith, Catalogue

170 CATALOGUE NO. I4I

Raisonné, II, pp.243-244, No.83; J.D. Pas­ in her left hand, and the child’s harness savant, Kunstreise durch England und Bel­ in her right. Clara-Johanna— the couple’s gien, Frankfurt am Main, 1833, p .17 6 , first child, born on 18 January 1632— looks No.13; Waagen, Kunstwerke, II, pp.47-48; up at her mother and points with her left Waagen, Treasures, III, p.129, No.13; hand. She is dressed in yellow, with a Scharf, Cat. Blenheim, p.23; Rooses, IV, white cap and a blue protective band pp.263-264, No.1052; Michel, Rubens, round her forehead;1 she also wears a pp.440, 465-467 (repr.); K.d.K., ed. Rosen­ blue sash. She seems to be at least a year berg, p.341; Dillon, Rubens, pp.163-164, old, and at the time of the portrait Hé­ pl.CCCXLIX; Glück, Liebesgarten, pp.75, lène Fourment must have been expect­ 80 (repr.), reprinted in Glück, Rubens, Van ing her second child, Frans, who was born D yck, p.122, fig.73; K .d .K ., pp.447, 472 (as on 12 July 1633. Some art historians, how­ J.Boeckhorst); Evers, Rubens, pp.468-472, ever, dispute this apparent identification 508-509, figs.267, 269; Evers, Neue For­ and the consequent dating c. 1632-33. schungen, pp.330, 340; Köhler-Lutterbeck, Evers, for not very clear reasons, thought pp.62-72; Daugherty, Self-Portraits, pp. 303­ the child was Peter Paul Rubens, born on 308, No.1-6 ; J.Foucart, ‘Un nouveau Ru­ i March 1637, and therefore concluded bens au Louvre: Hélène Fourment au that the painting belonged to Rubens’s carrosse’, La Revue du Louvre, 1977, pp.343- last years. Recently, with equally little 347, fig.i; D.Bodart, in Cat. Exh. R ubens argument, Jafte and Kopelman have en­ e I’lncisione, Rome, 1977, p. 180, under dorsed this conclusion. Liedtke, in his No.399; M.Jaffé, ‘Ripeness is All. Rubens recent catalogue of the Metropolitan Mu­ and Hélène Fourment’, A pollo, CVII, 1978, seum, also identifies the child as Peter pp. 1-4 (repr.); G.Kopelman, ‘The Evo­ Paul.2 1 cannot see, however, why in such lution of a Late Rubens Family Portrait’, a family portrait the third child should be Tableau, V, 1982-83, pp.380-386 (repr.); included and not the two elder ones. For W. Liedtke, ‘Flemish Paintings in the Me­ the same reasons I would reject Bodart’s tropolitan Museum, I: Rubens’, Tableau, suggestion that the child is the younger VI, 1983-84, pp.83-84 (repr.); Liedtke, Cat. girl Isabella-Helena Rubens. An impor­ N ew York, pp. 176-187, pis.XIII, 66-72. tant argument for the earlier dating is that this portrait of Hélène Fourment was a model for one of the female saints in Rubens wears a black costume with a flat the Mystic Marriage of St Catherine, com­ white collar and a broad-brimmed black pleted in 1633 and now in the museum at hat. A violet cape is thrown over his left Toledo, Ohio.3 In the same pose as here, shoulder. He is turned to the right in three- but inclined slightly further forward, quarter view and gazes lovingly at Hélène with the same expression and hair-style Fourment. He supports her right arm and with her hands in the same position, with his left hand, and extends the other she can be seen in that painting as the hand protectively over his daughter’s female saint standing on the right next head. Hélène is in a black silk dress with to the Madonna. Finally, there is a strong a lace collar standing up at the back. Her link— thematically, stylistically and with hair is uncovered, but done up after the respect to figure types— with the Garden fashion of the time and adorned with a o f Love at Madrid, which also dates from diadem. She holds an ostrich-feather fan c. 1632-33/

171 CATALOGUE NO. I41

For unconvincing reasons Kopelman a kindred theme. Like the Honeysuckle recently suggested that Rubens originally Bow er (No.138; Fig.184), this portrait is intended to paint only his wife and child, directly inspired by a sixteenth-century and included himself in the picture as an representation of a Loving Couple. Jaffé afterthought. Kopelman was the first to drew attention to the striking affinity be­ point our that the composition was arched tween, on the one hand, the figures of Ru­ above, at an early stage in its execution: bens and Hélène Fourment and, on the this can be seen from X-rays (Fig. 197) and other, the couple in Diirer’s engraving of even be detected with the naked eye on that name.9 As Jaffé also pointed out, Ru­ the painting’s surface. Kopelman con­ bens had already used the same Dürer cluded from this that initially Rubens’s motif in his oil sketch for the Marriage of wife and child would have been represent­ Henri IV to Maria de’ Medici in the Wallace ed alone in a garden, under some kind of Collection in London.10 Again, there is a arch. This has been rightly refuted by formal resemblance to the Walk in the Liedtke. Technical examination of the G arden (No. 139; Fig.192). From the X-ray painting proved that the figure of Rubens of the New York portrait (Fig. 197), it was part of the original composition.5 appears that Rubens originally painted Furthermore, the gestures and glances of himself in exactly the same pose as in the the three figures are clearly interconnect­ Walk in the Garden, inclined slightly for­ ed, and there is no doubt that the group is ward like the Antwerp Self-Portrait (No. intended to express family affection. From 136; Fig. 178). His change of mind improved this point of view the portrait is in line the painting, which would otherwise not with the earlier Self-Portrait with Isabella haveits present harmonious contrapposto Brant (No. 138 ; Fig. 184). As in that portrait, effect. ' and as in the Walk in the Garden (N0.139; In 1706 this picture was presented, more Fig.192), the scene here is set in a Garden or less under compulsion, by the City of of Love, in front of a gateway partly over­ Brussels to the Duke of Marlborough. Its grown with ivy. On the right amidst the previous fortunes are not clear. In 1676 ivy is a rose-bush from which a parrot, it seems to have been in Antwerp. Bur- symbolizing virginal purity, is biting off chard’s notes refer to the following pas­ a branch.6 This is clearly a variation on sage in a letter of 7 February 1676 from the theme of plucking or cutting down a the art dealer Picart to his Antwerp col­ thorny rose-bush— a familiar allegory of league Matthijs Musson: Tc bidde Ul hem love, which brings pain as well as pleasure, soo veul te obligeren naer het Leven van but which is none the less to be embraced.7 Rubens te vernemen ende soo het moge- The herm— a half-naked female mytho­ lyk is het conterfey tsel van Rubens metsyn logical figure— is no doubt to be under­ huysvra ende kind datter in is te bekomen stood in the same context, in the way ende de mate seynden met den naesten Rubens habitually uses such allegorical prys’.u This description of the family por­ motifs to enhance the significance of his trait seems to fit the present work. Bur­ main theme.8 It is natural to suppose that chard also suggested that its owner in the figure here represents Venus or Ceres, Antwerp may have been Philip Rubens, personifying love and fertility. the painter’s nephew and author of the There is also a formal similarity be­ first biography, Vita Rubenii. This is also tween this painting and the two others on quite possible, since the family portrait is

172 CATALOGUE NO. 1413 mentioned in the same breath as the fa­ tion to designs for tapestries and title-pages, by Haverkamp-Begemann, Achilles, pp.39-41, mous Life of Rubens, and an earlier pas­ 9. Sec the reproduction in T.Winkler, Diirer. Des sage in the same letter refers to other Meisters Gemälde, Kupferstiche und Holzschnitte, works bought from Philip Rubens.12 B erlin-Leipzig, 1928, p.to7. Liedtke (L ie d tk e , C a t. N e w Y o rk , I, p. 181) insisted on the progeny o f this Dürer motif, especially in representations of strol­ 1. These protective bands were very common in the ling couples in paintings and engravings made by Netherlands until the beginning of the 19th cen­ the Haarlem school from c. 1590 onward. T h ere is tury; see G.T.Hancveld, ‘De Val-Hoedt’, Spiegel also a striking similarity between Rubens and Hé­ IHstoriael, VIII, 1973, pp.402-465. lène Fourment in the present painting and the cou­ 2. Evers points to the sash as an imitation of adult ple in a Garden of Love, etched by Nicolas de Son male attire and therefore identities the child as after Johann Liss (c.iw -c.ibyo), who spent his for­ the youngest son of Rubens and Hélène Tourment. m ative years in I laarlem (cf. I.tedtke, Cat. New York, His argument was adopted by Liedtke, in his New tig-45). York catalogue. However the sash, just like the 10. Cf. K .d .K ., p.32or. long dress of the child, was worn by boys and girls 11. Denitcé, Na Rubens, p.435. alike; a good example is offered by the girl in a 12. Ibid., p.434; cf. also Philip Rubens's letter to Picart chariot, in a Family Portrait by J.G.Cuyp, in the of it February 1076 ((’..Ruelens, ‘La vie de Rubens Musée des Beaux-Arts at Lille (cf. Cent ch efs par Roger de Piles', Rubens-Bulletijn, II, 1883, pp. d’œuvre du Musée de Lille, Lille, 1970, pp.112-113, 102-163); the other paintings which Philip Rubens N0.48, repr.); I owe this information— as well as certainly owned and which are also mentioned in references to other similar examples— to Mrs the letter of 7 February, without the name of their Katlijne Van der Stighelen). proprietor, are .1 B acchus and an A n d r o m e d a . 3. Cf. K .d .K ., p .343. O ldenbourg (K.d.K., p.472) has already remarked on this obvious relationship with the St Catherine in the altarpiece at Toledo. 141a. Hélène Fourment Very surprisingly, he attributed the portrait dis­ cussed here to Boeckhorst. He considered the figure of Hélène Tourment in the present picture Whereabouts unknown; presumably lost. a copy after Rubens's female saint in the Toledo altarpiece. c o p ie s : (i) Painting (Fig. 199), The Hague, 4. K .d . K . , p .348; Liedtke (Liedtke, Cat. New York, I, Schilderijenzaal Prins Willem V, Inv. p.180) rightly remarks that the drawing in the N0.NK1409; panel, 52 x40 cm. For re­ Louvre of a young woman with an ostrich fan (ibid., fig.42), which is generally recognized as a ferences, see under No. 141c; (2) Painting study for one of the figures in the G a r d e n o f Love, (Fig. 198), whereabouts unknown; panel, also resembles the tigure of Hélène Tourment in 59 x 46 cm. For references, see under the portrait discussed here; the dress in particular looks very similar. No.141b; (3) Painting, whereabouts un­ 5. Liedtke also explained that the arch does not known; panel, 56.5 x 44 cm. p r o v . Vien­ necessarily belong to this picture, but may have na, Czernin Collection, lit. K.d.K., ed. Ro­ been on the panel as the ground of another compo­ sition which, for some reason, never came to senberg, pp.459, right, 487; K.Wilczék, execution. Katalog der Graf Cçernin sehen Gemälde­ 6. See C at. Exh. Die Sprache der Bilder, Herzog Anton galerie in Wien, Vienna, 1936, p.77, N0.288; Ulrich-Museum, Brunswick, 1978, p.75, under No. 11, with further literature. The parrot as a symbol Evers, Rubens, p.508, n.481; (4) Painting, of purity occurs in many portraits of ladies by Richmond, Virginia, Virginia Museum Rubens: e.g. Madame Gerbier and her Family, Bri- of Fine Arts, Inv.No.50-1; panel, 64 x gida Spinola Doria(?) and Veronica Spinola Doria (see Huemer, Portraits, N os.14, 42-44, figs.63, 117, 124­ 48.5 cm. p r o v . Vienna, Hans Makart Se­ 125). It also occurs in a specifically Christian con­ nior (d.1884); Vienna, Hans Makart Ju­ text: thus it denotes the Immaculate Conception nior, where seen by C. Glück in 1920 ; New in the well-known Holy Family with Parrot in the Royal Museum in Antwerp ( K .d .K ., p.284). York, Carl Schoen; New York, Lilienfeld 7. Cf. exam ples in Henkel-Schöne, I, p.299; also the Galleries (1936); purchased for the Muse­ clear account in de Jongh, Zinne- en minnebeelden, um in 1950. e x h . D etroit, 1936, No.34 p p.25ff. 8. This is clearly pointed out, for example, in rela­ (repr., as R ubens), lit. H.Tietze, ‘Ein

173 CATALOGUE NO. 141b neues Helene Fourment-Bildnis von Ru­ Two of them, for which Burchard issued bens’, Zeitschrift für bildende Kunst, LVI, certificates of authenticity in 1926 and 1927 1921, pp.18-19 (repr., as R ubens); E vers, respectively, were shown together in the R ubens, p.508, n.481; Goris-Held, pp.45- Rubens exhibition organized in 1933 by 46, No. A.7; Daugherty, Self-Portraits, p.307 ; the Amsterdam art dealer Jacques Goud­ (5) Painting, Brussels, Robert Finck; panel, stikker. Later, after the panel was cleaned,

56.5 x 43 cm. p r o v . Charles Warner Le­ Burchard revised his original enthusiastic wis, sale, London (Christie’s), 3 June 1871, view. In later notes on the first of these lot 16; Miserden Park, Edward Aldam copies (No.141b; Fig. 198)— which last ap­ Lewis (d.1900); London and Cape Town, peared in a sale at Versailles in 1973, de­ Sir Joseph Robinson (1840-1929); Cape scribed as a studio product— Burchard Town, Princess Labia, daughter of the took a more critical view, although not former; sale, London (Sotheby’s), 27 No­ finally doubting its authenticity. As to the vember 1963, lot 23 (as R ubens), e x h . R o ­ second copy, which is now in the Schilde­ binson Collection, National Gallery of South rijenzaal Prins Willem V in The Hague Africa, Cape Town, 1959, N0.26 (as R u ­ (No.141c; Fig.199), Burchard also expres­ bens); Tableaux de maîtres flamands du XVe sed more scepticism and even regarded it au XVlIIe siècle, Galerie Robert Finck, as of inferior quality to the first, though Brussels, 1964, No.A (repr., as R ubens); here again he did not explicitly retract his Brussels, 1 965, N0.209 (repr., as Rubens). previous highly favourable assessment. l i t . L.Van Puyvelde, ‘Un important por­ Consequently, both versions are discussed trait d’Hélène Fourment par Rubens’, separately in the present work. Revue belge d’archéologie et d ’histoire de l’art, The original version was perhaps the XXXIV, 1965, pp.3-10 (repr., as R ubens); one described in 1836 in the collection of Daugherty, Self-Portraits, p.307; Liedtke, J.Van Hal in Antwerp: ‘Portrait dune Cat. New York, I, pp.182,185, n.46. jeune et aimable dame qui paraît être celui d’une des femmes de ce prince des peintres; ouvrage que certainement il a A preliminary study en buste for Rubens’s fait avec amour et sous une inspiration second wife in the group portrait in the particulière; car son pinceau n’a rien pro­ Metropolitan Museum, N ew York(N 0.141 ; duit de plus frais et de plus moelleux. Fig. 195). Liedtke (see under Copy [5]) Elle est représentée jusqu’au dessous du convincingly suggests that the original of sein, et sa blonde chevelure est liée en this representation of Hélène’s head was touffe, avec un ornement en pierres pré­ painted before the group portrait and was cieuses.’ However, taking into account not a partial copy made after it. Thus he the very similar dimensions, that work could remark that, in comparison to the may be identical with one or other of the New York group portrait, the present copies mentioned above. work shows Hélène slightly differently: her head inclines more in the direction of the onlooker, her smile is more pro­ 141b. Hélène Fourment (Fig. 198) nounced, and the details of her garment Oil on panel; 59 x 46 cm. are not fully worked out.

None of the five surviving examples of p r o v e n a n c e : Charles-Léon Cardon, this study can be regarded as authentic. sale, Brussels (Fiévez), 28 June 1921,

174 CATALOGUE NOS. 14IC-I42 lot 106; Dr F. Rothmann, Berlin; Galerie the previous painting (No.i4ib; Fig.198), Caspari, Munich (1926); Siegfried Buche­ he did not expressly withdraw his recog­ nau, Niendorf; Buchenau heirs, Spain or nition at any subsequent time. However, Portugal; Jan Dik and a second owner, in his notes c.1957 he regarded it as of Vevey (1957); sale, Versailles (Chevau- inferior quality to the previous example. Légers), 16 December 1973, lot 120 (as I myself cannot perceive Rubens’s hand School o f Rubens). in either painting. e x h i b i t e d : A m sterdam , 19 33, No.54 (repr.). 142. Albert and Nicolaas Rubens l i t e r a t u r e : Evers, Rubens, p . 508, n.481; (Figs. 200, 201) Daugherty, Self-Portraits, p.307. Oil on panel ; 158 x 92 cm. Vadu^, Collections of the Prince of Liechten­ This study was certified as authentic by stein. Inv. No.114. Burchard in 1927 for the owner at the time, the Munich art dealer Caspari. Much later p r o v e n a n c e : Albert Rubens; mention­ it was cleaned, and in about 1957 Burchard ed in the collections of the Princes of expressed much more doubt about it in Liechtenstein in Vienna, since 1733; trans­ his notes. It does not seem to me to show ported to Vaduz in 1945. any trace of Rubens’s own hand. c o p i e s : (1) Painting (Fig.202), Dresden, Gemäldegalerie, N0.9868; panel, 156X 141C. Hélène Fourment (Fig. 199) 91 cm. p r o v . Seen by Joseph Highmore in a private collection at Paris in 1734; Oil on panel; 52 x 40 cm. purchased in 1742 from Dubreuil, Paris, The Hague, Schilderiienraal Prins Willem V. for the collection of August 111, King of N0.NK14. Poland and Elector of Saxony, l i t . J. High­ more, Paris Journal, 1734, ed. by Elizabeth p r o v e n a n c e : Mme Hémé, Brussels; Johnston, in The Walpole Society, XLII, Dr F. Rothmann, Berlin (1926); Franz 1968-70, pp.8o, 99 (as Rubens); Catalogue Koenigs, Haarlem (1881-1941) ; Herrmann des tableaux de la galerie electorale d Dresde, Goering; Central Collecting Point, Mu­ Dresden, 1765, N0.436 (as Rubens); Smith, nich, after 1945; Dienst Verspreide Rijks- Catalogue Raisonné, 11, p.83, No.259 (as R u ­ kollekties, The Hague. bens); Parthey, Bildersaal, II, p.434, No.363 e x h i b i t e d : A m sterdam , 1935, N0.53 (as R ubens); J.Hübner, Catalogue de la (repr.). galerie royale de Dresde, Dresden, 1872, N0.845 (as Rubens) ; Rooses, IV, pp.244-245, l i t e r a t u r e : Evers, Rubens, p . 508, n.481; Daugherty, Self-Portraits, p.307; Schilderijen- under No. 1036; (2) Painting, Orléans, çaal Prins Willem V, The Hague, 1977, p.4, Musée des Beaux-Arts; panel, 33 x 24cm. No. 14 (repr., as a copy). p r o v . Presented by the French Govern­ ment in 1872. l i t . Inventaire général des richesses d'art de la France. Province. Monu­ The authenticity of this version was certi­ ments Civils, I, Paris, 1878, p.131 ; (3) Paint­ fied by Burchard in 1926 to the Berlin art ing of the busts of the boys, whereabouts dealer Fritz Rothmann. As in the case of unknown; 52 x 64 cm.; (4) Drawing by

175 CATALOGUE NO. I42

N. de Keyser (1813-1887), Antwerp, Ko­ gen des Fürsten von Liechtenstein, Vaduz, ninklijk Museum voor Schone Kunsten; 1974, No. 15 (repr.); Warnke, Rubens, p.26,

107 x136 mm. l i t . L.Schoonbaert and hg. 10; R. Baumstark, Meisterwerke der D.Cardyn-Oomen, Tekeningen, aquarellen Sammlungen des Fürsten von Liechtenstein, en prenten, îgde en 20ste eeuw, Koninklijk Zürich-Munich, 1980, pp.150-151, N0.55,

Museum Antwerpen, Antwerp, i98i,p.3ii pl.55. (repr.); (5) Engraving by G.A.Müller (1694-1767; V.S., p.168, N0.125); (6) En­ graving after (i) by J.Daullé, 1752 (V.S., Albert, in a dark costume with a white pp.167-168, No,i23); (7) Engraving after fluted collar and cuffs, leans against a pil­ (i) by Dauzel (V.S., p.168, N0.124). aster in an unconstrained pose. He wears a broad-brimmed black hat and holds a e x h i b i t e d : Meisterwerke aus den Samm­ book at his side with his right hand. A lungen des Fürsten von Liechtenstein, Kunst­ glove dangles from his left hand, which is museum, Lucerne, 1948, N0.138 (repr.); laid protectively on the shoulder of his Meisterwerke der Malerei aus Privatsamm­ younger brotherNicolaas.Helooksdirectly lungen im Bodenseegebiet, Künstlerhaus, at the spectator. Nicolaas, in three-quarter Bregenz, 1965, N0.88 (repr.). view, is watching a goldfinch fastened by

l i t e r a t u r e : V.Fanti, Descriçione com­ its feet to a T-shaped perch with bells pleta di tutto cio che ritrovasi nella Galleria... attached, which he holds in his right hand. della Casa di Liechtenstein, Vienna, 1767, With his left hand he pulls a string, mak­ p.74, N0.365; Michel, Histoire, p.308; ing the bird move this way and that. He [J. Dallinger], Description des tableaux et is much more colourfully dressed than his des pièces de sculpture que renferme la gai- brother, in a blue doublet with slits show­ lerie de ... Liechtenstein, Vienna, 1780, p.ii, ing a yellow lining, grey puffed breeches No. 10; Smith, Catalogue Raisonné, II, p.roo, and white stockings with red bows. His N0.327; D.Wilkie, Journal, 1840, ed. by collar and cuffs are pressed flat. The A. Cunningham, Life o f Wilkie, III, London, identity of the two youths has never been 1843, pp.304-305; Parthey, Bildersaal, II, questioned, and there is no reason to do p.434, N0.364; Rooses, IV, pp.243-245, so : Albert’s name is clearly indicated in a N0.1036; K.d.K., ed. Rosenberg, p.278; seventeenth-century hand on the prelim­ Dillon, Rubens, pp.152, 228, pl.CCLXXII; inary study of his head (see No. 142a; A. Kronfeld, Führer durch die fürstlich Liech- Fig.203). tensteinsche Gemäldegalerie in Wien, Vienna, Although Oldenbourg wished to date 1927, N0.114; Evers, Rubens, pp.310, 460, the portrait c.1625, its terminus post quem 508, pl.II; E.von Strohmer, Die Gemälde­ is clearly 20 June 1626: Isabella Brant died galerie des Fürsten Liechtenstein in Wien, on that day, and there is no mention of Vienna, 1943, p.97, pl.VI; J. Müller Hof­ the work in the inventory then drawn stede, [Review of Burchard-d’Hulst, Draw­ up.1 The portrait was probably painted ings], in Master Drawings, IV, 1966, p.451 ; soon after: Albert, born in 1614, seems to J. S. Held, ‘Rubens’ “Het Pelsken’” , in be a good twelve years old, and his broth­ Essays in the History of Art Presented to er, who was four years younger, could be Rudolf Wittkower, London, 1967, p. 191, aged eight. This dating is now accepted by reprinted in Held, Rubens, p.110; G.Wil- almost all critics, though Burchard and helm, Peter Paul Rubens aus den Sammlun­ d'Hulst, for reasons that are not clear,

176 CATALOGUE NO. I42

propose a later date, c. 1630-31. This is not Nicolaas’s left hand, consists of a massive in accordance with the style of the work, horizontal plank; the upper part consists which does not yet show the fluidity of of three vertical planks. Waagen wrongly touch characteristic of Rubens’s ultim a inferred from this that Rubens originally m aniera after his foreign travels of 1628-30. intended the portrait to be a half-length The double portrait shows clearly the and changed his mind during its execu­ difference in maturity between the two tion. Rooses shared this view, which can boys. Albert is represented as a scholar: still be found in the different catalogues he was at this time attending the Augus- of the Liechtenstein collection, including tinian grammar school in Antwerp.2 His the Vaduz exhibition catalogue of 1974. seriousness is emphasized by the severity However, in recent years the technical of his costume and a certain assurance of examination of a large number of Ru­ manner. Young Nicolaas is more playful : bens’s works on panel has clearly shown both his occupation and his colourful that it was a current studio practice to attire suggest the lively, carefree existence use composite panels of this sort and that of a boy not yet at school. Held pointed they are not necessarily a proof o f‘second out that Rubens must have intended this thoughts’ during the execution.6 contrast of the two personalities, and sug­ The Gemäldegalerie in Dresden has a gested, I think rightly, that the painter copy of this work, on panel and of about was giving a personal interpretation of the same dimensions (Fig.202). Before Pliny the Elder’s description of a portrait Waagen pointed out its inferior quality in of two boys by the Greek painter Par­ 1866, this was traditionally regarded as an rhasius, one expressing calm and self­ authentic Rubens. The execution is cer­ assurance and the other artlessness.3 The tainly weaker and duller than the original, game with the captive bird on which but, partly on account of the use of panel Nicolaas appears so intent is to be under­ as a support, I believe it to have originated stood emblematically: as E. de Jongh has under Rubens’s supervision. It may seem pointed out from other instances, it unlikely that a studio copy would have symbolizes the child’s love of God (the been made, especially on panel, of a por­ bird) and readiness to bear the cross of trait intended for the family circle: but Christ’s sacrifice (the stick with its cross- this may be explained by the original pur­ piece).4 In this way Rubens conveyed the pose of the work at Vaduz. There is little moral lesson that the child’s proper road doubt that the latter is identical with the in life is that which leads to God. However, painting ‘representeerende de contre- it was pointed out recently by J. B. Bedaux feytsels van Mynheer den overledenen that the captive bird can also be seen as ende synen broeder’, listed in the inven­ a symbol of studiousness. Tha t the double tory of Albert Rubens’s estate on his death portrait should have this connotation as in 1657.7 The work had no doubt been well, may possibly be deduced from the presented to him by his father,8 and may emphasis on Albert’s activity as stu d a x .5 not Rubens, to please his younger son, As is frequent with Rubens, the panel have had a replica made which could well on which the portrait is painted is made be identical with the Dresden version?9 up, in a rather complicated fashion, of four planks of different sizes. The lower I. For the inventory, see M.Rooses, 'Staat vangoederen in het sterfhuis van Isabella Brant’, Riil>ens-Bulhtijn, part, as far as a point somewhat below IV, 1896, pp.154-188.

177 CATALOGUE NOS. I42a - I 42b

2. See M.Rooses, in Biographie Nationale, XX, 1908-10, p r o v e n a n c e : Count Duchastel-Dande- col,309. lot, Brussels. 3. Pliny the Elder, Naturalis Historia, XXXV, 70. 4. C f. de Jongh, Zinne- en Minnebeelden, pp.44-47, esp. the reference co a representation similar to that in l i t e r a t u r e : Rooses, V, pp.270-271, Rubens’s portrait, of a bird attached to a T-shaped N0.1518; F.M.Haberditzl, ‘Über einige perch with bells on it, as an emblem in A.Poirters’s Afbeeldinghe van de Eerste eeuwe der societeyt Jesu,.., Handzeichnungen von Rubens in der Al­ A ntw erp , 1640, pp.296-297. Children w ith such bertina’, Die Graphischen Künste, XXXV, playthings are common in 17th-century Flemish 1912, p.12; Glück-Haberditfl, p.51, N0.158 portraits, e.g. the Family Portrait of 1631 by Cornelis (repr.); Held, Drawings, I, p.139, under de Vos in the Royal Museum, Antwerp (repr. in de Jongh, Zinne - en Minnebeelden, p .45, fig.32). I am No. 108 (as a copy); Burchard-d’Hulst, less convinced by Baumstark’s theory that the bird D raw ings, I, p.215, under No.138. is an allusion to the recent death of Isabella Brant. This rests on a letter of 1602 from Justus Lipsius, who compares human life to a bird that a boy holds captive, but that may fly away unexpectedly. The execution of this drawing is very sim­ 5. Cf. J. B. Bedaux, ‘Beelden van leerzucht en tucht: ilar to that of the portrait study of the Opvoedingsmetaforen in de Nederlandse schilder­ kunst van de zeventiende eeuw', Nederlands Kunst­ Earl of Arundel, which was also in the historisch Jaarboek, XXXIII, 1983, pp. 63-64, 72, n. 48. Duchastel-Dandelot collection, and which 6. The reason for the practice was that composite Frances Huemer, rightly in my opinion, panels were less likely to warp than single ones. This was recently clearly shown, as regards the Ru­ regarded as a chalk drawing by Rubens, bens panels in che Alte Pinakothek in Munich, later inked-over by another hand.1 I be­ by Sonnenburg, Bildaufbau, I, pp,77-ioo. Among lieve the present study, from life, of Albert Burchard’s papers I have also seen a note stating that the support of the double portrait at Vaduz Rubens to have been worked up in the must have had this complex form from the start. same way, possibly even by the samehand : 7. ‘Staet ende inventaris van den sterffhuyse van Myn­ there is in particular a striking resem­ heer Albertus Rubens’, published by M.Rooses, in Rubens-Bulletijn, V , 1897, p.29. blance in the mechanical precision with 8. The picture must have changed hands in Rubens’s which the waves of the hair are rendered. lifetim e, as there is nothing about it in theStaetmusse In its original form this study may thus (see Denucé, Konstkamers, p p .7iff.). 9. It was not uncommon to have copies made after have been much closer in style to the a family portrait, in order to meet the wishes of design for Nicolaas’s portrait (No. 142b; the brothers and sisters of the oldest descendant Fig.2°4). who, as a rule, inherited the original. Thus we kn ow that in 1638 a certain Cornelis M ichielsz, a citizen of Delft, bequeathed his own portraic by i. Cf. Huemer, Portraits, pp.107,109, No.4a, fig.49. Johan van Ravesteyn to his oldest son, while he had copies painted for his younger children (cf. J.M . M ontias, Artists and artisans in Delft, A socio-economic study of the seventeenth century, Prin­ ceton, 1982, p. 194). 142b. Nicolaas Rubens: Drawing (Fig. 204)

142a. Albert Rubens : Drawing Black chalk, heightened in white ; 227 x (Fig. 203) 180 mm. ; inscribed by a later hand, in ink, below to the right : P. P. Rubbens. Black chalk, reinforced by a later hand; Vienna, Albertina. Inv. No.17.648. 310 x 200 mm.; inscribed by a later hand,

below: DS Albertus Rubens. Cut in an p r o v e n a n c e : Duke Albert of Sachsen- octagonal form. Teschen(MoritzburgnearDresden, 1738 - Whereabouts unknown. Vienna, 1822).

178 CAT A LOG in; n o s . M3-I44 e x h i b i t e d : Brussels, 1965, No.350 (repr.); shoulders, beneath which his right hand Vienna, Albertina, 1977, No.42 (repr.). is concealed. The sitter is generally identified as Ru­ l i t e r a t u r e : Rooses, V , p.273, No.1523; bens’s second son Nicolaas, and I see no Schönbrunner-Meder, III, No,245; G liick - reason to doubt this: the somewhat pro­ Haberditçl, p.51, No. 159 (repr.); Held, minent lower lip and turned-up nose D raw ings, pp.138-139, N0.108, pi.117; are clearly recognizable from the double Burchard-d’Hulst, Drawings, p.215, No. 138 portrait of Albert and Nicolaas Rubens in (repr.); E.Mitsch, in Car. Exh. Vienna, the Prince of Liechtenstein’s collection at A lbertina , 1977, pp. 100-101, N0.42 (repr.). Vaduz (No. 142; Fig.200). The sheet, like that painting, is generally dated between C.1625 and C.1627. Young Nicolaas’s expression in this study It must remain uncertain whether this differs somewhat from the double por­ drawing was made w'ith a view to a trait at Vaduz (Fig.201): in particular his painted composition. mouth is closed, while in the final paint­ ing it is slightly open, so as to give the boy in that portrait the desired uncon­ strained expression. 144. Philip Rubens (Fig. 206)

Oil on panel; 68.5 x 54 cm. 143. Nicolaas Rubens with a Felt Cap: Detroit, The Detroit Institute of Arts. Inv. Drawing (Fig. 205) No.26.385.

Black and red chalk, heightened in white; p r o v e n a n c e : ?Church of St Michael’s 292 x 232 mm. Abbey, Antwerp; Peeters d’Aertselaer Vienna, Albertina. Inv. No.8.260. sale, Antwerp, 27 August 1817, lot 10; H.J. Stier d’Aertselaer, sale, Antwerp, p r o v e n a n c e : Duke Albert of Sachsen- 29 July 1822, lot 11; M.J.L.Nieuwenhuys, Teschen (Moritzburg near Dresden, 1738— Brussels; Grand Duke Henry of Mecklen­ Vienna, 1822). burg; Mecklenburg sale, Paris, ii Decem­ exhibited: Zürich, 1 9 4 6 - 4 J , No.94; A n t­ ber 1854, lot 16; Carl von Hollitscher, w erp, 1 9 ] j , No.157 (repr.); Vienna, Alber­ Berlin; Camillo Castiglioni, Vienna, sale, tina, 1977, N0.41 (repr.). Amsterdam (F. Müller), 17-20 November 1925, lot 74 (repr.); William E.Scripps, l i t e r a t u r e : Rooses, V, p.273, N0.1524; Schönbrunner-Meder, No. 111 ; Glück-Haber- Detroit; purchased for the Detroit Insti­ d itç l, p.51, No. 163 (repr.); Held, Drawings, tute in 1926. p.139, N0.109, pi.118; Burchar d-d’Hulst, c o p y : Engraving by C. Galle, 1615 D raw ings, p.198. under N0.126; E.Mitsch, (Fig.207; V.S., p.170, No.143). in Cat. Exh. Vienna, Albertina, 2977, pp.98-

99, N0.41 (repr.). e x h i b i t e d : Ausstellung voit Bildnissen des fünfzehnten bis achtzehnten Jahrhunderts aus dem Privatbesitz der Mitglieder des Kai- The boy’s head is in three-quarter view'. ser-Friedrich-Museums-Vereins, Königliche He wears a felt cap and a cloak over his Kunst-Akademie, Berlin, 1909, No.121;

179 CATALOGUE NO, I44

Brussels, 1910, N0.396; Detroit, 1936, No.19; biography of him by Jan Brant. The bio­ World’s Fair, New York, 1939, N0.321; graphy and print are part of a collective New York, 1942, N0.2; Los Angeles, 1946, work published by the Officina Planti- No.8 (repr.); D etroit, 1978, No.i. niana in 1615 and also including some of Philip Rubens’s own writings.1 Born in l i t e r a t u r e : De Wit, Kerken, p.154; Ber- 1574, the painter’s elder brother was a bie, Description, 1757, p.47; Descam ps, celebrated humanist and a pupil of Justus Voyage, p. 171; Michel, Histoire, pp.83-84; Lipsius. He spent the years from 1601 to Smith, Catalogue Raisonné, II, pp. 10, No. 19, 1607 in Italy, where he was in the service 227, N0.805; C. Blanc, Le trésor de la curio­ of Cardinal Ascanio Colonna. After his sité, II, Paris, 1857, p.504; T.Lejeune, G uide return to Antwerp he became city secre­ de l’amateur de tableaux, II, Paris, 1864, tary and remained in that office until his p.340; Rooses, IV, pp.247-248, No.1040; premature death in 1611.2 He is here seen D. von Hadeln, ‘Die Porträtausstellung en buste, his head turned slightly to the des Kaiser-Friedrich-Museums-Vereins II’, right, his eyes fixed on the spectator. His Zeitschrift für bildende Kunst, XX, 1909, black costume is relieved only by a white p.296; Rooses, Vlaamsche Kunst, p.io; cartwheel ruff. W. von Bode and M.J. Friedländer, D ie It is almost universally supposed that Gemälde-Sammlung Hollitscher, Berlin, 1912, this is the painting that originally adorned N0.25 (repr.); C.H.Burroughs, ‘A Rubens the funeral monument of Philip Rubens, Portrait’, Bulletin o f the Detroit Institute of which was in the church of St Michael’s A rts, 1926, pp.85-87 (repr.); W.Heiland abbey in Antwerp and is mentioned in and C. H. Burroughs, Catalogue of Paint­ several eighteenth-century descriptions ings in the Permanent Collection of the De­ of works of art in Antwerp churches. troit Institute o f Arts, Detroit, 1930, No. 193 ; Held, however, questioned this identi­ E. P. Richardson, ‘The Rubens Exhibit’, fication in his recent catalogue of Flemish Bulletin o f the Detroit Institute o f Arts, 1936, paintings in Detroit, chiefly on the ground pp.62-63; The Detroit Institute of Arts. that the eighteenth-century accounts de­ Catalogue of Paintings, Detroit, 1944, scribe the portrait as oval whereas the one N0.193; Goris-Held, p.28, N0.14, pl.2; at Detroit is rectangular and shows no Larsen, Rubens, p.215, N0.22 ; ‘Other Works sign of having ever been in an oval frame. of Rubens in the Collection of the Detroit The latter point is important, but does not Institute of Arts’, Bulletin of the Detroit suffice to refute the traditional view. It Institute of Arts, 1964, p.53; Warnke, Kom­ must be borne in mind that the painting m entare, p.91, n.131 ; Judson-Van de Velde, has suffered a fair amount of damage: the p.152, fig.99; J. S. Held, The Collections of ruff, for instance, shows clear signs of the Detroit Institute of Arts. Flemish and wear. Traces of an oval frame, if there German Paintings of the lyth Century, were any, might have been obliterated by Detroit, 1982, pp.76-82 (repr.). later restoration. In any case the work must date from about the time of Philip’s death in 1611 or soon after. The marked The subject can be identified as Rubens’s plasticity and three-dimensional effect, brother Philip from the engraving after based on contrasting shadows, is stylistic­ this portrait by Cornelis Galle I (Fig.207) ally fully in harmony with the whole of which appears as an illustration to the Rubens’s work at this time.

180 CATALOGUE NO. 145

1. S. ASTERII A M ASE A E H O M ILIAE G R A ECE ET Primitives to Picasso, Royal Academy, Lon­ LA TIN E nunc primium editae PHILIPPO RUBENIO. don, 1962, N0.341 (as Rubens); London, EJUSDEM RVBENII CARMINA, ORATIONES ET EPISTOLAE selectiores itemque A M IC O R V M in 1977, No.157 (repr.). l i t . A .E.Popham, vita functum pietas, Antwerp, 1615. ‘Old Master Drawings at the Royal Aca­ 2. For biographical evidence concerning Philip Ru­ demy’, The Burlington Magazine, CIV, bens, see especially M.Rooses, in Biographie Natio­ nale de Belgique, XX, 5908-10, cols,313-317. 1962, pp.68-69, fig. 14 (as R ubens); J. Row­ lands, in Cat. Exh. London, 1977, p.117, No.157, repr. (as R ubens); D.Freedberg, 145. Domingo Ruzzola (Fig. 212) 'L’Année Rubens. Manifestations et pub­ lications en 1977’, Revue de l’Art, XXXIX, Oil on canvas; 91 x 75 cm. 1978, p.90, n. 19; K.Renger, [Review of London, M r and Mrs E. Verdon-Lee. Cat. Exh. London, 1977], Kunstchronik, XXXI, 1978, pp.135-136; (4) Engraving by p r o v e n a n c e : ?Infanta Isabella, 1621; Richard Collin (Fig,2io; P. F.Jacobus a ?Dominican Church, Brussels (1770); Passione Domini, De Stralen van de Sonne Thurn and Taxis Family; Schamp d’Ave- van Elias, indese eeuwen versprydt door schoot, Ghent, sale, Ghent, 14 September Duytsch-landt etc. en Nederlandt, Liège, 1840, lot 9; purchased by Messrs Smith; 1681, title-page). George Blamire; sale, London (Christie’s),

7-9 November 1863, lot 67; Lady Islington, l i t e r a t u r e : G.K.Nagler, Neues Allge­ Suffolk, sale, London (Sotheby’s), 7 July meines Kiinstler-Lexicon, XIII, Munich, 1843, 1948, lot 165. p.593; Smith, Catalogue Raisonné, II, p.261, N0.883; IX, p. 196, No. 187; Rooses, IV, c o p i e s : ( i ) Painting (Fig.211), where­ p.268, No.1055; M.Jaffé, ‘Rubens’s Por­ abouts unknown; canvas, 128x92cm. trait of Father Ruzzola’, The Burlington p r o v . Munich, private collection (1843); M a g a zin e, CIV, 1962, pp.389-390 (repr,). Munich, Weiss (1903); Munich, DrAn- schütz-Kämpfe (1921). l i t . G.K,Nagler, Neues allgemeines Kiinstler-Lexicon, XIII, Munich, 1843, p.593 (as Rubens); K.d.K., Domingo Ruzzola (Calatayud, Aragon, p.19 (as Rubens); Oldenbourg, Rubens, 1559-Vienna, 1630) entered the Order of pp.138-141, pl.80 (as R ubens); H.Kauff- Discalced Carmelites in 1589 as Dominicus mann, G. L. Bernini. Die figürlichen Kompo­ a Jesu Maria; he held important positions sitionen, Brunswick, 1970, p.138, n.15 (as in the Order and was its superior-general R ubens); (2) Painting of the head and from 1617 to 1620. He was noted for his shoulders, whereabouts unknown; parch­ piety, and many miracles were attributed ment stuck on panel, C.13.5X c.io.^cm. to his zeal in prayer. Maximilian I of Ba­ p r o v . Prague, Dr.Eduard Safarik (1939); varia appointed him spiritual adviser to (3) Drawing, Plymouth, City Museum and himself and his troops in the Bohemian

Art Gallery; 178 x149mm. p r o v . Lon­ campaign at the beginning of the Thirty don, J. Richardson Senior (1665-1745); Years’ War, and he was credited with a London, T. Hudson (1701-1779); London, major part in the battle of the White C. Rogers (1711-1784); W. Cotton, grcat- Mountain near Prague in 1620, when nephew of the former; presented by him Maximilian and Tilly won a spectacular to the Plymouth Museum, in 1853. exh. victory over Frederick of the Palatinate Cottonian Centenary, Plymouth, 1953; and the Protestant insurgents of Bohemia :

181 CATALOGUE NO. I45

during the fighting Ruzzola urged on the of the Discalced Carmelites in Brussels.4 imperial troops, crucifix in hand.1 Until the Second World War there was The identification of this portrait is also an example in the Anschütz-Kämpfe chiefly based on the inscription beneath collection in Munich (Fig.211). Olden­ the engraving by R. Collin, copied after an bourg, who did not know the present example of the work (Fig.210). Ruzzola is work, published the Munich portrait as portrayed seated and to the waist, turned an original work by Rubens and dated it slightly to the left and with his eyes on 1606-8, during which time Ruzzola was the spectator. He wears the brown habit in Rome. I cannot judge its authenticity, and white mantle of his Order, and holds but from a photograph it looks more like a crucifix in his hands— as Burchard and a copy. Burchard thought it was not an Jaffe have pointed out, this no doubt original, and Jaffe was of the same opinion. alludes to his encouragement of the For completeness’ sake I should mention troops in 1620. a drawing of Ruzzola’s head in the Ply­ Burchard drew attention to a letter of mouth museum. This sheet, which was 6 August 1621, addressed to Maximilian not known to Burchard, was shown as an of Bavaria by Morrens, his agent in Brus­ authentic study in the great exhibition of sels, and stating that Ruzzola, then at the Rubens drawings at the British Museum Brussels court, was on the point of leaving in 1977-78. Jaffe stoutly defended its for France and Italy; however, at the authenticity, but I personally agree with express wish of the Infanta Isabella he had Konrad Renger that the chalk underdraw­ postponed his departure till 9 August so ing is too weak and the interior drawing that Rubens might paint his portrait. The in ink too hesitant for it to have the writer added that the portrait was intend­ slightest claim to be considered a genuine ed for Isabella herself, and was really work by Rubens. painted against Ruzzola’s wishes.2 The style of the present work is in accord with the date indicated by Morrens. Jaffe, who 1. See for the facts about Ruzzola’s life: B.Müller, Le­ published the painting (it was also known ben und Wirken des Dominikus a Jesu Maria aus dem to Burchard), rightly pointed out the Orden der reformierten Carmeliter, Vienna, 1878; similarity of style to Rubens’s portraits [A.M.Knoll, E.K.Winter and H.K.Ressner-Spitzen- berg, ed.], Dominicus a lesu Maria Ord. Carm. Disc. of C.1620, and compared the ‘modelling Seine Persönlichkeit und sein Werk. Festschrift, Vienna, and impasto of the face, and the breadth 1930. and fluidity of the drapery’ to the pictorial 2. 'Reverendissimus Pater Dominicus de Iesu Maria treatment of Alethea Talbot’s attendants post optim a et urgentissim a pro negotij noti 342, 195, 344, 242 x X 346 praestita officia hodierna per in the famous Munich portrait (N0.72; Gallias in Italiam discessum proposuerat, à Sere­ Fig.24). nissima tamen Infante in diem usque luna retinetur There is no way of knowing whether the àquo licet invito et reluctante, effigiem per Apellem Antverpiensem Rubens depingi in usum Suae Sere­ present portrait is the actual one painted nitatis abtinuit’ (Munich, Bayerisches Staatsarchiv, by Rubens to Isabella’s order in 1621. In jo jähriger Krieg, A k te N r. 123 ; published partially in 1652 a portrait of this subject, attributed S.Riezler, 'Der Karmeliter P. Dominikus a Iesu Maria und der Kriegsrat vor der Schlacht auf to Rubens, was in the possession of the Weissen Berge’. Königlich Bayerische Akademie der printer Jan van Meurs in Antwerp,3 and Wissenschaften. Sitzungsberichte, 1897, p.443, n .i. in the eighteenth century a work of the 3. ‘Item, Pater Dominicus Carmelita, van Rubens’ (Denuci, Konstkamers, p.135). same description was in the former church 4. M entioned in Michel, Histoire, p.359.

182 CATALOGUE NOS. 14Ó-147

146. Abel Socin(?) (Fig. 208) Neither the early dating nor the attri­ bution to Rubens seem to me acceptable, Oil on canvas; 98 x 68.5 cm. mainly on account of another portrait Norfolk, Virginia, The Chrysler Museum. which may provide the identification of Inv. No.71.463. the subject of this one. 1 have in mind the portrait of the Basle councillor Abel Socin p r o v e n a n c e : Baron van Brienen van de by an anonymous artist, also of Basle, Grootelindt, Amsterdam; English private which is dated 1618 and was sold at Berne collection; Newhouse Galleries, New in 1974 (Fig.209).2 In my opinion the two York; Rita Bellesi. portraits are of the same man: the pose and the cut of the clothes are very similar, e x h i b i t e d : Paintings from the Collection o f Walter P. Chrysler, Jr., Portland Art Mu­ and the faces show more than a super­ seum, Portland, Oregon, 1956, N0.4 ficial resemblance. One portrait may even (repr.); Peter Paul Rubens, 1377-1640, have been inspired by the other. It is unlikely in itself that Rubens would Kunsthalle, Cologne, 1977, No.3 (repr.). have painted the portrait of an obscure l i t e r a t u r e : W. R.Valentincr, ‘An Early Basle magistrate. Moreover the handling Portrait by Rubens’, The Art Quarterly, of the costume and the drawing of the XVI, 1953. pp.66-69 (repr.); J.Müller Hof­ flesh parts show a stiff, two-dimensional stede, ‘Zur frühen Bildnismalerei von quality that is incompatible with Rubens’s Peter Paul Rubens’, Pantheon, XX, 1962, style. pp.283, 285-286 (repr.); J.Müller Hof­ stede, in Cat. Exh. Cologne, 1977, p.i37, 1. Cf. Cioris-Heltl, p.20, No, 19, pl.i, 2. Oil on panel, 42x70 cm.; inscribed: A F .T .jS — N0.3 (repr.); Jaffé, Rubens and. Italy, pp. 16— A o . 161 S. Sold at Berne (J.Stiikcr), 27 N ovem ber 1074. 17 (repr.); H.Vlieghe, [Review of Jaffé, lot 2935, with a com panion portrait o f Ab el Socin's Rubens and Italy], in The Burlington Maga­ wife, Catherina Werzashga. The sitters are identi- iicd by a coat ol arms and an old inscription on the zin e, CXX, 1978, p.473 (as not by Rubens); reverse. 1 am greatly indebted to my colleague Carl The Chrysler Museum. Selections from the Van de Velde for drawing my attention to this permanent collection, Norfolk, Virginia, portrait and the unmistakable resemblance to the painting in N orfolk, Virginia. 1982, p.38 (repr.).

147. Ambrogio Spinola Knee-length portrait of a man in three- quarter view, in a black costume with Whereabouts unknown; presumably lost. small white slits and a short fluted lace collar. He wears a belt decorated with c o p y : IPainting (Fig.213), Wellesley, silver, to which a sword is attached. Wellesley College, Mass., Jewett Arts

Valentiner, who first published this Center; canvas, 72.5 x 59.5 cm. p r o v . portrait, assigned it to Rubens’s earliest IWimpole,The Earl ofHardwicke(i857); Antwerp period, c,i598, on account of the Florence, Prince Demidoff de San Donato, striking similarity of the costume to that sale, Florence, 15 March— 10 April 1880, in Rubens’s earliest known dated portrait, lot 1148; ?Berners; Chicago, Mr and Mrs the so-called Astronom er or Geographer of F.W. Crosby (1890-94); Chicago, The Art 1597.1 This view was accepted by Bur­ Institute (1894-1933); Lake Forest, Fran­ chard, Müller Hofstede and Jaffe. ces L. Hughes (1933-55); given to Welles­

183 CATALOGUE NO. I48 ley College in 1955, in memory of Frances 2. ‘Un pourtrait du Marquis Spinola’ (Denucé, Konst- kamers, p.6o). L.Hughes. lit. Waagen, Galleries, p.519; 1 3. 'Presa Bredà ITnfanta Isabella col Marchese Spinola Rooses, IV, p.272, No.1062; K.d.K., ed. tornando à Bruxelles, nel passare per Anversa, si Rosenberg, p.273 (as Rubens); K.d.K., p.452; trasferirono a casa sua [i.e. Rubens’s] per la curio- sità delle sue opere eMuseo.Stegli fece i lororitratti, The Art Institute of Chicago. A Guide to the nelli quali riusciva vivamente, e con forza naturale’ Paintings in the Permanent Collection, Chi­ (Bellori, Vite, p.245). cago, 1925, p.151, No. 14; Valentinen, Rubens 4. ‘Ho ben depinto il ritratto del Marchese Spinola dal naturale, ma sin adesso non è tagliato in rame per in America, p.47, No,87b; Goris-Held, p.47, altre occupationi che l’hanno divertito...’ (Rooses- N0.A21; C.H. Shell andJ.McAndrew, C a ­ Ruelens, IV, p.299).The engraving was made much talogue of European and American Sculp­ later by Pieter de Jode after the second portrait tures, Paintings and Drawings at Wellesley type (N0.149; Fig.216). Van Gelder made the inter­ esting suggestion that Rubens may at first have College, Wellesley, 1958, pp.90-92 (repr.). thought of getting a more specialized portrait en­ graver like Pontius to work under his direction. The fact that such an official portrait engraving was never made is connected by van Gelder, rightly in Ambrogio Spinola, Marquis of Los Bal- my opinion, with Spinola’s sudden departure from the Netherlands very soon after the correspondence bases (1569-1630), was Commander-in- here referred to, so that such a portrait was no lon­ Chief of the Spanish armies under Albert ger urgently required. and Isabella. His principal feat of arms in 5. Van Gelder suggests tentatively that Rubens’s own the Netherlands was the recapture of example may have been the version on canvas in St Louis (No.150; Fig.217). There recently came to Breda in 1625.1 light in theNarodniGalerie in Prague another head- Several authentic portraits of him by and-shoulders version in oil on paper (44 x 31 cm.), Rubens are known : the prototype may be smaller than the copy at Wellesley; only the head and collar can there be seen. It is not possible to say the one that was in Rubens’s estate at his from what portrait type this copy was executed. death.2 This editio princeps, painted from Jaffé, (Jaffé, Warsaw, pp.89-9o,fig.6) suggests that it is an authentic head study for both the Brunswick life, must have been executed when Spi­ and Prague portraits of Spinola (see further, under nola, with the Infanta, visited Rubens soon Nos. 148 and 149). For a m ore cautious view , see after the victory at Breda, as we learn J.Sip, ‘P.P.Rubens in the National Gallery of from Bellori’s account published in 1672.3 Prague’, Um éni, XXVI, 1978, p.210, fig.9. Rubens speaks of having painted Spinola from life in a letter dated 2 September 1627/ 148. Ambrogio Spinola (Fig.215) A head-and-shoulders portrait of Spi­ nola in Wellesley College (Fig.213) may Oil on panel; 116.5 x 85 cm. be an exact copy after this prototype, Prague, Ndrodni Galerie. Inv. No.o 9688. which must be supposed to have been in p r o v e n a n c e : Count Franz Anton Ber­ a similar form. Spinola is depicted in full ckel, Vienna, 1692; inherited by Count An­ armour, as in the panel in Prague (No. 148 ; ton Johann Nostitz, Prague, in 1706; in the Fig.215), which for this reason is likely to Nostitz family until 1945, when it was ac­ be the earliest version and to have been quired for the Narodni Galerie at Prague. intended for Spinola himself.5 l it e r a t u r e : Parthey, Bildersaal, II, p.434,

I. For the facts of Spinola's life and, more particu­ No,367; Rooses, IV, p.271, No.1060; P.Berg- larly, his activity in the Netherlands, see A. Rodri­ ner, Verzeichnis der Gräflich Nostitçschen guez Villa, M adrid, 1904, and Ambrosio Spinola, Gemälde-Galerie ça Prag, Prague, 1905, J .L efèvre,Spinola et la Belgique (1001-1627), Brussels, 1947. p.48, N0.186; Bode, Kritik und Chronologie,

184 CATALOGUE NO. 149 p.203; Dillon, Rubens, pp. 152, 224; Van Marquis of Leganés, drawn up in 1642 and Puyvelde, Rubens, p. 149; Stirka Stareho in 1655 mention a portrait of Spinola by Urnent. Narodni Galerie v P ra çe, Prague, Rubens, half-length and in armour.1 As 1955, p.76, N0.481; Duverger, Van Hecke, Leganés was Spinola’s son-in-law there is pp.150-151, fig. i ; Jaffé, Warsaw, p.95; van a possibility that this was the painting Gelder, Rubens Marginalia, pp. 165-168, commissioned by the general, which may fig.8; L. Slavicek, ‘Prispëvky k déjinam have passed to him by inheritance. On the nosrické obrazové sbïrky’, Um'eni, XXI, other hand Slavicek recently pointed out 1983, p.233. that in 1692 the Prague painting was in the possession of Count Franz Anton Berckel von Dubé, who might have acquired it, Spinola is seen to knee-length in three- like many other of his paintings, from the quarter view, with his eyes fixed on the Antwerp firm of Forchondtd Jaffé, with­ spectator. His left hand rests on his sword- out giving his reasons, sought to identify hilt and the right on his baton. He wears the Prague example with the version richly decorated armour over puffed made by Rubens in 1627 for Pierre Dupuy breeches, with the chain of the Golden (see under No. 149). Fleece and, on his left arm, a red officer’s scarf. Over his armour he wears a white 1. The description in the ids'; inventory is the more accurate one: ‘ot. Otro retrait) de medio cuerpo lace cartwheel ruff; his cuff's are also of armado, del marques de los balbases Ambrosio white lace. On a table to the left are his espinola, de m ano de Rubens, en t. 100’ (L ô p e ç- plumed helmet and gloves; behind him N a v ió , p.273). For the entry in the 1042 inventory see Mary Crawford Volk, ‘New Light on a Seven­ is an ornamental curtain. teenth-Century Collector : The Marquis of Leganés’, The composition is formalized after the The Art Bulletin, LM l, 1080, p.207. ‘international’ style of sixteenth-century 2. Slavicek suggests that the piece might be identical court portraits by followers of Moro, with 'I Crijghsman int harnas can Rubbers' which was delivered to Marcus Forchondt in Graz in 1075 Coello and others. In particular, it seems and which he intended to sell in Vienna. In any case to me to be influenced by the portrait of it was only in N ostitz’.s im en to ry o f J 738 that it was Spinola engraved by Jan Muller in 1615 first identified as a portrait of Spinola. after a painting in this style by Michiel Mierevelt (Fig.214). There is reason to suppose that this 149. Ambfogio Spinola (Fig. 216) Prague version is the example based di­ rectly on the prototype and intended for Oil on panel; i [7.5 x 85 cm. Spinola himself. Not only is it on panel and Brunswick, Herzog Anton Ulricb-Museum. unquestionably autograph, but it is the No.85. only version showing Spinola in full ar­ p r o v e n a n c e : Acquired for the Collec­ mour that can with certainty be attribut­ tions of the Dukes of Brunswick-Wolfen­ ed to Rubens. And, as van Gelder pointed büttel in or before 1710; brought to Paris out, the victor of 1625 would surely have by the French troops in i8o6; returned to chosen to be thus portrayed, rather than Brunswick, 1814/15. merely in a doublet and breastplate as in the versions in Brunswick (No. i49;Fig.2i6) c o p i e s : (i) Painting, whereabouts un­ and St Louis (No.150; Fig.217). known; canvas, 112 x 84 cm. prov. War­

The inventories of the collection of the wick Castle, The Bari of Warwick, lit.

185 CATALOGUE NO. 149

Waagen, Treasures, III, p.213 (as R ubens); Only in the costume does this portrait dif­ W. Bürger, Trésors d’art en Angleterre, Pa­ fer from the example in Prague. Whereas ris, 1865, p. 195 (as Rubens); Dillon, Rubens, the latter shows Spinola in full armour, p.237 (as R ubens) ; van Gelder, Rubens Mar­ here he only wears a cuirass without arms ginalia, p. 166; (2) Painting of the head and over a white doublet with gold embroi­ shoulders, whereabouts unknown; can­ dery. vas. p r o v . Brussels, A. de Maleingreau On 3 December 1627 Rubens wrote to d’Hembise (1950); (3) Painting of the head Pierre Dupuy, the royal librarian in Paris, and shoulders, Detroit, private collection; that he would paint the portrait of Spi­ canvas,79.5 x 62 cm. p r o v . ?Sir Timothy nola, commissioned by Dupuy, to the re­ Calver Eden, sale, London (Sotheby’s), quired measurements.1 Very soon after, on 26 July 1933, lot 18; Detroit, Mr and Mrs the 9th, he wrote that he would be setting

H.N.Torrey (1936). e x h . Inaugural Exhibi­ to work very shortly.2 On 20 December tion, The Toledo Museum of Art, Toledo, 1628 he told Dupuy that he was well Ohio, 1912, N0.208; Detroit, 1936, No.31 ahead with the work, although it was (asRubens); Detroit, 1978,N0.5 (asattribu t­ winter and paintings took a longer time

ed to Rubens). lit. Valentiner, Rubens in to dry. He added that Dupuy would no Am erica, p. 163, N0.87C; Goris-Held, p.47, doubt have had an opportunity of seeing N0.A22; (4) Engraving of the head and Spinola in Paris (the general having by shoulders by Pieter de Jode (V.S., p.186, then left the Netherlands), and would N0.276). be able to judge whether the portrait was a good likeness.3 Four months later the e x h i b i t e d : Elewijt, 1962, No.7 (repr.). portrait was ready, as Rubens wrote to l it e r a t u r e : C.N.Eberlein, Verzeichniss Dupuy on i i May 1628:he was only wait­ der Herzoglichen Bildergalerie yu Salçthalen, ing for a good opportunity to entrust it to Brunswick, 1776, p.66, N0.227; N otice des someone leaving for Paris.4 However, on tableaux exposés dans la Galerie du Musée, 6 July he wrote again expressing regret Paris, 1814, N0.564; Parthey, Bildersaal, II, that he had not yet been able to do so.5 p.434, N0.366; H.Riegel, Beiträge yur nie­ Two months later, between 10 and 14 Sep­ derländischen Kunstgeschichte, II, Berlin, tember, Rubens arrived in Madrid for a 1882, pp.58-61; Rooses, IV, pp.270-271, prolonged stay. On 2 December 1628 he No. 1059; H. Riegel, Herzogliches Museum. wrote once more to Dupuy saying that Beschreibendes und kritisches Verzeichniss der before leaving Antwerp he had made Gemälde-Sammlung, Brunswick, 1900, No. arrangements for the picture to be forwar­ 85; K.d.K., ed. Rosenberg, p.274; D illon, ded, and that he hoped it had arrived R ubens, pp.152, 212, pl. CCLXXII; K .d .K ., meanwhile.6 The sources do not indicate p.289; Evers, Neue Forschungen, p.356; D u ­ whether this was the case. rer ger, Van Hecke, pp.150-151; [S.Jacob Van Gelder has argued for the identifi­ and R.Klessmann], Herzog Anton Ulrich­ cation of the example in Brunswick with Museum Braunschweig. Verzeichnis der Ge­ the portrait painted by Rubens for Dupuy. m älde vor 1800, Brunswick, 1976, p.51, It is in any case executed after the type in No.85; R.Klessmann, Herzog Anton Ulrich­ full half-length armour (cf. under No, 148), Museum Braunschweig, Munich, 1978, but beyond this it seems to me hazardous pp.48-49 (repr.) ; van Gelder, Rubens Margi­ to assume with certainty that the two nalia, pp.166-167. works are identical: the autograph replica

186 CATALOGUE NO. I50 in St Louis (No. 150; Fig.217) may also 150. Ambrogio Spinola (Fig.217) come into question. In addition there are old references to portraits of Spinola Oil on canvas; 118 x 85.5 cm. attributed to Rubens, such as the example St Louis, City A n Museum. Inv. No.33.34. that belonged to the Marquis of Leganés provenance: First mentioned in the (cf. under No. 148). The Duke of Bucking­ collection ol Eugène de Beauharnais, Duke ham also possessed one,7 and in 1677 one of Leuchtenberg, Munich (1825); Dukes was examined and judged authentic by of Leuchtenberg, St Petersburg, until the deans of St Luke’s guild in Antwerp.8 C.1917 (?); Dr Heinemann, Munich (1932); purchased for the City Art Museum ot St Louis in 1933.

1. To 11011 mancharó di servir V.S. del suo ritratto [i.e. c o p i e s : See under No.149. Spinola's] in conformità delle misure ch'Ella mi

manda...’ (G.J.Hoogevvertï, Bescheiden in Italië e x h ib it e d : D etroit, 1936, No.30; Art omtrent Nederlandsche kunstenaars en geleerden, lil. Gallery of Toronto, Toronto, 1944: Los The Hague, 1917, p.293; the santé letter, but from an incomplete copy, omitting e.g. tile above pub­ Angeles, 1946, No.30: Cincinnati, 194VN0.7; lished sentence, in Rooses-Ruelens, IV, p.332; van N ew York, 19> 1, No.19 (repr.); Old Masters G elder (loc. cit.) has already pointed out that the from American Collections, Newark Mu­ two documents are identical. 2. TI ritratto del Sr Marchese si meltcra quanto primo seum, Newark, N.J., 1955-56, No.8; Fifty in opera' (Rooses-Ruelens, IV, p .334); this text has Masterworks from the City Art Museum of been misunderstood by some as referring to Ru­ St Louis. Wildenstein, New York, 1958, bens’s portrait of the Marquis of Leganés: see above, under No. 115. N0.8 (repr.). 3. 'Ho caro che VS havendo vislo adesso il naturale potrà giudichar meglio della somiglianza del rit- l it e r a t u r e : J.N.Muxel, Catalogue des ratto il quale si va facendo et è hormai molto avan- tableaux de la Galerie de feu Son Altesse za to ’ (Rooses-Ruelens, IV, p.353); marginal note in Royale Monseigneur le Prince Iiugène, duc de the same letter: 'Le pitture vanno in longo din- verno, perché gli colori si secchanoditficuliissime...’ Leuchtenberg à Munich, Munich, 1825, 4. ‘11 ritratto del Sigr Marchese e tutto pronto a servi­ No. 105 (as A. Van Dyck); J.N.Muxel, Ge­ tio di V.S. ne aspetto altru che qualq. buona occa­ mälde Sammlung in München seiner königl. sione di passaggio a la volta di Pariggi’ (Rooses- Ruelens, IV, p.404). Hoheit des Dom Augusto Herzogs von Leuch­ 5. ‘Mi dispiacce di non haver ancora trovalo occasione tenberg und Santa Cru ^..., Munich, 1841; di poter mandar a V.S. il suo Marchese...' (Rooses- Rooses, IV, p.271, No.107; J.B.M., in Bulle­ Ruelens, IV, p.438). 0. ‘Spero che V.S. haveva ricevuto il ritratto del Sgr. tin of the City Art Museum o f St Louis, XIX, Marchese per cui ricapito lasciar buon ovdine al 1934, pp.42-44 (repr.); Valentiner, Rubens mio partire d'Anversa’ (not in Rooses-Ruelens : first in Am erica, p.163, No.87a; Goris-Held, published by L.Burchard, in Kunstchronik und Kunstambacht, LIV, 1919, p.513; for an English pp.28-29, No. 15, pl.17; Larsen, Rubens, translation, see R.S.Magurn, rI'he Letters of Peter p.217, No.69; C ity A rt Museum of St Louis, Paul Rubens, C am bridge, Mass., p.292, under No. Handbook of the Collections, St Louis, 1953, 179). 7. The inventory of the duke's collection dated 1035 p.97 (repr.); Duverger, Van Hecke, pp. 150­ includes an item ‘Reuben. Marquesse Spinola’ (R. 151 ;Jajfe, Warsaw, p.95 (as a studio replica) ; Davies, 'An Inventory of the Duke ol Buckinghams van Gelder, Rubens Marginalia, pp. 165-168. Pictures, etc., at York House in 1635', The Burlington Magazine, X, 1907, p.379). Burchard rightly sup­ posed that this was one of the paintings that were ready to be sent to Buckingham 011 18 September An autograph replica on canvas of the 1027 (see also under No. 8 1). 8. Rooses, IV, p.271, under N o.1059. Brunswick version (No.149; Fig.216), ex­

187 CATALOGUE NO. I5I actly alike and of equal quality. The attri­ l i t e r a t u r e : Smith, Catalogue Raisonné, bution to Rubens has rightly never been II, 1830, p.355, N0.1369; Rooses, V, p.350, questioned. under No.1062; G ra phic, XLIII, 1891, p.702 As to possible identification with por­ (repr.); Jaffé, Warsaw, pp.83-96 (repr.); traits of Spinola mentioned by Rubens or van Gelder, Rubens Marginalia, p.166, n.13. in other contemporary documents, see discussion under No.149. Spinola is portrayed to knee-length in the ceremonial dress of the Order of the Gol­ den Fleece, of which he became a member 151. Ambrogio Spinola (Fig.218) in 1605. He is turned slightly to the left with his eyes fixed on the spectator, as in Oil on canvas; 129.5 x 124.5 cm. the portraits in armour of 1625-27. This Whereabouts unknown; presumably lost. portrait has long been lost; some indica­ tions of colour are given in John Smith’s p r o v e n a n c e : Sir Henry Edward Bun- description of 1830. This speaks of ‘a ma- bury (1830); Sir Edward Henry Bunbury rone-colour silk bonnet ... edged with (1891). gold lace’ ; the robe was of the same hue, c o p y : Drawing of a full-length pose and the curtain in the background was ‘of (Fig.219), Warsaw, Print Room of the Uni­ a tawny yellow’. versity Library, Inv. No. T.174-367/II; A drawing in the print-room of the black chalk, heightened with white chalk library of Warsaw University (Fig.219), and body-colour, 423 x263 mm. p r o v . which is a copy of this portrait type, shows King Stanislas Augustus; purchased for the sitter full-length. Possibly the present the Warsaw University, in 1818; e x h . work was originally full-length also, but Najcenniejsçe Rysunki Obce çe Zbiorôw Pols- there is now no way of judging this or kich, Muzeum Narodowe, Warsaw, 1980, estimating its degree of authenticity. All N0.82 (repr., as R ubens); too o f the Finest trace of it has disappeared : it is supposed Drawings from Polish Collections, Heim that it was either destroyed in the fire at Gallery, London, 1980, N0.80 (repr., as Barton Hall in 1920 or previously sold like Rubens) ; Zeichnungen alter Meister aus pol­ many other paintings in the collection.1 nischen Sammlungen, Herzog Anton Ulrich­ Jaffe— no doubt on the strength of the Museum, Brunswick, and Kunstsamm­ caption to the only known reproduction lungen, Veste Coburg, 1981-82, N0.87 of the lost painting, which appeared in the

(repr., as R ubens). l i t . Jaffé, Warsaw, journal G raphic in 1891 (Fig.218)— states pp.83-96 (repr.); N.Turner, [Review of that Rubens painted it during his stay in Cat. Exh. 100 o f the Finest Drawings from Spain in 1628-29. We know that Spinola Polish Collections, Heim Gallery, London, took up residence at the court of Madrid 1980] in The Burlington Magazine, CXXII, in the same year as Rubens, but there is 1980, p.213 (as R ubens); van Gelder, Rubens no concrete evidence to support this dat­ Marginalia, p.i 66, n.15; R. Harp rath, [Re­ ing. Moreover, Pacheco’s account of 1649 view of Cat. Exh. Zeichnungen alter Meister contains much information concerning aus polnischen Sammlungen, Brunswick and Rubens’s activity at the Spanish court and Veste Coburg, 1981-82] in Kunstchronik, the portraits he painted there, and it XXXV, 1982, p.130 (as R ubens). makes no express mention of Spinola.2

188 CATALOGUE N O . 152

Since the portrait repeats the facial type K .d .K ., p.140; Evers, R ubens, pp.84-86, 91, of 1625-27, I do not see why it should 87, figs.36, 37; W a rn ke, R ubens, pp.97-98, not have been painted at that time. 100, fig.52; Sonnenburg, Bildaufbau, pp.8o, The Warsaw drawing after this por­ 183; U.KJrempel], in Cat. Munich, 1983, trait, mentioned above (Fig.219), was pub­ p.438, No.316 (repr.). lished by Jaflfé, who stated with emphasis that it was an authentic study by Rubens. I find it hard to recognize Rubens’s hand, The subject of this painting was not cor­ however, in the dry handling of line and rectly identified until Burchard in 1927 the lack of depth. discovered the memorial portrait of Hendrik van Thulden (No.153; Fig.222), 1. Burchard received this information from G.Colin which is a repetition of the present work. A gn ew , on 14 A ugust 1937. Previously it was traditionally thought to 2. F.Pacheco, Arte de la Pinlura, ed. by t.J.Sanchez Canton, I, M adrid, 1956 [first ed. Seville, 1649], be a portrait of a ‘Dr Van Thulden’, whom p .153; see also Ht temer. Portraits, p.63. Rooses identified as Theodoor van Thul­ den, a theologian at Louvain.1 Hendrik van Thulden, also of Louvain University, 152. Hendrik van Thulden (Fig.220) was a licentiate in theology and was parish priest of Sint-Joris (St George’s) Church Oil on panel; 121 x 104 cm. in Antwerp from 1613 till his death in Munich, Alte Pinakothek. No.316. 16173 He is shown to knee-length, in three-quarter view, seated in an armchair p r o v e n a n c e : Purchased by Johann­ and wearing the black gown of a scholar. Wilhelm, Elector Palatine, for his gallery The combination of monumental pose at Düsseldorf, before 1719; transported to and lively expression is very Titianesque the Hofgartengalerie, Munich, 1806; trans­ in style. While no direct inspiration can be ported to the Alte Pinakothek in 1836, the pointed to, there are examples in Titian’s year of its foundation. work of similar corpulent figures seen, as c o p y : Engraving b y Jacques Coelemans here, from below, so as to bring out the (1654—?i73i ; V.S., p.187, N0.280). full effect of the pose.3 As to the dating, Van Thulden’s death in 1617 is undoubt­ e x h i b i t e d : Brussels, 1948, N0.93; Berne, edly a terminus ante quern. The portrait 1949-30, N0.73; London, 1949, N0.94. cannot be many years earlier than that: l i t e r a t u r e : Karsch, Cat. Düsseldorf, the markedly sculptural effect points to No,2o3; Van Gooi, Nieuwe Schouburgh, II, a date shortly before or after 1615. p.546; Cat. Düsseldorf 1770, p.18, No.19; Michel, Histoire, p.299; Pigage, Cat. Düssel­ 1. His features are known from Van Dyck’s portrait (Mauquoy-Hendrickx, No.38, repr.). They are dearly dorf, N0.265; Smith, Catalogue Raisonné, II, not those of the sitter in the Munich portrait. p.64, N0.182, p.311, N0.1152; IX, p.265, 2. For biographical references see F. Prims, Geschiedenis No.84; Dillis, Cat. Munich, No.274; P a rl- der Sint-Joriskerk, A ntw erp, 1923, pp.351-352. 3. A portrait in this style by Titian is that of Johann­ hey, Bildersaal, II, pp.434-435. No.368; Friedrich, Elector of Saxony in the Kunsthistorisches Margraff, Cat. Munich, N0.267; Rooses, Museum in Vienna (Wethey, Titian, II, No,54, phi 59), IV, pp.278-279, N0.1073; Reber, Cat. previously in the Alcazar in Madrid, where Rubens must have seen it during one of his two periods in M u nich , N0.800; K.d.K., ed. Rosenberg, Spain. The inventory drawn up at Rubens’s death p. 105 ; Dillon, Rubens, pp.i28,2oi,pl.CCXII; in 1640 m entions a ‘pourtrait du D uc Jean-Frede-

189 CATALOGUE NOS. 1523-153

ricq de Saxe*, but it is not certain w hether this is o f show that it was originally set slightly the Vienna type (Denucé, Konstkamers, p .59). As lower into the collar: the alteration pro­ is known, Titian also executed a second portrait type of the Elector in full armour (see Wethey, duced the vital, domineering pose that is Titian, H, p.112, under No,54). also seen in the Munich portrait. Held rightly observed that there must also have been a detailed study of the sitter’s fea­ tures. This drawing is mainly concerned 152a. Hendrik van Thulden: Drawing with the pose and details of costume, (Fig. 221) while the face is very sketchily rendered.

Black chalk on brownish paper; 374 x 262 mm. ; in the left lower corner, marks of the collections of J. Richardson Senior 153. Hendrik van Thulden (Fig. 222) (L.2184) and Sir J. Reynolds (L.2364); in the right lower corner, mark of the collection Oil on panel; 126 x 44 cm. of T. Hudson (L.2432). Fully mounted. Whereabouts unknown. Upper corners slanted. p r o v e n a n c e : St-Joriskerk, Antwerp; London, British Museum. Inv. No. 1845.12.8.5. Sir Eric Hambro, Milton Abbey, Dorset, p r o v e n a n c e : J.Richardson Senior (Lon­ sale, London (Christie’s), 19 November don, 1665-1745); T.Hudson (London, 1701 1926, lot 137; purchased there by Asscher, -1779); Sir Joshua Reynolds (London, Koetser and Welker, London; Galerie 1723-1792); purchased for the British Van Diemen, Berlin, from 1926 till at Museum on 8 December 1845. least 1933; seen in a private collection at Bucharest in 1936, by L. Van Puyvelde. e x h i b i t e d : London, 1974, N0.90; London,

19J-J, No.78 (repr.). e x h i b i t e d : Amsterdam, 1933, N0.47 (repr.). l i t e r a t u r e : L.Cust, Anthony van Dyck,

London, 1900, repr., facing p. 174 (as l i t e r a t u r e : De Wit, Kerken, p.144; R oc- A. Van Dyck); Hind, Rubens, p.64, No. 44 ses, IV, p.278, No. 1072; F. Prims and K.Van (as A. Van Dyck); Clare Stuart Wortley, Herck, Geschiedenis van St-Jorisparochie en ‘Portrait of Hendrik van Thulden’, O ld -kerk te Antwerpen (1304-1923), Antwerp, Master Drawings, VI, 1931-32, pp.30-33, 1924, p.363; F. Prims, ‘De pastorie van pl.24; M.Delacre, Le dessin dans l’œuvre Sint-Joris (Antwerpen)’, Ons volk ontwaakt, de Van Dyck, Brussels, 1934, pp. 180-181; XIII, 1927, pp.386-387 (repr.) ; G.Biermann, Held, Drawings, p. 132, No.86, pl.97; ‘Rubens’ Bildnis des Lizentiaten Hendrik Burcharà-d’Hulst, Drawings, pp.174-175, van Thulden’, Der Cicerone, XIX, 1927, No. 109 (repr.); Kuznetsov, Risunki, N0.65 pp.276-278 (repr.); A r t N ew s, XXVI, 28, (repr.); Rowlands, Rubens Drawings p.75, 1928 (repr.); C.Norris, ‘The Rubens Ex­ N0.78 (repr.); Jaffé, Exhibitions, p.631. hibition at Amsterdam’, The Burlington M a g a zin e, LXIII, 1933, p.229; Van Puyvelde, R ubens, p.203, n,57. A costume study for the Munich portrait (No. 152; Fig.220). Here, unlike the final version, the priest wears a biretta. As Held Van Thulden’s features are typified in the pointed out, the corrections to the head same manner as in the Munich portrait

190 CATALOGUE NO. 154

(No. 152; Fig.220); the monumental three- tion here, it seems clear that in the eight­ quarter pose, viewed slightly from below, eenth century there was already some is also derived from it. Instead of a gown, doubt as to the work’s authenticity. Van Thulden is here depicted in an alb and stole, in an attitude of prayer, in front I. His tom b is further described in Graf- en Gedenk­ of a small table with a crucifix and prayer- schriften, II, p-437- book. Behind him are a curtain and a pilaster. Burchard showed that this votive por­ 154-155. TWO PENDANTS: trait was originally placed over Van Thul- NICOLAS TRIGAULT AND den’s tombstone, formerly in the Sint- PETRUS DE SPIRA Joris church in Antwerp: Jacob de Wit speaks of ‘het monument van den Pastor 154. Nicolas Trigault (Fig, 224) ... Tuldenus, wiens portret, tot aan de knieën men seght geschildert te syn door Oil on canvas; 220 x 136 cm.; on a tablet, P. P. Rubens’.1 Burchard identified the in the left corner below, the following present portrait as that mentioned by De inscription: R. P. NICOLA VS / TRIGAVLT Wit on the basis of a view of the interior DVA I CENSIS, SOCIETATIS / JESV SA­ of the former church, executed before CERDOS, I E C H IN E N SI M IS I SIO N E , IN 1799, in which the votive portrait can be BELGIO I REVERSVS, A0 / jójó, H O C IN recognized (Fig.223). It must have remain­ H A I B IT V A MVLTIS / A0 1617, DVACI ed there till the church was demolished in VI/ SVS. OBIIT A0 / 1627 IN CHINA; furth­ 1799-1800, and would naturally have been er to the right another later inscription executed in 1617— the year of Van Thul- reads thus: A° A E T A T IS 40 / 1617. den’s death— or very soon after. Douai, Musée de la Chartreuse. Inv. N0.27. There is, however, a question as to the work’s authenticity. I have never seen it, p r o v e n a n c e : Jesuit Convent, Douai; but I am inclined to share the reservation presented to the Museum by Remy de of Van Puyvelde, who wrote that it was Rombault before 1869. not of the same quality as the Munich por­ e x h i b i t e d : Les successeurs de Jean Belle­ trait. Compared to the Munich version, gam be, Musée de la Chartreuse, Douai, the treatment of the face and hands seems 1981-82, N0.24 (repr., as an artist fr o m the to me drier and less expressive. The white circle o f Van Dyck, c.iójo). surplice is less finely modelled and ap­ pears dead by comparison with the Mu­ l i t e r a t u r e : C. Dehaisnes, Vie du Père nich portrait. The details such as the T riga ult, Paris, 1864, pp.131—132 (repr.); curtain and table with the book and cruci­ Catalogue des ouvrages de peinture, dessin, fix are very clumsily drawn. Altogether I gravure et lithographie exposés dans les ga­ wonder if the portrait is not largely a leries du Musée de Douai, Douai, 1869, p.22, studio product. It should be noted that N0.27 (as attributed to Jean Bellegambe); while the work is associated with Rubens S. Leroy, Catalogue des peintures, sculptures, in De Wit’s description of the Antwerp dessins et gravures exposés dans les galeries churches, in the plans attached thereto du Musée de Douai, [DouaiJ, 1937, p.144, it is attributed to Jan Boeckhorst (‘lange N0.9 (as Jean Bellegambe the Younger) ; Jan’). Without discussing this old attribu­ Bernard-Maître, pp.308-313 (repr.).

191 CATALOGUE NO. 154

This and the next painting (No.155; 1603-4. In 1609 he went to India and Fig.225) are clearly designed as pendants. China, where he joined Trigault in 1611. Both represent a European in Chinese In 1616-17 Trigault spent several months costume, consisting of a black gown with in the Southern Netherlands, visiting the green lapel and girdle; in both of them principal towns in aid of the missionary the subject wears a biretta. In the present cause. In particular he is known to have painting a tablet is to be seen with an been in Antwerp between 20 November inscription to the effect that this is the 1616 and February 1617.1 As is known and Jesuit Father Nicolas Trigault from as these portraits indicate, the Jesuit mis­ Douai, attired in the Chinese costume in sionaries in China adopted mandarin which many of his fellow-townsmen saw costume at an early date, which to no him on his visit there in 1617. It also states small extent contributed to their success that he died in China in 1627. Another in­ in the Far East.2 scription indicates that the portrait was Both paintings are from the former painted in 1617 when Trigault was 40 Jesuit college in Douai. After being years old. He is shown full-length and acquired by the Douai museum they were slightly turned to the right, in front of an groundlessly attributed to the local mas­ altar on which stands a lighted candle. ter Jean Bellegambe the Younger. This at­ Behind him hangs a red ornamental cur­ tribution was only recently challenged, in tain. His face is illuminated from the particular by F.Baligand, who suggested right : above on the right can be seen rays ‘un artiste travaillant dans le cercle de and an angel’s head, suggestive of the Van Dyck vers les années 1630’. This is at celestial sphere. The man in the compan­ least closer to the truth, for there is no ion portrait (N0.155; Fig.225), who corres­ doubt that the two portraits belong to the pondingly faces left, stands in front of a Antwerp school. In addition, Trigault’s balustrade beyond which is an evening features are markedly characteristic of landscape. A curtain is seen behind his Rubens : the strong face modelled by the head as in the pendant. This partly covers light, the effective articulation of the nose, a monumental column on the right, on eyes, mouth and beard, as well as the the base of which is a partly legible in­ sculptural folds of the garment and cur­ scription in Latin— added subsequently, tain. These features, and the handling of as in the companion portrait— identifying local colour, are typical of Rubens’s style the sitter as Trigault’s fellow Jesuit Petrus around 1615 and shortly after; they are de Spira. He, like Trigault, was from Douai strongly reminiscent of the monumental and had lived in China as a missionary; representations of St Ignatius and St Fran­ he had also been in India. Both were out­ cis Xavier, made by him at about that standing members of their Order, Tri­ time for the Jesuit church in Brussels.3 It gault, born at Douai in 1577, studied at is conceivable that the companion por­ the university there and became a Jesuit traits at Douai were, as such, inspired by in 1594. In 1606 he went to India and China the similar pair representing the two great by way of Portugal. He was back in Eu­ Jesuit saints. At all events this prototype, rope between 1614 and 1618, when he was invented by Rubens, soon became an ac­ received by Cosimo de’ Medici II. De cepted iconographie schema which was Spira, born in 1584, studied law at Douai imitated time and again. and became a Jesuit novice in Brussels in However, the features of de Spira are

192 CATALOGUE NO. I54

not rendered with the same lively effec­ 1934.5 This author also pointed out the tiveness as those of Trigault. The face connection with the drawing of a man in makes a dull impression, with the very Korean costume, recently acquired for schematic treatment of the beard and the Getty Museum. From the long Latin the poor articulation of the eyes and eye­ inscription on one of the drawings (No. brows. On closer examination, de Spira’s 154b; Fig.227) she was the first scholar features suffer by contrast with his cos­ to point out that it depicted a European tume, which clearly has the same three­ Jesuit in Chinese costume. From the colour dimensional quality as Trigault’s. Anoth­ indications on the drawing it appeared er reason for the lack of plasticity in this that the subject was wearing a black robe face may be the fact that de Spira’s por­ with a bluish-green lapel and sash, exactly trait could not be made from life. For, as in the Douai portraits. Clare Stuart unlike Trigault, he did not return to Wortley connected the drawings with the Europe; the appearance of the prototype celebrations organized by the Antwerp for this painting must remain a matter Jesuits on 23-24 July 1622 to mark the for speculation. There is no doubt that first anniversary of the canonization of the two portraits were executed at the St Ignatius and St Francis Xavier. These same time by the same hand. They are included a great procession in which nov­ clearly not copies after a lost original: ices in oriental dress symbolized the Far around de Spira’s headgear and to the left Eastern realms in which Jesuit missions of his right arm, pentim enti can be seen had been organized.6 At this stage it was with the naked eye. In my opinion they at any rate possible to dispose of an are both studio products in which Ru­ eighteenth-century tradition to the effect bens himself had no hand: they do not that the drawing formerly in Burchard’s exhibit his characteristic spatiality, and the collection (No. 154c; Fig.229) represented handling of detail (as in Trigault’s face) is a Siamese priest belonging to an embassy too dry. sent from that country to Charles I of In the latter part of the second decade England. of the century, Rubens and his studio Recently, however, Felice Stampfle executed a remarkable number of paint­ rightly pointed out that Rubens might ings for churches, abbeys and monasteries have had other opportunities of noticing in Southern Flanders, in territory which the oriental dress worn by Jesuit mission­ is now part of France. Around this time aries in China, in view of his close and there were, for instance, important com­ friendly relations with the Order, espe­ missions for Lille, Arras, Valenciennes, cially in Antwerp.7 Stampfle also tentati­ Cambrai and Saint-Omer.4 However, the vely suggested that the drawings might chief reason for attributing the two por­ have been executed before the celebra­ traits at Douai to Rubens’s studio lies in tions of 1622; she was inclined to support their connection with the four well- Evers’s suggestion that they might have known Rubens drawings which represent been connected with the preparation of Jesuit missionaries in Chinese dress the Miracles of St Francis Xavier, now in (Nos.i54a-d; Figs.227,229,230,231). Vienna,8 which was probably completed The relation between these drawings in 1617. In that painting there is a man in was pointed out in an interesting article Korean head-dress similar to the one in by Clare Stuart Wortley as long ago as the drawing in the Getty Museum at

193 CATALOGUE NO. 154

Malibu,9 which is stylistically akin to the and realism which characterizes the still group we are concerned with here. extant sheets of this kind.12 Stampfle also stated, without going furth­ The drawing of a Korean mentioned er into the point, that Rubens might have above, which is connected stylistically and been aware of Trigault’s tour of the chronologically with these four studies, Netherlands to enlist support for the cannot be interpreted further and is there­ missions. However, a connection that fore not discussed here. Stampfle failed to notice had in fact been As regards Rubens’s portrayal of Jesuits previously observed. There has hitherto in Chinese costume, Clare Stuart Wortley been no mention in the Rubens literature, also pointed out that similar figures occur including Burchard, of the article of 1953, in an oil sketch in grisaille, probably quoted above, by the French Jesuit Henri contemporaneous with the drawings and Bernard-Maître,10 in which the four draw­ now in the Musée Bonnat in Bayonne ings of Jesuits in Chinese dress are tenta­ (Fig.226).13 This sketch is hard to interpret, tively identified as representing Trigault, but seems to consist of detached studies since they bear a certain resemblance to with no evident relation to one another. the portrait at Douai. Personally I agree The interesting fact is that the two figures that there is a striking resemblance be­ in Chinese dress are, as types, not unlike tween that portrait and these drawings Trigault and de Spira. One of them, with (Nos.i54a-d; Figs.227, 229,230, 231). Not a sharp, ascetic face, is bending forward only are the costume and pose similar, while an angel or genius’ holds him by but also the physiognomy: the same the shoulder; the other is a much fatter sharp face with a goatee beard. What is man with drooping shoulders. Could it more, a drawing was sold in Amsterdam be that at some time or other Rubens was in 1814, attributed to Rubens and describ­ commissioned to paint a picture in which ed as ‘Het Afbeeldsel van Pater Trigan- the two missionaries were to play a role? tius’.11 Accordingly I feel inclined to suppose that these drawings represent 1. For biographical facts, cf. especially C. Dehaisnes, op . c it. Triga uc's sojourn in the Netherlands is Trigault. Moreover they can be precisely related in fullldetail in E.Laurall, ‘La propagande dated. The version in an American private du P.Nicolas Trigault en faveur des missions de collection (No.i54b; Fig.227) is inscribed Chine', Archivium Historicum Societatis Jesu, IX, 1940, p.62, 17 Jan ua ris, which signifies, in the light of 2. The initiative was taken in the i6th century by the foregoing, that that sheet, and pro­ the famous Italian Jesuit Matteo Ricci (1552-1610); bably the other ones, were executed on 17 see R.Fülop-Miller, Macht und Geheimnis der Jesu­ ite n , L eipzig-Z ü rich, 1929, pp.272ff., and N e w January 1617. Catholic Encyclopaedia, XII, 1967, pp.470-471. A ll these drawings are primarily cos­ 3. Cf. Vlieghe, Saints, II, Nos.113-114, figs.36-37. Bur­ tume studies, with a certain emphasis on chard dated these paintings c. 1620-22 and I follow­ ed him in my book. However, in the light of hith­ the details of the Chinese dress and its erto unknown evidence found by Mr.W. Schee­ folds. There can be no doubt that the len in the Archives Générales du Royaume and facial features of Trigault were rendered soon to be published by him, it appears that both paintings were in fact delivered as soon as 1616. in a separate drawing of the Jesuit’s head. 4. Cf. H. Vlieghe, 'Rubens en Van Scorel', O u d H o l­ Judging from the lively and sculptural la n d , 1980, pp.32-36. treatment of the face in the Douai full- 5. Stuart Wortley, pp.40-47. 6. We are well informed about this event by an length portrait, that study drawing must anonymous chronicle published by the Plantin have had the same degree of plasticity Press in 1622, entitled Honor S.Ignatio de Loiola,

194 CATALOGUE NOS. 154*1-1 54b Societatis Jesu Fondatori et S. Francisco Xtiverio, India­ Frankfurt am Main, private collection rum Apostolo per Gregorium .YV’ inter Divos relatis, Habitus a Patribus Domus Professae et Collegii Soc. (c.1936). IESU Antwerpiae 24 Iulij 1622, A ntw erp , 1622. e x h i b i t e d : Paris, 1949, N0.93; Brussels, 7. F.Stam pfle, in Cat. Exh. Paris-Anlwerp-London- N e w Y ork , 1979 -S 0 , p.64. 1949, N0.89; Stockholm, 1977-78, No.30 (as 8. Cf. Vlieghe, Saints, II, No. 104, tig.ù; see also E v ers, ,4 man in Chinese costume). R u b e n s , p.493, n.184. 9. See Stuart W crtley, pl.41 ; recently purchased for the l i t e r a t u r e : Stuart Wortley, pp.40-47, Getty Museum at an auction sale in London (Chris­ pl.43 (as A Chinese Priest); Bernard-Maître, tie ’s), 29 N ovem ber 1983, lot 135 (repr.). 10. I am very grateful to Marc Vandenven for having pp.308-313; B.Magnusson, ‘Rubens som informed me of Bernard-Maitre's article, and thus- tecknare’, in R ubens i Sverige, Stockholm, drawn my attention to the portraits at Douai. 1977, p. 128, fig. 103 (as A Man in Chinese 11. Hendrik van Eyl Sluyter sale, Amsterdam, 26 Sep­ tember 1814, lot 7 ('Het Afbeeldsel van Pater Tri- costum e); Anne-Marie Logan and H. Ha­ gantius. Kunstig met rood en zwart krijt, door verkamp Begemann, ‘Dessins de Rubens’, P. P. R ubens’). Revue de l'Art, 1978, p.97. 12. See Nos. 75a, 80.1, 102a and 115a. 13. Stuart Wortlev, pp.46-47 (repr.). This author con­ nected the sketch at Bayonne with the Eucharist series and therefore dated it c.1620. This inter­ A full-length drawing of a European in pretation and dating were at first accepted by H eld (Held, Drawings, I, p. 137, under No. 105) and Chinese dress, in three-quarter view to the Müller Hofstede (‘Neue Ölskizzen von Rubens’, right, He wears a tall square cap, a long Städel-Jahrbuch, N.F., II, t ç à ç , p.234, n.53). Bur­ robe with wide sleeves covering the chard and d’Hulst (ßurchard-d’Hulst, Drawings, I, p.232, under No. 147) propose an even later date, hands, and a sash with two long bands C.1630. However, in his recent study of Rubens’s oil hanging down to his feet. The sheet must sketches Held has revised his original opinion. He be seen in connection with a second auto­ connects the ‘strong, if unsubtle, plasticity of the forms’ with ‘an earlier phase of Rubens' develop­ graph repetition of this drawing, now in ment’, which he places no later than the time an American collection (No. 154b ;Fig.227), when Rubens was working on the ‘Jesuit Ceilings’ a sheet formerly in the possession of Lud­ (Held, Oil Sketches, p p .531-532, N o.393, p i.382). wig Burchard (No. 154c; Fig.229) showing the same man in reversed pose, his head turned to the left, and a frontal view of 154a. Nicolas Trigault (?): Drawing the man, in the Pierpont Morgan Library (Fig.231) at New York (No. 154c!; Fig.230). The four drawings seem to be studies for the por­ Black chalk, touched with red in the face trait of Nicolas Trigault at Douai (No. 154; and turquoise and greenish blue in the Fig.224) ; the connection is discussed under collar ; 410 x 254 mm. ; in the right corner that entry. below, the mark of the Nationalmuseum, Stockholm (L.1980), followed by the old inventory number 1775 B. 154b. Nicolas Trigault (?): Drawing Stockholm, Nationalmuseum, Inv. No.NMH (Fig.227) 1968/1863. Black chalk, touched with red in the face p r o v e n a n c e : Count C.G.Tessin (Stock­ and turquoise in the collar facings and holm, 1695-1770). bands of the sleeves; 448 x 260 mm.; in c o p y : Drawing o f the upper part of the the left corner below, an illegible in­ body, whereabouts unknown, p r o v . scription (two lines), followed by 17 Jan -

195 CATALOGUE NO. I54C

u a r is; in the upper right corner, the in­ Chinese scholars but to the Fathers of the scription: Nota quod color pullus non est j Society of Jesus, except for the blue facings peculiaris Sinensium litteratis sed / Pa tribus which are common to all. The Chinese, S. Iesu. Exceptis tamen fascijs j ceruleis quae furthermore, do not use one colour only ceteris communes sunt. / Sinenses porro vestis in their clothing, but any colour they like colore non uno / sed quovis colore promiscue except yellow, which is reserved for the u tantur. / Et unum reserves flavem scilicet / King’ (i.e. the Emperor). The recent sug­ qui proprius est Regis; in the right corner gestion by Logan and Haverkamp Bege- below, by a foreign hand : A . Van D yck fecit. man that this is a copy by Van Dyck after Maryland, USA, Private Collection. the sheet in Stockholm is not convincing, as has already been observed by Stampfle. p r o v e n a n c e : Lady Sidmouth; Eliza Hobhouse (1842); Henry Hobhouse; Sir I. See, for comparison, e.g. the annotations on the Arthur Hobhouse. study for the Last Communion of St. Francis in the Wolfgang Burchard collection (Vlieghe, Saints, I, c o p y : See under No.i54a. No. 102b, fig. 181) and theD w arf Robin in Stockholm (see above, No.72a; Fig.27). e x h i b i t e d : Van Dyck Exhibition, Royal Academy, London, 1900, No. 191 (as A. V an Dyck); Art Treasures of the West Country, 154c. Nicolas Trigault (?): Drawing Royal West of England Academy, Bristol, (Fig. 229) 1937, N0.251 (as A Chinese Ambassador or a Jesuit Priest); London, 1938, N0.590 (as A Black chalk, touched with red in the face; Man in Chinese Dress); Antwerp, 1977, No. 353 x 228 mm; in the right corner below, 156 (repr., as A Man in Chinese Costume). the mark of J. Richardson Senior (L.2184).

l i t e r a t u r e : Stuart Wortley, pp.40-47, Whereabouts unknown. pl.44 (as A Chinese Priest); Bernard-Maître, p r o v e n a n c e : J.Richardson Senior (Lon­ pp.308-313; Burchard-d’Hulst, Drawings, don, 1665-1745), sale, London, 22 January pp.230-232, N0.147 (repr., as A M a n in 1746 et seq., part of lot 41 (as A Siamese Chinese Costume); Kuznetsov, Risunki, Priest); John Barnard, sale, London, No.xoo (repr.); Anne-Marie Logan and 16 February 1787 et seq., lot 56 (as A Sia­ E. Haverkamp Begemann, ‘Dessins de mese Priest); T .Philipe, sale, London, Rubens’, Revue de l’Art, 1978, p.97 (repr., 22 May 1817, part of lot 177 (as Siamese as V a n D yck). Ambassadors); J.A.Jolles, sale, Amster­ dam, 27 November 1848, part of lot 202 (as A Siamese Priest) ; H. de Kat, sale, Rot­ A somewhat more firmly drawn repeti­ terdam, 4 March 1867, lot 231 (as A Sia­ tion of the previous number (No. 154a; mese Priest); W.Lantsheer, sale, Amster­ Fig.226). The figure seems to be drawn a dam (F. Muller), 3 June 1884, lot 282; little shorter. The handling of line in the de Souza; Dr A.Widstrand, Stockholm two sheets unquestionably reveals Ru­ (1932) ; purchased from the latter by Lud­ bens’s hand, and his writing can easily be wig Burchard and in his collection until recognized in the Latin texts.1 These give his death in i960. valuable information as to the colour of

the robes; a literal translation is: ‘Note c o p y : Mezzotint engraving by W.Baillie, that the dark colour is not peculiar to 1774 (Fig.228; V.S., p.187, N0.279).

196 CATALOGUE NO. I 54cl

e x h i b i t e d : Amsterdam, 1933, No.120 calls him the Siamese ambassador as seen (repr., as A Siamese Priest) ; Burlington Fine by Rubens during his stay at the court of Arts Club, London, 1935-36, No. 130; H el­ Charles I.3 Any connection between this sinki, 1932-33, No.39 (as A Jesuit Missionary man and Trigault can only be guessed at. in Chinese Dress); Brussels, 1933, N0.39 (as A Jesuit Missionary in Chinese Dress). i . A S I A M E S E PRIEST. / Arrived ill the Court of K.Charles the 1st as an attendant to the Ambassador of his Nation just as Rubens tras / preparing to leave Eng­ l i t e r a t u r e : Smith, Catalogue Raisonné, land, however that Eminent Artist found time to make II, p.329, No. 1244 (as A Siamese Priest); the above described Drawing. Rooses, V, pp.277-278, No.1532 (as Un 1. Stuart Worthy, pl.41. Prêtre Siamois); C.Norris, ‘The Rubens 3. VS., p. 187, N0.278; R o o ses, IV, p. 277, No. 1531. Exhibition at Amsterdam’, The Burlington M a g a zin e, LXIII, 1933, p.230; Stuart Wort­ h y , pp.40-47, pl.42 (as A Man in Chinese D ress) ; Bernard-Maître, pp.308-313 ; F. Bau­ 154c!. Nicolas Trigault (?): Drawing douin, ‘Nota’s bij de tentoonstelling (Fig. 230) “Schetsen en tekeningen van P. P. Ru­ bens’” , Bulletin des Musées Royaux des Black and some green chalk; 424x Beaux-Arts de Belgique, II, 1953, p.57. 244 mm.; in the right corner below', an inscription in black chalk, nearly visible: A . D yck. New York, The Pierpont Morgan Library. The Jesuit in Chinese dress is here seen in Inv, No. Ill, 179. three-quarter view to the left, apparently as a pendant to the previous pose. On p r o v e n a n c e : C.Fairfax Murray, Lon­ account of the rather curious inscription don; J. Pierpont Morgan, New York. below the eighteenth-century mezzotint e x h i b i t e d : Cambridge-New York, /956, engraving by Captain W. Baillie (Fig.228),1 N0.23 (repr., as A Jesuit M issionary in and prior to Clare Stuart Wortley’s article Chinese Costume); Paris-Antwerp-London- of 1934, this drawing was taken to repre­ New York, 1919-80, No. 18 (repr., as A Je­ sent a Siamese priest, supposedly a mem­ suit in Chinese Costume). ber of the embassy from that country to

Charles I which presented itself in 1630 l i t e r a t u r e : C.Fairfax Murray, Collec­ while Rubens was in London. This de­ tion of Drawings by the Old Masters form ed scription was followed by Rooses among by C.Fairfax Murray, III, London, 1912, others. It is noteworthy that in the eight­ N0.179 (repr., as A. Van Dyck, The Chinese eenth century the drawing was in the Ambassador); Stuart Worthy, pp.40-47, Richardson collection together with the pl.45 (as A Chinese Priest); Goris-Held, p.44, study of a man in Korean costume, now in No.122, pi.108 (as A Jesuit Missionary in the Getty Museum in Malibu,2 which in Chinese Costume); Bernard-Maître, pp.308- style and theme is closely related to the 313; Held, Drawings, p.44. No.105, pi.123 group of preliminary studies discussed (as A Jesuit Missionary in Chinese Costume); here. Later still, when the drawings were F.Stampfle, in Cat. Exh. Paris-Antwerp- in different collections, they were both London-New York, 1979-80, pp.63-64, the subject of prints by Baillie. The cap­ N0.18 (repr., as A Jesuit in Chinese Cos­ tion to his engraving of the Korean man tume).

197 CATALOGUE NOS. I55-I56

This is the front view among what are 156. Jan Vermoeien (Figs. 232,233) presumably the preliminary studies for Trigault’s portrait. The technique differs Oil on panel; 127 x 97 cm.; in the upper from the other drawings. The robe is left corner, below the coat of arms the worked out in less detail, the folds barely inscription AETA. SVAE 21 / A 1616 . indicated. The details of the face are also Vadu^, Collections o f the Prince of Liechten­ rendered more cursorily than in the three stein. Inv. N0.87. other drawings (Nos.i54a-c; Figs.227,229, p r o v e n a n c e : First mentioned in the 231). collections of the Princes of Liechtenstein at Vienna, in 1805; transported to Vaduz, in 1945. 155. Petrus de Spira (Fig. 225) e x h i b i t e d : Meisterwerke aus den Samm­ Oil on canvas; 220 x 136 cm. ; on the socle lungen des Fürsten von Liechtenstein, Kunst­ of the column, on the right, the inscrip­ museum, Lucerne, 1948, No. 140 (as R u ­ tion: R.P. I PETRVS DE SPIRA / DVACI bens) ; Liechtenstein. The Princely Collections, NATVS IN SOCIET: IESV / BRUXELLAE / Metropolitan Museum of Art, New York, ADMISSVS /1° j 1603. ROMAE AD / IN­ 1985, N0.198 (repr., as R ubens). DOS TRAIECIT ...IN S IN A S / ... [only l i t e r a t u r e : Smith, Catalogue Raisonné, partially legible, due to darkening of the II, p.104, N0.340 (as Rubens, Portrait of a varnish]. G entlem an); W.Bode, ‘Die fürstlich Liech- Douai, Musée de la Chartreuse. Inv. No.28. tenstein’sche Galerie in Wien’, D ie gra­ p r o v e n a n c e : Jesuit Convent, Douai; phischen Künste, XI, 1888, pp,28-29 (as presented to the Museum by Remy de Rubens); Rooses, IV, p.280, No. 1075 (as Rombault before 1869. R ubens); K.d.K., ed. Rosenberg, p.132 (as Rubens); Dillon, Rubens, p.228, pl.CXXI (as e x h i b i t e d : Les successeurs de Jean Belle­ Rubens); K.d.K., p.452 (as A.van Dyck); gam be, Musée de la Chartreuse, Douai, G. Glück, ‘Anton van Dycks Bildnis des 1981-82, N0.25 (repr., as an artist from Kardinals Domenico Rivarola’, Bulletin of the circle o f Van Dyck, c.1630). the Bachstitz Gallery, VII—VIII, September, l i t e r a t u r e : C. Dehaisnes, Vie du Père 1924, not paginated, reprinted in G liick, T riga ult, Paris, 1864, p. 132; Catalogue des Rubens, Van Dyck, p.309 (as A.van Dyck); ouvrages de peinture, sculpture, dessin, W. Drost, Barockmalerei in den germanischen gravure et lithographie exposés dans les ga­ Ländern, Potsdam, 1926, p.36 (as R ubens); leries du Musée de Douai, Douai, 1869, p.23, A.Kronfeld, Führer durch die fürstlich N0.28 (as attributed to Jean Bellegambe); Liechtensteinsche Gemäldegalerie in Wien, S. Leroy, Catalogue des peintures, sculptures, Vienna, 1927, No.87 (as R ubens); H.Rosen­ dessins et gravures exposés dans les galeries baum, Der junge Van Dyck, Munich, 1928, du Musée de Douai, [Douai], 1937, p.144, p.14 (as Rubens); K.d.K., Van Dyck, pp.77, No. 10 (as Jean Bellegambe the Younger); 528 (as A.van Dyck;) Burchard, Nachträge, Bernard-Maître, p.310. p.412 (as A.van Dyck); E.von Strohmer, Die Gemäldegalerie des Fürsten Liechtenstein For a description and comments, see in W ien, Vienna, 1943, p.98, fig.43 (as A .v a n under N0.154. D yck); L.Baldass, ‘Some Notes on the

198 CATALOGUE NO. I56

Development of Van Dyck’s Portrait cloak hanging loosely over his left shoul­ Style’, Gazette des Beaux-Arts, 1957, pp.252 der. He wears a white starched pleated — 256 (as Rubens); Gerson-ter Kuile, p.114 ruff and matching cuffs. He holds his hat (as A.van Dyck); L.Van Puyvelde, Van in his right hand and a pair of gloves in D yck, Brussels, 1950, pp. 112, 126, 129, 137 his left. He is posed in front of a chair (as A.van Dyck); W .R.Valentiner, ‘Van covered in Cordovan gold-leather. Dyck’s Character’, Art Quarterly, XIII, This painting was first mentioned in 1950, p.93 (as A.van Dyck); G.Wilhelm, 1805 in the collection of the Princes of Peter Paul Rubens aus den Sammlungen des Liechtenstein, as a work by Rubens. The Fürsten von Liechtenstein, Vaduz, 1974, attribution was accepted thereafter until No. 14 (repr., as R ubens); S.Slive, Frans 1921, when Oldenbourg held the portrait H als, III, London, 1974, p.i (as A . van to be an early Van Dvck. Glück endorsed D yck); A.McNairn, The Young Van Dyck, this view ten years later in his standard Ottawa, 1980, p.12 (as R ubens); M.Jaffé, monograph on Van Dyck, and Burchard ‘Rubens’s Portraits ofNicolaasRockox and was of the same opinion. Until recently, others’, A pollo, CXIX, 1984, pp.275-276 this attribution was supported by scho­ (as Rubens); W.Liedtke, ‘Anthony van lars, such as Gerson, in i960, and Slive, in Dyck’, The Metropolitan Museum of Art 1974. However, with the exception of Von B ulletin, XLII, 1984-85, p.15 (as R ubens); Strohmer’s publication of 1943, the cata­ H. Vlieghe, ‘Rubens of Van Dijck: het logues of the Liechtenstein collection have portret van Jan Vermoeien’, in R ubens continued to uphold the traditional attri­ and his World, Antwerp, 1985, pp. 157-162 bution toRubens. Recently Jaffé, McNairn (repr., as R ub en s); R. Baumstark, in Cat. and Liedtke have called Van Dyck’s Exh. Liechtenstein. The Princely Collections, authorship into question and reverted to New York, 1985, pp.310-312, No.198 the original ascription. In 1985, nearly (repr., as R ubens). simultaneously, but independently from each other, Baumstark and I argued in detail to demonstrate that Vermoelen’s Jan Vermoeien was born in Antwerp in portrait is in every respect a characteristic 1589. He played a prominent part in the work by Rubens. The composition and commercial history of the Southern style, in my view, closely resemble the Netherlands, first as a sea-captain in the more or less contemporary portrait of Spanish service and then as commissioner- Hendrik van Thulden in Munich (No. 152; general for the Spanish merchant navy in Fig.220). In both of them the effect of the Southern Netherlands. He settled in space is accentuated by the diagonal pose Spain, where he married Dona Ludovica and modelling illumination, giving the Canza of Seville; their four children were work a strikingly dynamic character. born in Malaga. He died in Spain before The material of the costume is suggested ii August 1656.1 in the same tactile manner in both paint­ The identification of this portrait is ings. The face and hands show Rubens’s based on the coat of arms, whose age and typical sense of anatomy and physical date, in the upper left corner2 agree with features, especially in the indication of the known date of Vermoelen’s birth. bone structure and musculature, the He is depicted to knee-length, in three- drawing of the hair-line and the depiction quarter face, dressed in black with a of the deep-set eyes.

199 CATALOGUE NO. 157

We do not find in Van Dyck such a lot 55 (repr., as attributed to Rubens and his sensitive perception of the sitter’s cor­ W orkshop). poreality, though in his early work there e x h i b i t e d : Brussels, 1910, No.369. are portrait types based on the same con­

ception as the present work.3 In any case l i t e r a t u r e : M.Rooses, in Rubens-Bulle- it is very unlikely that Van Dyck, two tijn, V, 1910, p.322; Rooses, Vlaamsche years before he became a master in St K un st, p. 12; Valentinen, Rubens in America, Luke’s guild, would on his own account p.159, N0.50 (as Portrait of a Young Man); have executed a commission to paint the Goris-Held, p.30, N0.27, pi. 10 (as P ortra it portrait of a rich Antwerp burgher.4 o f a M a n); W.Adler, Jan Wildens. Der Glück’s belief in Van Dyck’s authorship Landschaftsmitarbeiter des Rubens, Fridin- was based on the supposed evidence of gen, 1980, pp.13-15, 135-136 (repr., as style and also on the fact that a portrait of doubtful); Baetjer, Cat. New York, I, p.161, Jan Vermoeien by Van Dyck was in 1656 Inv. N0.11.157; III, p.371 (repr., as attri­ in the estate of the former’s brother, Peter buted to Rubens). Vermoeien.5 But there is no reason why Rubens, as well as Van Dyck, should not have painted Jan Vermoelen’s portrait. The identification of the sitter as the painter Jan Wildens is primarily based on 1. R e e s e s , IV, p.280, under N0.1075, referring to bio­ the striking resemblance to the portraits graphical evidence found by A.Goovaerts in the of the latter by Van Dyck, one of which Archives Générales du Royaume in Brussels. 2. See Rietstap, Armorial Illustré, VI, pl. XCVII. was engraved by Pontius and figures in 3. E.g. the Portrait o f aM an in theGulbenkian Museum the Iconography (Fig.236).1 In addition, the at Lisbon (see K.d.K., Van Dyck, p .115). estate of Jan Wildens’s son Jeremias in­ 4. The traditional belief that Van Dyck set up an inde­ pendent studio two or three years before he be­ cluded a portrait of ‘den ouden Wildens’ came registered in the painter’s guild (1618) is now by Rubens, which may well be identical disputed (cf. C .B ro w n , V a n D y c k , O xford, 1982, with the present work.4 In a slightly dif­ p.12, and W.Liedtke, op . c it ., pp.6, 9). 5. ‘Een schilderye, wesende het conterfeytsel van Jan ferent pose this work appears among the Vermeulen, des afflyvigen broeder, overleden in portraits of artists and connoisseurs in Spanien, geschildert door van Dyck, beloont met Willem van Haecht’s Picture Gallery of dertich guldens - voor m em orie' (Denucé, Konst- k a m ers, p. 192). 1628 in the Rubens House in Antwerp (Fig.68). The painter is shown en buste, leaning slightly forward and with the upper part of his body inclined to the 157. Jan Wildens (Figs. 234,235) left. His eyes are fixed on the spectator; with his right hand he points with some Oil on panel; 58,5 x 48 cm. emphasis to the right. He wears a black Whereabouts unknown. costume and a large white cartwheel ruff. p r o v e n a n c e : ? Estate of Jeremias Wil­ Before a recent cleaning the hand was dens, Antwerp, 1653; J.Rump, Copen­ half covered by a cloak and the ruff was hagen; J. Pierpont Morgan, London and completely overpainted by a flat collar New York ; presented by the former to the edged with lace (Fig.235), The state of Metropolitan Museum in 1911; in the preservation of the painting is very poor.3 Metropolitan Museum until 1983; sale, The diagonal pose and emphatic ges­ New York (Sotheby’s), 20 January 1983, ture of the hand produce a lively effect

200 CATALOGUE NO, 158 which seems ro derive from late sixteenth- sche Schilderschool, A ntw erp, 1883, p .685: ‘Den 27n Mei 1624 deed zijne gade ... haren uitersten wil ken­ century ideas of portraiture, such as those nen, en zij stierf twee dagen later. In ditoogenblik of Goltzius and his circle. A similar con­ moet de weduwenaar vertroosting hebben gezocht ception is seen in Rubens’s portrait of bij zijnen neef en vriend Rubens, die zijn portret m a a ld e ...’ (On 27 M ay 1024 his [W ildens’s] wife Jan Breughel the Elder and his Family, dat­ made known her last will, and she died two days ing from c,1612-13, in the Princes Gate afterwards. The widower must have found conso­ Collection in London (N0.79; Fig.46). lation at that time with his cousin and friend Ru­ bens, who painted his portrait...). However, Bur­ Wolfgang Adler— who, like Müller Hof­ chard took this last phrase out of context: Van den stede, has doubts which I do not share Branden does not say that the portrait was painted concerning the authenticity of the paint­ at the time of the death of Wildctis’s wife. ing— believes that it was executed c.1616 or 1617, shortly after Wildens returned 158. Wolfgang-Wilhelm, from Italy and began to work with Ru­ Duke of Neuburg bens. I find this dating acceptable. The sitter looks at least thirty years old, which Whereabouts unknown ; presumably lost. agrees with the fact that Wildens was born in 1585; and the plastic effect due to l i t e r a t u r e : Rooses, IV, p.223, N0.1009. strong lighting is characteristic of Ru­ bens’s work in general around 1615. How­ The inventory of Rubens’s estate at his ever, there is no unanimity as to the date death in 1640 mentions a ‘pourtrait du of the portrait. Julius Held placed it c. 1620 ; Duc de Nieubourgh’1 painted by him. Erik Larsen is of the opinion that it was Wolfgang-Wilhelm, Count Palatine and painted in about 1613-14 but overpainted Duke of Neuburg (1578-1653) played a in 1620 by Rubens himself. Ludwig Bur­ part in the initial phase of the Thirty chard, as his notes indicate, believed that Years’ War. Originally a Protestant, he the work was painted in 1624, which is joined the Hapsburg-Catholic camp in improbably late; he seems, however, to gratitude for support given him by the have based this view on a misunderstand­ Archduke Albert and Spinola in his claim ing of a statement by Van den Branden.4 to the duchies of Berg, Jülich and Cleves.2 Through the archducal couple he came 1. Cf. K.d.K., Van Dyck , p .120 and Mauquov-Hendrickx, into contact with Rubens, who painted II, p l.7 0 ,1. several large altarpieces for him between 2. See Denucé, Konstkamers, p .165, N o.506 (‘Het Contcr- feytsel van den ouden Wildens van Rubbens’). 1615 and 1619. Rooses believed that the 3. 1 am very grateful to Walter Liedtke, who kindly portrait was executed in 1625, in which sent me his unpublished technical report on the year the duke accompanied Isabella on actual state of the present portrait: ‘The painting has suffered severely; only traces of its original her return from the successful siege of quality survives. The panel is composed of two Breda; this is possible, but cannot be boards joined vertically. The bottom of the board proved. Rooses also connected the por­ on the left (34 cm. wide) indicates that the picture was cut down. The board on the right (14 cm. wide) trait with an engraving by Pieter de Jode; is not original : the join passes through the middle however, this does not appear to be in of the sitter’s thumb, and everything to the right Rubens’s style, nor does the address bear of it is a reconstruction. The paint surface has suf­ fered severely from abrasion and exposure to heat, his name.3 evidently tire. Damage is most severe in the area of Like other portraits of living notabili­ the right side of the face, the forehead and the ties listed in the inventory, this was no hair'. 4, F.J. van den Branden, Geschiedenis van dc Antwerp- doubt a prototype of which Rubens could

201 CATALOGUE NO. 159 make replicas or have them painted by Rooses, IV, p.325 (as Un jeune abbé); H. Hy­ others. What it may have looked like is a mans, ‘Un Rubens à retrouver’, G a lette mystery. Possibly the well-known por­ des Beaux-Arts, 1896, pp.71-78, reprinted traits by Van Dyck4 and De Crayer5 are in H. Hymans, Œ uvres, III, Brussels, 1920, based on it. pp. 502-510.

1. See Denucé, Konstkamers, p.61. 2. See, for the Duke of Neuburg’s biography, the facts The subject of this portrait was identified summarized by Rooses, loc. c it.; see also, in this respect, The New Cambridge Modern History , IV, by Hymans, who discovered a unique Cambridge, 1970, p.290. state of the engraving in 1896. This state, 3. Published by Pieter de Jode himself in T h e a tr u m the present location of which is unknown, Pontificum, Imperatorum, Regum, Ducum, Principum, etc. Pace et Bello Illustrium, Antwerp, n.d.; already was accompanied by a full address includ­ regarded before Rooses as a print after Rubens, in ing Rubens’s name and that of the engrav­ VS., p .171, no.154. er Cornelis Galle, and also a full account 4. Cf. Mauquoy-Hendrickx, No. 118 (repr.). 5. Cf. H. Vlieghe 'Gaspar de Crayer. Addenda et Corri­ of the portrait in Latin. This indicated genda’ , Gentse Bijdragen tot de Kunstgeschiedenis, that the sitter was Frans van de Wouwer XXV, 1979-80, p.203, figs.43 and 46. or Woverius and that the portrait was dedicated to him by his cousin Cornelius Bishtovius as a tribute to the oratorical 159. Frans van de Wouwer prowess he had displayed, at twelve years of age, before the Sovereign Council of Engraving; 200 x 132 mm.; inscribed be­ Brabant. low: WOVERIDEM VIX DUM BISSENIS Frans van de Wouwer, born in 1609, AUCTUM I DICENTEM ADMIRANS was the third son of Johannes Woverius, AULA BRABANTA STUPET. / ANNOS the well-known humanist and disciple of SUADA PRAEIT DECORIS PRAESAGA Lipsius who appears in the famous group FUTURI; I O QUANTA EXIMII MICAT portrait in honour of Lipsius in the Palazzo INGENII! I INGENIUM SEQUITUR MEN­ Pitti in Florence (N0.117; Fig.140).1 The TIS PUDOR AUCTOR HONESTI / VUL­ speech praised by Bishtovius was deliver­ TU SQUE IN TOTO STAT PROBITATIS ed by the young Woverius on 17 July 1622 AMOR. I HANC ANIMAM SERVATO to commemorate the first anniversary of DEUS PATRIAEQ. PATRIQ. / U T V I V A T the death of the Archduke Albert. It made PATRIAE, MORIBUS OPTO PATRIS. / a great stir in humanistic circles and was FRANCISCI WOVERI ANTVERPIENSIS published in 1623 by Frans’s elder brother IO A N : F . ANN: X II M E N S : V III N A T ./ Louis along with enthusiastic comments Sui amicissimi Cognati iconem, CORNE­ by various authors.2 Erycius Puteanus LIUS BISTHOVIUS I. C. celebrabat, j P.P. made special mention of it,3 and the oc­ Rubens pinxit. / Corn. Galle sculpsit. casion was later recorded by Papebrochius l i t e r a t u r e : Hecquet, Rubens, p.85, N0.42 in his Annales Antverpienses.4 (as Un portrait d’Abbé); Basan, p.154, N0.84 The portrait was clearly designed to (as Le Portrait d’un jeune Abbé); Smith, recall the young Woverius’s achievement Catalogue Raisonné, II, p.289, N0.946 (as as an orator: his right hand is extended in A Youth, in an ecclesiastical dress); V.S., a rhetorical gesture, not unlike that of p.187, N0.282 (as Un jeune abbé); Dutuit, Ophovius whose portrait was painted Manuel, p.201, N0.84 (as Un jeune abbé); some years earlier (N0.126; Fig.155). His

202 CATALOGUE NOS. I59a - l 6o left hand rests on the rounded top of a p r o v e n a n c e : Collection of the Electors balustrade behind which he is visible to of Bavaria, Schleissheim; transported to the waist. He wears a dark costume with the Hofgartengalerie Munich, 1781 ; trans­ a cape and a flat white collar. ported to the Alte Pinakothek in 1836, the year of its foundation. 1. For biographical references on Frans Woverius see H. Hymans, loc. cit. c o p i e s : (i ) Painting of the head only, 2 . The text of the speech was published under the title Laudatio funebris anniversaria inclytae memoriae whereabouts unknown; canvas stuck on Alberti Pii; the commentaries as Applausus amoris panel, 26x 18.5cm. p r o v . Sale, London et favoris ab amicissimis doctissimisque viris Francisco (Christie’s), 5 June 1959, lot 41 ; (2) Paint­ Woverio lo. F. scriptus. Both works were published by the firm of Morctus in A n tw erp in 1023. ing (full-length representation, in canon’s 3. E.Puteanus, De Eloquentia studiis Dissertatio Qiui dress; Fig.241), Petworth, Lord Lecon- Suadae Franc. Woverii /oannis filii duodecennis applau­ field; canvas, 165 x 112 cm. p r o v. ? Bryan, d itu r , A ntw erp , 1622. 4. D .Papebrochius, Annales Antverpienscs [c.1700?], IV, sale, London, 27 April 1795 et seq., lot 39; ed. Mertens-Buschntann, Antwerp, 1X47, pp.337- ? Bryan, sale, London (Christie’s), 17 May 338. 1798, lot 20; Revd Edward Balme, sale, London (Christie’s), 1 March 1823, lot 63; purchased by Peacock; purchased by Lord 159a. Frans van de Wouwer (Fig. 237) Egremont Wyndhatn, Petworth, before 1830; by descendance into the possession Engraving; 178 x 132 mm. of the actual owner, lit. Smith, Catalogue Paris, Bibliothèque Nationale, Cabinet des R aisonné, II, pp.264-265. No.894; W aagen, Estam pes. Inv. No. Cc.34j. C. 10.514. Treasures, III, p.40; Rooses, IV, pp.313-314, p r o v e n a n c e : P.-J. Mariette (Paris, 1694 N0.1137; Dillon, Rubens, p.234; C.H.Col­ -1774); purchased in 1775 from the lins Baker, Catalogue of the Petworth Col­ former’s estate by Hugues-Adrien Joly, lection of Pictures in the Possession of Keeper of the Cabinet des Estampes at Lord Leconfield, London, 1920, No.103; Paris. (3) Engraving by A.Schön (V.S.. p. 190, l i t e r a t u r e : H.Hymans, ‘Un Rubens à N0.311). retrouver’, Gazette des Beaux-Arts, 1896, l i t e r a t u r e : Dillis, Cat. Munich, No.322; pp.71-78 (repr.), reprinted in H. Hymans, Smith, Catalogue Raisonné, IX, pp.276-277, Œ uvres, III, Brussels, 1920, pp.502-510. No,117; Marggraff, Cat. Munich, N0.919; Rooses, IV, p.299 (as not by Rubens); Reber, In this proof state the face of the young Cat. Munich, N0.785 (as ?Hugo Gratius); Woverius is corrected in brown ink. I am K .d .K ., pp.358, 470; Cat. Munich, 1936, inclined to agree with Burchard that this pp.226-227, No.332; K.Renger,‘Sine Ce­ correction is Rubens’s own work. rere et Baccho friget Venus. Zu bacchi- schen Themen bei Rubens’, in Peter Paul Rubens. Werk und Nachruhm, Munich, 1981, 160. A Member of the Van den p. 134, n.49. Wijngaerd Family (Fig. 239)

Oil on canvas, mounted on panel; 55 x Bust of a man facing left, in nearly full 45 cm. profile. He wears a cloak with a fur collar, Munich, Alte Pinakothek. No.332. and a chain and medallion hang on his

203 CATALOGUE NO. l6 l breast. Rooses disputed the traditional glancing at the spectator, though re­ attribution of this portrait to Rubens but presented in three-quarter view, has remained alone in his opinion, rightly as I clearly the same features as the second believe. Rosenberg dated the work c.1615, of the two men in canon’s surplice, at but Oldenbourg between 1632 and 1635. Petworth (Fig.240). Burchard agreed with this dating for what I consider good reasons: the execu­ 1. O il on canvas; each panel, 165 x 112 cm . A ttributed to Rubens in: S m ith , Catalogue Raisonné, II, pp.264- tion shows the freer brushwork charac­ 265, N0S.894 and 895; R o o ses, IV, pp.313-314, Nos. teristic of Rubens’s style in the 1630s. 1137 and 1138; C.H.Collins Baker, loc. c it. The same man can be seen in a por­ 2. Revd Edw ard Balm e sale, London (Christie’s), i M arch 1823, lots 62 and 63; the text o f the entry trait in Lord Leconfield’s collection at reads as follows: 'Rubens. Portraits of a Dean of Petworth (Fig.241), where he is shown Lovain, whole length, kneeling ... ditto of a Canon kneeling and in a canon’s surplice. The of Lovain, nephew to the former. They are both of panel forms a pair with a second portrait, the family of Van den Wijngaerdt, as appears by the arms on the pictures’. also of a kneeling canon (Fig.240).1 There 3. See Rietstap, Armorial, II, p.1125. is reason to suppose that both sitters be­ 4. See n .i above. long to the Brabant family of Van den 5. K .d .K ., p.359, above; the head of the lansquenet appears also in a copy, belonging to the Hermitage Wijngaerd. In the first place, this is stated at Leningrad ( K .d .K ., p.358, right, as R u b e n s). in the earliest known description of the portraits, the sale catalogue of the Balme collection dated 1 March 1823d Secondly, 161. Matthaeus Yrsselius (Fig. 242) the escutcheon on both paintings (a bend with three roses) seems to represent the Oil on panel; 120 x 104 cm. arms of the Van den Wijngaerd family.3 Copenhagen, Statens Museum for Kunst. The portraits at Petworth are traditionally N0.613. attributed to Rubens,4 but the hardness of execution calls this into question. Bur­ p r o v e n a n c e : Church of the Praemon- chard doubted their authenticity, and stratensian Abbey of St. Michael, Ant­ Renger recently expressed the view that werp; L.C. Coders, Amsterdam; purcha­ they were not Rubens’s work. The por­ sed from the former by Hans West (1758— trait of the man with the same features as 1811), Consul of Denmark in Brussels in the painting at Munich must thus be between 1802 and 1805; purchased with regarded as a derivation of the latter. It the West Collection, in 1809. is curious that the features of the man in the Munich portrait also appear in the so- copy: Painting, Copenhagen, Adam Pas- called ‘Lansquenet with his Sweetheart’, dat­ ler; canvas, 120 x 102 cm. ing from the 1630s, in the Palazzo Bianco e x h i b i t e d : London, 192], N0.132. Restau- in Genoa.5 reringsbilleder, Statens Museum for Kunst, It may be wondered if originally the Copenhagen, 1984, N0.19 (repr,). present portrait did not have a companion piece. For there is a nineteenth-century l i t e r a t u r e : A.Sanderus, Chorographia lithograph by Gaetano Silvani (Fig.238) SacraBrabantiae, I [second ed.], The Hague, which, according to the caption, is after a 1726, p.121; Ph.Skippon, An Account of a portrait by Rubens (P.P.Rubens pinx). Journey made thro’ Part o f the Low-Countries, This man, shown to bust-length and Germany, Italy and France [1663], in Chur­

204 CA TALOGUE NO. I6l chill, A Collection of Voyages and Travels, backcloth. O11 the right are his insignia VI, London, 1732; De Wit, Kerken, p.150; of office: a mitre and a gold and silver Mensaert, Peintre, I, p.256; D escam ps, crozier with representations of the Virgin Voyage, p.172; Michel, Histoire, pp.82-83; and St Michael, the abbey’s patron saint. [H.West], Raisonneret Catalog over Consul His identity is established by the arms in West’s Sämling af Malerier ... udgivet af the upper left corner: three bends gules hem selv, Copenhagen, 1807, pp.141-144, and a red rose on a silver background with N0.78; V.G. van Grimbergen, Historische the motto OMNIBVS OMNIA.3 Roger Fry levensbeschrijving van P.P. Ridons, Rotter­ in 1927 wrongly questioned the authentic­ dam, 1840, p.393; C.Justi, Velasquez und ity of this escutcheon. sein Jahrhundert, II, Bonn, 1888, p.187; Before the French Revolution, this por­ Rooses, IV, pp.285-286, N0.1081 ; K.d.K., ed. trait at first hung above the abbot’s tomb R osenberg, p.310; Dillon, Rubens, pp.174, in the choir of the abbey church, where it 214, pl. CCCXXVII ; K .d .K ., p.276; P. Hertz, is first described in the second edition of ‘Den Kongelige Malerisamlings Tilbli- Antonius Sanderus’s Chorographia Sacra velse’, Kunstmuseets Aarsskrift, 1921-23, Brabantiae;4 it was suspended egainst a pp.384, 387 (repr.) ; [T. Borenius], in C on ­ pillar to the right of the Adoration o f the way, Memorial Volume, p. 57, No. 132, M a g i.5 Later, at an unknown date, it was pl.LXI ; Fry, Flemish Art, pp. 142-143 (repr.) ; removed from the choir to another part Royal Museum of Fine Arts. Catalogue of of the abbey.6 Stylistically it can be assig­ Old Foreign Paintings, Copenhagen, 1951, ned to about the same date as the high pp.272-273 (repr.), N0.613. altar painting. It represents the transi­ tional style which began to appear in Rubens’s work in those years: the bold, sculptural effect is still present, as it had Mattheus Gorissen van Eersel, known as been since about 1612, but at the same Yrsselius (Eersel, 1541-Antwerp, 1629), time a freer, livelier touch is observable, was a Premonstratensian who became especially in details and in the treatment abbot of Sint-Michiels in Antwerp in 1614 of material. Against this background we and remained in that office till his death. may interpret the story first found in the It was his special endeavour to restore the eighteenth century, particularly in Men- splendour of the abbey, which suffered saert and Michel, that Rubens painted the severely from religious disturbances, war­ abbot’s portrait as a makeweight because like operations and a major fire in 1620.' the latter found the Adoration too expen­ Perhaps his most important single act sive.7 This is without doubt a typical for this purpose was to commission from eighteenth-century invention, but in view Rubens, in 1624, the Adoration o f the Magi of the stylistic resemblance it seems very which adorned the high altar until the likely that the two works were painted abbey was closed during the French Revo­ at about the same time. Moreover there lution, and is now in the Royal Museum seems to me to be a thematic connection. of Fine Arts in Antwerp.2 It is noticeable that Yrsselius is not de­ The abbot is shown to knee-length in an picted in front of a crucifix, as is common attitude of prayer, with folded hands. He in votive paintings, but is shown in is in three-quarter view, which gives a prayer; the object of his devotion is sculptural effect against the uniform red invisible to us, being outside the picture

205 CATALOGUE NO. l6l to the right. He is in fact in the traditional 1. tor the biographical facts about Yrsselius, see G r a f­ attitude of a donor on one panel of a en Gedenkschriften, IV, pp.LIII-LlV. 2. K .d .K ., p .277. retable. I would suggest as a hypothesis 3. Cf. Graf- en Gedenkschriften, IV, pp.ii, 4t. that he is addressing his prayers to the 4. ‘Pendet etiam in choro supra tumulum Matthaei Christ Child in the painting of the A d o ra ­ Abbatis, Imago ejusdem non impare elegantia a praefato Rubenio depicta' (i.e. Rubens's A d o r a tio n tion above the high altar. In other words, o f the Magi). the portrait is to be regarded not only as 5. The oldest description of the original place of the part of the abbot’s funeral monument portrait is given by De Wit (toc. cit.): ‘Naest desen but also as a representation of the donor autaer [i.e. the main altar with the Adoration of the Magi] aan de Rechterhandt, hanght een Epitaph of the altarpiece. A seventeenth-century van eenen Abt deser Abdye, waer in zyn portret, donor who wished to be commemorated seer schoon door Rubens geschildert'. in this traditional way was faced with 6. This is m ade clear by François M ols, in his com m ent from 1774, on De Wit's manuscript from c.1748 some difficulty by changes that had taken (see De W it, Kerken, p .150). place in the liturgical and artistic fields. 7. ‘L’abbé ... voulut avoir diminution du prix, ce que On the one hand, the Counter-Reforma­ le Peintre ne voulut pas entendre, mais par l’amitié tion directives as codified by the Mechlin spéciale qui régnoit entre lui fié Mr. l’Abbé, il s’offrit de lui donner son portrait pour un surplus, Synod of 1607 prohibited the depiction ce qui fut accepté fié exécuté...’ (Michel, Histoire, of living persons on the centre panel of an p.82, wrongly identifying the abbot as Christosto- altarpiece, whether as donors or in the mus van der Sterre, Yrsselius’s successor). The exact documents applying to Rubens’s painting for the guise of accessory figures;8 and on the high altar were found and interpreted by V.C. Van other hand, the portico altar for which G rem bergen, in 1840 (o p . c it., p .392): the strange the A doration was intended did not afford story of the abbot’s portrait is not mentioned there. any panel space suitable for such a por­ 8. Cf. A.Monballieu, 'Het probleem van het “por­ tret” bij Rubens’ altaarstukken', Gentse Bijdragen trait. tot de Kunstgeschiedenis, XXIV, 1976-78, pp.159-168.

‘Amicitia etiam post mortem durans’, woodcut

206 ILLUSTRATIONS i i. After Rubens, Albert, Archduke of Austria, on Horseback (N o.58). V ad u z, Prince o f Liechtenstein 2. After Rubens, Albert, Archduke o f Austria, on Horseback (N o.58). 3. Jan Brueghel the Elder, The Allegory o f Sight (detail). Whereabouts unknown Madrid, Prado 4. Workshop of Rubens, The Riding School. Formerly Berlin, Kaiser-Friedrich-Museum, now lost 5- ?G.de Crayer, Albert, Archduke of Austria (N o.59). 6. G.de Crayer, Albert, Archduke of Austria. Norfolk, Virginia, The Chrysler Museum Sào Paulo, Museo de Bellas Artes AwT*iÆ ARCUI ÔVCI, RyKCVLUXA. i>' JJK.INCIPi L i' Ti r. mino Bf.lgarvm. I'm nu«/ Millier .Viiilj’t'.r Jçi-.Vfiim «-ij;o 1).0 ' E r ti.i'./tfii' t'etn 11-'iii 'l\Kt>.iin 'Jl^.vrain »r.i l’iaorts - - - l ’J J i - C - Jf i

7. J. M uller, Albert, Archduke of Austria, engraving (N0.60) 8. J. M u ller, Isabella, Infanta o f Spain, engrav ing (No.61) 9. After Rubens, Albert, Archduke of Austria (N0.60). 10. After Rubens, Isabella, Infanta o f Spain (N0.61). London, National Gallery London, National Gallery ii. ?Rubens, Albert, Archduke o f Austria (N o.62). 12. 'Rubens, Albert, Archduke o f Austria (N0.63). Whereabouts unknown Whereabouts unknown 13- G. de C ra y e r, Alben, Archduke of Austria CN0.64). I4. G. de C rayer, Isabella, Infanta o f Spain (N0.65). Vkhorp, Earl Spencer Norfolk, Virginia, The Chrysler Museum 15- J.S uyd erhoef, Isabella, Infanta o f Spain, 16. ?P.Soutm an , Isabella, Infanta of Spain, drawing (No.65a). engraving (No.65a) Windsor Castle, Collection of H.M. the Queen i8. Workshop of Rubens and Jan Brueghel the Elder, Isabella, Infanta o f Spain (No.67). Madrid, Prado 19- R ubens, Albert, Archduke of Austria (N0.70). Castagnola, Coll. Bcntinck-Thyssen 20. R uben s, Albert, Archduke of Austria (No.68). Vienna, Kunsthistorisches Museum 2 1 . R ubens, Isabella, Infanta of Spain (No.69). Vienna, Kunsthistorisches Museum 22. ?Rubens, Alethea Talbot, Countess o f A r u n d e l (N0.71). 23. D.Mytens, Alethea Talbot, Countess o f Arundel. Barcelona, Museo de Arte de Cataluna The Duke of Norfolk 24. R uben s, Alethea Talbot, Countess o f Arundel, and her Train (No.72). Munich, Alte Pinakothek 25- Detail of Fig.24 26. D etail o f fig.24 27. Detail of Fig.24 P r H u i ' n j . ^ n t t

28. Rubens, Robin the Dwarf, drawing (No.72a). Stockholm, Nationalmuseum 29- Detail of Fig.24

i i .■•.-.'•.if/, // .A.. . * - ■ v roun^:.*iV?^rt* ) jÏTu .50. W .D elff, Dudley Carleton , .? W _ 'A • -iv r r ij*/ <--*•* .*.*> j'T ySv.\ j/'r. r O i• \\ 0 ? y. 5 c iV /*■ . •A,v*itV) v-.^nywsvj wm** . n ’n jA u n l.i. engraving (in reverse) r? i \ 33- N.Lauwers, M arcellianus de Barea, 34. N .L au w ers, Heliodorus de Barea, engraving (N0.74) engraving (No.73) Ill

35. X -radiograph o f Fig.36 36. Rubens, Isabella lirant (No.75). Cleveland, Ohio, The Cleveland Museum of Art 37- A. van Dyck, Isabella Brant. Washington, National Gallery of Art

39- ?Rubens, Isabella Brant (N0.77). Hamburg, Margret Köscr 40. D etail o f Fig.41 41. Rubens, Isabella Brant (N0.76). Florence, Dffizi 42. R ubens, Jan Brant the Ycunger (No.78). Munich, Alte Pinakothek 43- Detail of Fig.42 44- Detail of Fig.42 45- A . van D yck, Jan Brueglwl the Elder, etchin g 40. Rubens, /mi ]ir neghel the Flder and his Family (N o.79). London, Courtauld Insuline Galleries, Princes Gate Collection \

47- Detail of Fig.46 4K. Detail of Fig.46 49- Detail of Fig.46 50. D etail o f Fig.46 r

51. Workshop of Rubens, George Villiers, Duke o f Buckingham 52. R ubens, George Villiers, Duke of Buckingham, d ra w in g (No.80). Florence, Palazzo Pitti (N o.80a). V ie n n a , Vlbertina 53. R ubens, George Villiers, Duke of Buckingham, on Horseback (N0.81). Formerly Osterley Park, The Earl of Jersey, now lost 54- R ubens, George Villiers, Duke of Buckingham, on Horseback, oil sketch (No.8ia). Fort Worth, Texas, The Kimbell Art Museum 55- L. V o rsterm an , Charles de Longueval, Count of Bucquoy, 56. R uben s, Charles de Longueval, Count of Bucquoy, oil sketch (N o.82a). engraving (No.82) Leningrad, Hermitage 58. L. V o rsterm an , Charles de Longueval, Count ofBucquoy, 57- E. Sadeler, Charles de Longueval, Count of Bucquoy, en gravin g d raw in g (N o.82). Lon don, British M useum 59- R ubens, Rogier Clarisse (N0.84). San Francisco, California, The M .H.de Young Memorial Muséum óo. Rubens, Sara lireyll (No.85). San Francisco, California, The M.H. de Young Memorial Museum 6i. Detail of Fig.59 62. D etail o f Fig.59 63. Rubens, Charlotte-Marguerite de Montmorency, Princess of Condé (N o.86). Pittsburg, Pennsylvania, The Frick 'Vrt Museum o4. French i8ih-century painter, Charlotte-Marguerite de Montmorency, Princess o f Condé. Chantillv, Musée Condé

65. Frans Francken the Younger, Ball at the Court of Albert and Isabella. The Hague, Mauritshuis 66. ?Rubens,jM)i de la Court (No.87). Whereabouts unknown óv.Jean de la Court, drawing (No.8^). Antwerp, Stadsarchief

71. Rubens, Anllwny van Dyck (N o.9 0 ). Windsor Castle, Collection of H.M. the Queen %

.

i n '

72. Rubens, Ferdinand, Cardinal Infante of Spain (N0.91). 73. Rubens and Workshop, Ferdinand, Cardinal Infante of Spain (N0.92). Hamburg, Margret Köser Sarasota, Florida, The John and Mable Ringling Museum of -\rt 74- D etail o f Fig.76 75. Detail of Fig.77 76. R ubens, ubens, R 76. N.3. di, a o rad P adrid, M (N0.93). •0 nand, nal ante of n, k c a b e s r o H n o , in a p S f o e t n fa n I l a in d r a C , d n a in d r e F

77. R ubens, ubens, R 77. i sec (o9a. toi, Detoi Isiue Arts A f o Institute it tro e D e h T it, etro D (No.93a). sketch oil nand, nal ante of n, , k c a b e s r o H n o , in a p S f o e t n fa n I l a in d r a C , d n a in d r e F

78. ’Rubens, Ferdinand, Cardinal Infante o f Spain, on Horseback (No.93b). Saarbrücken, Private Collection 8i. Rubens, Buttle Scene. Antwerp, Rubenshuis 82. ’ Rubens, F e r d in a n d , Cardinal In fante o f Spam (N0.93C). New York, Metropolitan Museum of Art

83. ’ R ubens, F erd in a n d , Cardinal Infante of Spain (N0.94). Berlin (DDR), Bode Museum 84. R ubens, Hélène Foiirment (N0.95). Munich, Alte Pinakothek 85. Rubens, Hélène Foarment (No.96). Munich, Alte Pinakothek 86. R ubens, Hélène Fourment, d raw in g (N o .q6;i ). Rotterdam, Museum Boymans-van Bcuningen 87. ? Rubens, H élène Foiirment (No.yftb). Amsterdam, Rijksmuseum 88. R ubens, Hélène Fourment in a Fur Coat (‘Het Pelsken’) (N0.97). Vienna, Kunsthistorisches Museum 90. V e n u s . Whereabouts unknown 91. V e n u s . Formerly Potsdam-Sanssouci, Bildergalerie, now lost

94- Rubens, Frans Rubens, drawing (No.98a). Dresden, Kupferstichkabinett

95. After Rubens, Frans Rubens, drawing (No.98a). London, British Museum 9à. D e Li il o f l'ig.97 97- R ubens, Hélène Foiirment with her children Clara-Johanna and Frans Rubens (N0.99). Paris, Louvre IJK. Rubens, Isnbellti-Helenti Rubens, drawing (No.99a). Paris, Cabinet des Dessins du Musée du Louvre 99- After Rubens, Frans Rubens, drawing (No.99b). loo. After Rubens, Frans Rubens, counterproof of drawing Rotterdam, Museum Boymans-van Beuningen (No.99b). Rotterdam, Museum Boymans-van Beuningen loi. jVr.Cosway, Hélène Fourment with Frans Rubens, 102. R uben s, Frans Rubens, drawing (No.99c). engraving (No.99b) London, The Duke of Sutherland 103. Rubens, Hélène Fourment with Frans Rubens (No.ioo). Paris, Louvre

105- R uben s, Hélène Foiirment, drawing (No.iooa). io6. Rubens, Hélène Foiirment, drawing (No.ioob). London, Courtauld Institute Galleries, Princes Gate Collection Vienna, Albertina 107. Rubens, Drapery Study, d raw in g (No. 100c). 108. ’ Rubens, Hélène Tourment as St Barbara (No.iood). Vienna, Albertina Potsdam-Sanssouci, Bildergalerie 109- R ubens, Susanna Fourment (No.ioi). Brussels, Private Collection no. Rubens, Sitçfltmti Fourment (N o.102). London, N ational G allery m . Detail of Fig.no in . Detail of Fig.iio 113. Rubens, Suçaniui I'oiirment, drawing (No.102a). Vienna, Albertina 114- After Rubens, A Member of the Fourment Family (No.iu4L Paris, Louvre

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f 115. Rubens, A Member of the Fourment Family, d raw in g (No. 104a). I f f Rotterdam, Museum I ft Boymans-van Beuningen i i 6. R u ben s, Frans Francken the Elder (N o. 105). 117. After Rubens, Frans Francken the Elder (No.105). Montpellier, Musée Fabre New York, Metropolitan Museum of Art ii8. Detail of Fig.iiô 119. A. van Dyck, Frans Francken the Elder, etch in g 120. ’ C. de V o s , J a n G e v a r tiu s , Turnhout, Museum Taxandria 121. P. Pontius, Jan-Gaspar Gevartius, engrar ing (N0.106) 122. Rubens, Jan-Gaspar Gevartius (N0.106). Antwerp, Koninklijk Museum voor Schone Kunsten 123. Rubens, Peter van Hecke (?) (No.107). Whereabouts unknown 124. Rubens, Clara Fournient (?) (N0.108). W h e re a b o u ts u n kn ow n 125- ?Rubens, Peter van Hecke (?) (No.107). Whereabouts unknown 126. ’Rubens, Clara Fourment (?) (No. 108). W h e re a b o u ts u nkn ow n 127- R ubens, Peter van Hecke (?), draw in g (N o .io ja ). London, British Museum 128. R ubens, Isabella, Infanta of Spain, in the Habit of a Poor Clare (No. 109). Whereabouts unknown 129. ?Rubens, Isabella, Infanta of Spain, in the Habit of a Poor Clare 130. ?Rubens, Isabella, Infanta o f Spain, in the Habit of a Poor Clare (No.no). Whereabouts unknown (N o.in). Pasadena, California, Norton Simon Inc. Museum of Art WLADISLÄV5 SIGISMVNDVS D.G.POLONIÆ ET SVECIÆ PRINCEPS ELECT. MAGN. DVX MOSCOVIÆ SMOL.SEVER. CFRD. DVX.

131. P. Pontius, Isabella, Infanta of Spain, in the Habit of a Poor Clare, 132. P.Pontius, Ladislas-Sigismund, Prince of Poland, engraving (No. 112) engraving (No. 113) 133- Workshop of Rubens, Ladislas-Sigismund, Prince of Poland (No.113). New York, Metropolitan Museum of Art V*

134- ?Rubens, Ladislas-Sigismiind, Prince o f Poland, on Horseback (No.114). Cracow, Wawel Castle, State Collection of Art 135- R ubens, Don Diego Messia, Marquis ofLeganés (No.113). Whereabouts unknown 136. D etail o f Fig.135 137- R ubens, D o n D ieg o Messirt, Marquis ofLeganés, drawing (No.115a). Vienna, Albertina 139- TRubcns, Jan van tier Linden (No.116). Schoten (Antwerp), Baron Bracht 140. Rubens, Peter Paul Rubens, Philip Rubens, Justus Lipsius and Johannes W overius (‘The Four Philosophers’) (No.117). Florence, Palazzo Pitti 141. A. van Dyck, Frederik van Martselaer. Dublin, National Gallery' of Ireland

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142. ?A van Dyck, Frederik van Martselaer 143. A.B.de Quertenmont, (No.119). Baroda, India, Baroda Museum Frederik van Martselaer, and Picture Gallery etching (No.119) 5. D . T en iers the Youn ger, The Picture-Gallery of Archduke Leopold-Wilhelm. Schleissheim, Neues Schloss 146- ?Riibciis, Maximilian, Archduke of Austria (N o .122). W h ereab ou ts un kn ow n 147- R u ben s, Jan van Montfort (N o .123). 148. A. van Dyck, Jan van Montfort. London, Courtauld Institute Galleries, Princes Gate Collection Vienna, Kunsthistorisches Museum 150. Detail of Fig.147

’»I 149. X-radiograph of Fig.147 151. E.Quellinus che Younger, Ludovicus Nonnius (No.124). Antwerp, Museum Plandn-Moretus

153- After Rubens, Michael Ophovius (No.125). Brussels, G.Dulière 154. Detail of Fig.155 155- Rubens, Michael Ophovnis (N o .126). 156. W o rk s h o p o f Rubens, Michael Ophovius (N o .126) The Hague, Mauri tshuis Antwerp, Rubenshuis 157- Rubens, Michael Ophovius, drawing (No.i2~a). 158. After Rubens, Michael Ophovius, drawing (No. 127a). Paris, Cabinet des Dessins du Musée du Louvre Rotterdam, Museum Boymans-van Beuningen 159- After Rubens, Michael Ophovius (No. 127). 160. Rubens, Petrus Pecquius (No.128). Fareham, Hampshire, ’s-Hertogenbosch, Episcopal Palace Southwick House, Mrs H. F. P. Borthwick-Norton iói. Rubens, Nicolaas de Respaigne (No.129). Kassei, Staatliche Gemäldegalerie 162. Rubens, Gaspar Rinckens (?) (No. 130). Rotterdam, Museum Boymans-van Beuningen 163. Gaspar Rinckens, drawing. Antwerp, Stadsarchief 164. Gaspar Rinckens, Leningrad, Hermitage 165. Rubens, Antonius de Roore (No.132). Whereabouts unknown 166. Rubens, Antonins de Roore, before the clean in g o f 1966 (N o .132) l ó j . 'R u b en s, Peter Paul Rubens (No.133). Whereabouts unknown 168. Rubens, Peter Paul Rubens (N0.134). Florence, Uffizi 169. D etail o f Fig.140 170. D etail o f F ig.168 171. R ubens, Peter Paul Rubens (N0.135). Windsor Castle, Collection of H.M. the Queen 172. Workshop of Rubens, Peter Paul Rubens 173. W orksh o p o f R ubens, P e te r P a u l Rubens (N0.135I Canberra, National Gallery of Australia (No.135). Florence, Uffizi

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174. F- Pontius, Reter Paul Rubens, 175. W.Panneeis, Peter Paul Rubens, en gravin g (No. 13 5) etching (No. 136) 176. Detail of Fig.i71 177- D etail o f Fig. 178 178. Rubens, Peter Paul Rubens (No.136). Antwerp, Rubenshuis 179. R ubens, Peter Paul Rubens (No. 137)- Vienna, Kunsthistorisches M u seu m i8o. Detail of Fig. 179 i8i. Rubens, Peter Paul Rubens, drawing (No.137b). Windsor Castle, Collection of H. M. the Queen

182. Rubens, Peter Paul Rubens, drawing (No.137a). Paris, Cabinet des Dessins du Musée du Louvre % ' K

183. Detail of Fig.179 184- Rubens, Pt'ter Paul Rubens and Isabella Brant in the Honeysuckle Bower ("No.138). M unich, A lte Pin akoth ek 185. Detail of Fig.184 186. D etail o f Fig.184 i 8 7. Detail of Fig.184 188. D etail o f Fig.184 189. A . W atteau , Peler Paul Rubens, cou n terp roo f o f draw in g (No. 138a). New York, Mr and Mrs Eugène V.Thaw

190. R ubens, Peter Paul Rubens, Hélène Fourment and Nicolaas Rubens, drawing (No. 139a). London, British Museum mi. Rubens, An Old Woman in two Views, drawing (No.139b). Berlin, Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett 192. Rubens, Peter Paul Rubens, Hélène Fourment and Kicolaas Rubens ('The Walk in the Qarden ') (N0.139). M unich, A lte Pinakothek 193- Detail of Fig.192 194- R ubens, Peter Paul Rubens and Hélène Foiirment, with Nicolaas and Clara-Johanna Rubens, oil sketch (No. 140). Philadelphia, Philadelphia Museum of Art. John G. Johnson Collection #

195. Rubens, Peter ftm/ Rubens, Hélène Fourment mul Clara-Johanna Rubens (No. 141). New York, Metropolitan Museum of Art 196. Detail of Fig.195 197. X-radiograph of Fig.195 198. ’Rubens, Hélène Foiirment (No.141b). 199. ’Rubens, Hélène Fourment (No.141c). Whereabouts unknown The Hague, Schilderijenzaal Prins W illem V 200. R ubens, Alben und Nicolaas Rubens (No.142). Vaduz, Prince of Liechtenstein

202. W o rk sh o p o f R ubens, Albert and Xicolaas Rubens 203. R ubens, Albert Rubens, drawing (No.142a). (No.142). Dresden, Gemäldegalerie Whereabouts unknown mm

204. R ubens, Nicolaus Rubens, drawing (No. 142b). 205. Rubens, Nicolaas Rubens with a Felt Cap, d raw in g (No. 143). Vienna, Albertina Vienna, Albertina 206 . R ubens, Philip Rubens (No.144). Detroit, The Detroit Institute of Arts 207. C . G alle, Philip Rubens, engraving (No. 144; 208. ?Rubcns, A b e l S o cin (No. 14e). 209. Abel Socin. Whereabouts unknown Norfolk, Virginia, The Chrysler Museum tandem. 4:‘Frdp. (jener alis Car m. d ij calc ■ ohyt^Vieiuve ^Aurtria ïi.'T eb. O.' J 6 3 0 . (ttn . 72.

210. R. Collin, Domingo Ruççola, engraving (No. 145) 211. After Rubens, Domingo Ru^ola (No.145). W here abouts unknown 212. Rubens, Domingo Ru^ola (No.145). London, Mr and Mrs E.Verdon-Lee • . a SnMVS ET ILXL>1—£-yi lU o iM K ) rT u r L L r i A.v\tivXiAHîtVlRJNVS I0 VES AVlill VU.LEFC5, . K iC l U ATW OU CO A COmSlUU STKTVS £T fctL U MIUMO CT A M » R1GJJ in BCL4IO »f.tnrrvj. dp »3 c xv

213- After Rubens, Ambrogio Spinola (No. 147). 214. J. M u ller, Ambrogio Spinola , engraving n •.-ii I -X T— ^ T-i i - - i - A-V-1 1 ------215- Rubens, Ambrogio Spinola (No. 148). 216. Rubens, Ambrogio Spinola (No. 14g). Prague, Narodni Galerie Brunswick, Herzog Anton Ulrich-Museum 217. Rubens, Ambrogio Spinola (No. 150). St Louis, C ity A r t M useum

220. Rubens, Hendrik van Thulden (N0.152). Munich, Alte Pinakothek 221. Rubens, Hendrik van 'Huilden (No.152a). London, British Museum 222. ’ Rubens, Hendrik van Tlndden (No. 153). Whereabouts unknown

223. Interior View o f St Joriskerk. Antwerp, Sint-Joriskerk I vi 'y

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224. Workshop of Rubens, Nicolas Trigault 225. Workshop of Rubens, Petrus de Spira (N0.154). Douai, Musée de la Chartreuse (No.i55). Douai, Musée de la Chartreuse

226. Rubens, Studies for a Religious Allegory (?), oil sketch. Bayonne, Musée Bonnat 227- R ubens, Nicolas Trigault (?), draw ing 228. W . B aillie, Nicolas Trigault (?), (No.i54b). Maryland, USA, Private Collection mezzotint engraving (No.154c)

229. Rubens, Nicolas Trigault (?), draw in g 230. R ubens, Nicolas Trigault (?), draw in g (No.154c). Whereabouts unknown (No.i54d). New York, Pierpont Morgan Library 231. Rubens, Nicolas Trigaiilt (?), draw ing (No.154a)- S tockh olm , N atio n alm u seu m 232. Rubens, Jan Vermoeien. (No.156). Vaduz, Prince of Liechtenstein 233- D etail o f Fig.232 234- R u ben s, Jan W ildens (No. 157). W hereabouts unknown 235. Fig.234, before restoration (N0.157) 237. C. G alle, Frans van de Womver, proof-state of engraving, retouched by Rubens (No. 159a). Paris, Bibliothèque Nationale 236. P. Pontius, fan IVildens, en g ra vin g 238. G. Silvani, A Member of the Vati den W ijngaerd Family, 239. Rubens, A Member of the Van den Wijngaerd Family (N o .160). lith og rap h Munich, Alte Pinakothek 240-241. After Rubens, Two members of the Van den Wijngaerd Family in canon’s dress (N o.160). Petworth, Lord Leconfield 242. Rubens, Matthaeus Yrsseliiis (N0.161). Copenhagen, Statens Museum for Kunst SOURCES OF PHOTOGRAPHS AND INDEXES SOURCES OF PHOTOGRAPHS

H.M. the Queen: Fig. 181 London, A.C.Cooper: Figs.12, 23, 31, 47-50, 53, Althorp, The Earl Spencer: Fig. 13 71, 82, 102, 129, 160, 172, 176 Amsterdam, Fotocommissie Rijksmuseum: London, Courtauld Institute Galleries: Figs.147, F ig.87 149 Amsterdam, Gemeentemusea: Fig.45 London, J.Freeman: Figs.16, 30 A n tw e rp , J. D e M ae y e r: Figs. 17, 18 London, National Gallery: Figs.9, 10, 85, 110-112, Antwerp, Rubenianum: Figs.2, 4, 5, 6, 11, 14, 152, 200, 201 15, 39 , 43 , 44 , 46 , 55 , 66-69, 7o, 74, 74 , 78, 81, London, S.Newbery: Figs. 165, 227 90, 91, 93, 98, lo i, 105, 108, 121, 125, 126, 128, London, H.J.Orgler: Fig.229 131, 132, 135, 136, 138, 139, 142, 146, 150, 151, London, Royal Academy: Fig.116 156, 157, 159, 162, 163, 166, 167, 169-171, 174, Madrid, Museo del Prado: Figs.3, 76 175, 177, 178, 189, 193, 198, 203, 208-213, 2,18, Munich, Bayerische Staatsgemaldesammlungen : 222, 228, 234, 240, 241, 111. p.206 Figs.24-27, 29, 42, 84, 92, 145, 184-188, 192, Antwerp, ’t Felt: Fig.207 220, 239 Barcelona, Mas: Fig.22 New York, Metropolitan Museum of Art: Berlin, Staatliche Museen Preussischer Kultur- Figs.117, 133, 195-197, 135 besitz: Fig. 191 New York, Pierpont Morgan Library: Fig.230 Berlin (DDR), Staatliche Museen: Fig.83 Nîmes, Musée des Beaux-Arts: Fig.32 Brunswick, Herzog Anton-Ulrich Museum: Paris, Archives Photographiques: Figs.97, 119, Fig.216 123, 124 Brussels, A .C .L.: Figs.120, 122, 153, 223 Paris, Bibliothèque Nationale: Fig.237 Brussels, Bibliothèque Royale: Fig.236 Paris, B u llo z: Figs.96, 226 Brussels, Speltdoorn: Fig.109 Paris, Giraudon: Fig.118 Cleveland, The Cleveland Museum of Art : Paris, Réunion des Musées Nationaux: Figs. 103, Figs.35, 36 104, 114, 182 Copenhagen, Statens Museum for Kunst: Fig.242 Pasadena, Norton Simon Inc. Museum of Art: Cracow, W awel Castle: Fig.134 Fig.130 Détroit, The Détroit Institute of Arts: Figs.75, Philadelphia, John G.Johnson Collection: 77, 79, 80, 206 Fig. 194 Douai, Musée de la Chartreuse: Figs.224, 225 Pittsburgh, Frick Art Museum: Fig.63 Dresden, Staatliche Kunstsammlungen : Figs.94, Prague, Nârodni Galerie: Fig.215 202 Rome, Anderson: Fig.140 Dublin, National Gallery of Ireland: Fig. 141 Rotterdam, Museum Boymans-van Beuningen: Düsseldorf, Kunstmuseum: Fig. 19 Figs.99, 100 Florence, Alinari: Figs.51, 173 San Francisco, M.H. de Young Memorial Florence, B rogi: Figs.40, 41, 168 Museum: Figs.59-62 Fort Worth, The Kimbell Art Museum: Fig.54 Sarasota, The Ringling Museum of Art: The Hague, Dingjan: Fig.154 F ig.73 T h e H ague, A .F re q u in : Figs.28, 65, 86, 115, 155, Schaan, W . W a ch ter: F igs.i, 232, 233 158 St Louis, City Art Museum: Fig.217 The Hague, Dienst Verspreide Rijkskollecties: Stockholm, Nationalmuseum: Fig.231 Fig. 199 V ien n a, A lb e rtin a : Figs.33, 34, 52, 57, 113, 143, The Hague, Rijksbureau voor Kunsthistorische 214 Documentatie: Fig.238 Vienna, Kunsthistorisches Museum: Figs.88, 89, Kassei, Staatliche Kunstsammlungen: Fig. 161 144, 148, 179, 180, 183 Leningrad, Hermitage: Figs.56, 164 Vienna, W olfrum : Figs.20, 21 L o n do n , B ritish M u se u m : Figs.38, 58, 95, 127, Warsaw, University Library: Fig.219 190, 221 Washington, National Gallery of Art: Fig.37 370 Index I: Collections

This index lists ail extant paintings, oil sketches and drawings, as w ell as a retouched proof State of an engraving, catalogued in the present volume. Copies have also been included. The works are listed alphabetically according to place. References to the number of the catalogue entries are given in bold, followed by copy numbers where relevant, then by page references and finally by figure numbers in italics.

ALTHORP HOUSE, EARL SPENCER George Villiers, Duke of Buckingham, on Horse- G. de Crayer, painting after Rubens: back, N 0 .8 1, cop y; 64 Albert, Archduke of Austria, No.64, copy 2; 40-41; fi g. 13 ANTWERP, STADSARCHIEF Anonymous, drawing after Rubens (?): AMSTERDAM, RIJKSMUSEUM Jean de la Court (?)Rubens Hélène Fourment, N 0 .9 6 b ; 88, 90-91; fig.Sy BARCELONA, MUSEO DE ARTE DE CATALUNA (?) R ubens, pain tin g: ANTWERP, MRS BOUDRY Alethea Talbot, Countess of Arundel, N o .7 1; Anonymous, paintings after Rubens: 47-48 ; fig.22 Albert, Archduke of Austria, No.64, copy 3 ; 40 Isabella, Infanta of Spain, N o.65, copy 3 ; 41 BARCELONA, PRIVATE COLLECTION Rubens, painting: ANTWERP, KONINKLIJK MUSEUM VOOR Heliodorus de Barea, N o .73; 52-54 ; jig.y 1 SCHONE KUNSTEN Anonymous, painting after Rubens: Rubens, painting: Peter Paul Rubens, N o.134, copy 1; 151 Jan-Gaspar Gevartius, N o.106; 26, 113-116, 138; fig.122 BARODA, INDIA., BARODA MUSEUM AND N. de Keyser, drawing after Rubens: PICTURE GALLERY Albert and Nicolaas Rubens, N o.142, copy 4; (?) A . van D y c k , p ain tin g: 175-176 Frederik van Martselaer, N0.Ï19; 133-134;

ANTWERP, MUSEUM PLANTIN-MORETUS fig -H i E.Quellinus II, painting after Rubens: BERLIN-DAHLEM, STAATLICHE MUSEEN Ludovicus Nonnius, N0.124, copy; 137-139; PREUSSISCHER KULTURBESITZ, KUPFERSTICH- fig -H i KABINETT (?) T. W illeboirts Bosschaert, painting after Rubens, drawing: R u ben s : An Old Woman in two Views, N o .13 9 b ; Jan-Gaspar Gevartius, N o.106, copy 1; 168-169; fig.191 113 -114 Anonymous, drawings after Rubens: Anonymous, painting after Rubens: Alethea Talbot, Countess of Arundel and her Peter Paul Rubens, Philip Rubens, Justus Train, N o.72, copy; 48 Lipsius and Johannes Woverius (‘The Four Michael Ophovius, No.127a, copy 1; 143 Philosophers’J, N o 117 , cop y 2; 128 BERLIN (DDR), BODE MUSEUM ANTWERP, RUBENS HUIS (?) R ubens, pain tin g: Rubens, painting: Ferdinand, Cardinal Infante of Spain, N o .94; Peter Paul Rubens, N o.136; 157-159, 166, 8 lfig-S 172; figs.177, ïyS 7 3 Workshop of Rubens: BOSTON, MASS., MUSEUM OF FINE ARTS Michael Ophovius, N o. 126, copy 1; 140, 142; Anonymous, painting after Rubens: fig-H 6 Jan Brueghel the Elder and his Family, N 0 .79 , Anonymous, painting after Rubens: copy 1 ; 60 INDEX i: COLLECTIONS

BRUNSWICK, HERZOG ANTON ULRICH- CASTAGNOLA-LUGANO, VILLA FAVORITA, MUSEUM COLLECTION BENTINCK-THYSSEN Rubens, painting: Rubens, painting: Ambrogio Spinola, N o.149; 126, 185-187; Albert, Archduke of Austria, N o.70; 47; fig.19 fig.216 CLEVELAND, OHIO, THE CLEVELAND MUSEUM BRUSSELS, BARON CARTON DE WIART OF ART Anonymous, paintings after Rubens: Rubens, painting: Albert, Archduke ofAustria, N0.64, copy 4; 40 Isabella Brant, N0.75 ; 25, 54-56, 107, 109-110, Isabella, Infanta of Spain, N o .65, cop y 4; 42 112 \fg.36

BRUSSELS, G.DULIÈRE COPENHAGEN,KONGELIGE Anonymous, painting after Rubens : KOBBERSTIKSAMLING Michael Ophovins, N o.125, copy 1; 139; Anonymous, drawing after Rubens : Albert, Archduke of Austria, on Horseback, fig-173 N 0 .58 , cop y 7; 35

BRUSSELS, R. PINCK COPENHAGEN, ADAM PASLER Anonymous, painting after Rubens: Anonymous, painting after Rubens : Hélène Fourment, No.141a, copy 5; 174 Matthaeus Yrsselius, N o. 161, copy; 204

BRUSSELS, F. C. JACQUES COPENHAGEN, STATENS MUSEUM POR KUNST Anonymous, painting after Rubens: Rubens, painting: Michael Ophovius, N o . 126, copy 2; 140 Matthaeus Yrsselius, N o . 16 1; 204—206; fig .242

BRUSSELS, MUSÉES ROYAUX DES BEAUX-ARTS CRACOW, WAWEL CASTLE, STATE DE BELGIQUE COLLECTION OF ART T. van Thulden, painting after Rubens: (?) Rubens, painting: Ferdinand, Cardinal Infante of Spain, N o .93, Ladislas-Sigismund, Prince of Poland, on cop y 6 ; 82 Horseback, N o.114; 124-125; fig. 134

Anonymous, painting after Rubens: DANZIG, MUZEUM NARODOWE Petrus Pecquius, N o.128, copy 1; 144-145 Anonymous, drawing after Rubens: Hélène Fourment, N o.96, copy 6; 88-89 BRUSSELS, PRIVATE COLLECTION Rubens, painting: DETROIT, THE DETROIT INSTITUTE OF ARTS Suçanna Fourment, N0.101 ; 105-m ; fig.109 Rubens, painting: Anonymous, paintings after Rubens: Philip Rubens, N o .144; 130, 179-1S1 ; fig.206 Albert, Archduke ofAustria, N o.64, copy 5; 40 Rubens, oil sketch: Isabella, Infanta of Spain, N o .65, cop y 5; 42 Ferdinand, Cardinal Infante of Spain, on Horseback, No.93a; 31, 84-86; fig s.75, 77, BUDAPEST, SZÉPMÜVÉSZETI MUZEUM 79, <5o Anonymous, painting after Rubens: Ferdinand, Cardinal Infante of Spain, N o .91, DETROIT, PRIVATE COLLECTION copy 1 ; 80 Anonymous, painting after Rubens : Ambrogio Spinola, N o.149, copy 3; 186

CAMBRIDGE, FITZWILLIAM MUSEUM DOUAI, MUSÉE DE LA CHARTREUSE A.Watteau, drawing after Rubens: W orkshop of Rubens, paintings: Isabella Brant, N o.76, copy 10; 57 Petrus deSpira, N o.153; 191-194, 198; fig.227 Anonymous, drawing after Rubens : Nicolas Trigault, N o.154; 191-198 -, fig .224 Peter Paul Rubens, Hélène Fourment and Clara-Johanna Rubens, N o.141, copy 2; 170 DRESDEN, GEMALDEGALERIE Johannes Woverius, N o.117, copy 13; 129 Workshop of Rubens: Albert and Nicolaas Rubens, N o.142, copy 1 ; CANBERRA, NATIONAL GALLERY OP AUSTRALIA 175, 177- 178 ; fig-202 Workshop of Rubens: Anonymous, paintings after Rubens : Peter Paul Rubens, N o.135, copy 1; 153-154, Albert, Archduke of Austria, N o .64, co p y 13 ; 40 156-15 7 , 159; fig -172 Isabella, Infanta of Spain, N0.65, copy 12; 42

372 INDEX i: COLLECTIONS

DRESDEN, KUPFERSTICHKABINETT GENOA, PALAZZO DURAZZO-PALLAVICINI Rubens, drawing: Anonymous, painting after Rubens: Frans Rubens, N o.98a; 95 \fig.94 Ladislas-Sigismund, Prince ofPoland, N o .113, co p y 2 ; 123 EDINBURGH, THE NATIONAL GALLERY OP SCOTLAND CHEKT, PRIVATE COLLECTION Andrew Geddes, pastel after Rubens : Anonymous, paintings after Rubens : Suçanna Fourment, N o . 102, cop y 6; 108 Peter Paul Rubens, Philip Rubens, Justus Lipsius and Johannes Woverius ÇThe Four FAREHAM, HAMPSHIRE, SOUTHWICK HOUSE, Philosophers’), N o.117, copy 1; 128 H. F. P. BORTHWICK -NORTON Albert, Archduke of Austria, on Horseback, Rubens, painting: N o . 58 co p y 2; 35 Petrus Pecquius, N o.128; 24, 144-145;fig. 160 GÖTTINGEN, GEMALDESAMMLUNG DER FARMINGTON, CONN., THE LEWIS-WALP O LE UNIVERSITAT LIBRARY Anonymous, painting after Rubens: J.Eccardt, painting after Rubens: Peter Paid Rubens and 011e ofhis Sons, N o .136, Peter Paul Rubens, Hélène Fourment and copy 3; 158 Clara-Johanna Rubens, N o.141, copy 1; THE HAGUE, MAURITSHUIS 170 Rubens, painting: FLORENCE, PALAZZO PITTI Michael Ophovius, N o .126; 24, 139-142, 150; Rubens, painting: figs.154, 15 y Peter Paul Rubens, Philip Rubens, Justus THE HAGUE, SCHILDERIJENZAAL Lipsius and Johannes Woverius (‘The Four PRINS WILLEM V Philosophers’), N o.117; 23, 58, 128-132, (?) R u ben s, p ain tin g: 152; fi gs. 140, 169 Hélène Fourment, No.141c; 173-175; fig. 199 Workshop of Rubens, painting: George Villiers, Duke o f Buckingham, N o .80, HAMBURG, COLLECTION MARGRET KÖSER copy; 62-63; fig-51 (?) R uben s, painting: Anonymous, painting after Rubens : Isabella Brant, N o .77; 56, 58; fig .39 Isabella, Infanta o f Spain, in the Habit o f a Rubens, painting: Poor Clare, N o . n o , copy 1 ; 120 Ferdinand, Cardinal Infante of Spain, N o .91 ; 80-82; fig. 7 2 FLORENCE, UFFIZI R ubens, paintings : ’S HERTOGENBOSCH, EPISCOPAL PALACE Anonymous, painting after Rubens : Isabella Brant, N o.76; 25, 56-58, 153; Michael Ophovius, N o.127, copy 1; 142-143; figs.40-41 Peter Paul Rubens, N o.134; 151-153; figs.168, fig- M 9 170 HUNSTANTON HALL, NORFOLK Anonymous, painting after Rubens ; Anonymous, painting after Rubens: Peter Paul Rubens, N o.135, copy 2; 152-154; Ferdinand, Cardinal Infante of Spain, N o .91, fig-W 3 copy 3 ; 80

FORT WORTH, TEXAS, THE KIMBELL ART KARLOVY VARY, MÉSTKÉ MUZEUM MUSEUM Anonymous, painting after Rubens: Rubens, oil sketch: George Villiers, Duke of Buckingham, George Villiers, Duke o f Buckingham, on Horse- 011 Horseback, N o .8 ia , copy 4; 66 back, N o.8ia; 31, 66-67; fig -54 KASSEL, STAATLICHE GEMÂLDEGALERIE Rubens, painting: Rubens, painting: Anthony van Dyck, N o.89; 77-78; fig.69 Nicolaas de Respaigne, N o.129; 24, 137,

FRANKFURT AM MAIN, STADELSCHES KUNST- 145-148; fi g. 161 INSTITUT KREUZLINGEN, H. KISTERS Anonymous, painting after Rubens : (?) Rubens, painting: Frans Francken the Elder, N o . 105, co p y 3; Maximilian, Archduke of Austria, N o .122; 112 135-13 6; fig. 146 373 INDEX i: COLLECTIONS

LENINGRAD, HERMITAGE on Horseback, N0.93; 27, 65, 82-86; Rubens, oil sketch: figs-74> 76 Charles de Longueval, Count of Bucqtioy, Workshop of Rubens, paintings: No.82a; 70; fig. 56 Albert, Archduke of Austria, N0.66; 43-45; Anonymous, painting after Rubens : fig -17 Peter Paul Rubens and one o f his Sons, Isabella, Infanta o f Spain, N o.67; 43-45; N o .136, cop y 2; 158 fig. 18

LONDON, BRITISH MUSEUM Jan Brueghel the Elder, fragments of R ubens, draw ings : The Allegory of Sight, pain tin g: Isabella Brant, ~No.j$a; 29, 55-58; fig.38 Albert, Archduke of Austria, on Horseback, Peter van Hecke(è), No.107a; 118; fig. 127 N0.58, copy 1; 35-37; fig .3 Peter Paid Rubens, Hélène Fourment and Albert, Archduke of Austria, N0.64, copy 1 ; Nicolaas Rubens, No.139a; 168; fig.190 39, 41; fig -3 Hendrik van Thulden, N o .15 2 a ; 30, 190; Isabella, Infanta of Spain, N o .65, copy 1 ; 41 ; fig. 221 fig -3 Anonymous, drawing after Rubens : MARYLAND, PRIVATE COLLECTION Hélène Fourment, N0.96, copy 5; 88 Rubens, drawing: Hélène Fourment with Frans Rubens, N o . 100, Nicolas Trigault (?), N o .1 5 4 b ; 30, 193-196; copy 5; 99 fig -227 Frans Rubens, No.98a, copy; 95; fig .97 Peter Paul Rubens, N o .13 7 a , cop y 1 ; 160 MEXICO CITY, ACADEMIA DE SAN CARLOS Anonymous, painting after Rubens : LONDON, COURTAULD INSTITUTE OF ART, Jan Brueghel the Elder and his Family, N 0 .79 , PRINCES GATE COLLECTION copy 2 ; 60 Rubens, paintings:

Jan Brueghel the Elder and his Family, N o .79; MONACO, PRIVATE COLLECTION 23, 60-62, 72, 77, 201 ; figs. 46-50 Anonymous, painting after Rubens: Jan van Montfort, N o.123; 26, 126, 136-137, Isabella, Infanta of Spain, in the Habit of 147; fig s .147, 149, 150 a Poor Clare, N o . n o , co p y 3; 120 Rubens, drawing: Hélène Fourment, N o .io o a ; 101-102; fig. ïoy MONCEAU-SUR-SAMBRE,

LONDON, NATIONAL GALLERT COLLECTION HOUTART Rubens, paintings: Anonymous, painting after Rubens: Suçanna Fourment, N o .102; 25, 10 6-112; Peter Paul Rubens, Philip Rubens, Justus figs. 110-112 Lipsius and Johannes Woverius (‘The Four Ludovicus Nonnius, N o.124; 26, 137-139; Philosophers’), N 0 .1 1 7 , co p y 4; 128 fig ■ 142 MONTPELLIER, MUSÉE FABRE LONDON, MR AND MRS E.VERDON-LEE Rubens, painting: Rubens, painting: Frans Francken the Elder, N o.105 ; 112-113; Domingo Ruççola, N o.145; 181-182; fig. 212 figs. 116, 118

LONDON, THE DUKE OF SUTHERLAND MORA, SWEDEN, COLLECTION ZORN Rubens, drawing: Anonymous, painting after Rubens: Frans Rubens, N 0.99C; 30, 98; fig. 102 Hélène Fourment, N o.96, copy 2; 88 LOUVAIN, UNIVERSITY Anonymous, painting after Rubens: MUNICH, ALTE PINAKOTHEK Frederik van Martselaer, N o.119, copy 1 ; 133 Rubens, paintings: Alethea Talbot, Countess of Arundel and MADRID, BANCO URQUIJO her Train, N o.72; 48-52, 168; figs. 24, Anonymous, painting after Rubens: 27-27, 29 Michael Ophovius, N o.127, copy 2; 142 Jan Brant the Younger, N o.78; 26, 58-60, 126, MADRID, MUSEO DEL PRADO 137-138; figs. 42-44 Rubens, painting: Hélène Fourment, N0.95 ; 87-88; fig. 84 Ferdinand, Cardinal Infante of Spain, Hélène Fourment, N o.96; 88-91; fig. 87 374 INDEX i: COLLECTIONS

Hélène Fourment with Frans Rubens, N o .98; Nicolas Trigault (?), N o .i5 4 d ; 30, 193-195, 27. 93-95. 166, 170; figs.92, 93 197-198; fig. 230 Peter Paul Rubens and Isabella Brant in the NEW YORK, MR AND MRS E.V.THAW Honeysuckle Power, N o.138; 23, 162-166, AAVatteau, counterproof of drawing: 172; figs. 184-188 Peter Paul Rubens, No.138a, copy 2; fig. 189 Peter Paul Rubens, Hélène Fourment and Nicolaas Rubens ('The Walk in the Garden), NIMES, MUSÉE DES BEAUX-ARTS N o . 139; 27, 100, 158-159, 161, 165-168, Rubens, painting: 172; figs. 192, 193 Marcellianus de Barea, N0.74; 52-54; fig. 32 Hendrik van Thulden, N o .152; 24, 145, 150, NORFOLK, VIRGINIA, THE CHRYSLER MUSEUM I89-I9I, 199; fig. 220 (?) R ubens, paintings: A Member of the Van den Wijngaerd Family, Albert, Archduke of Austria, N0.59; 37; fig.y N o .160; 203-204; fig .239 Abel Socin, N o . 146; 183 ; fig. 208 MUNICH, BAYERISCHE S TAATS GEMALD E- G. de Crayer, painting after Rubens: SAMMLUNGEN Isabella, Infanta of Spain, N o.65, copy 2; Anonymous, paintings after Rubens: 41- 4 3 ; fi g-14 Ferdinand, Cardinal Infante of Spain, ORLÉANS, MUSÉE DES BEAUX-ARTS 011 Horseback, N o.93, copy 1; 82 Anonymous, painting after Rubens : Hélène Fourment with Frans Rubens, N o .io o , Albert and Nicolaas Rubens, N 0 .14 2 , co p y 1 ; 94 copy 2; 175 Petrus Pecquius, N 0 .12 8 , copy 3; 144 PARIS, BIBLIOTHÈQUE NATIONALE, NANCY, MUSÉE DES BEAUX-ARTS CABINET DES ESTAMPES Anonymous, painting after Rubens: C. Galle I, proof state of engraving, Peter Paul Rubens, Philip Rubens, Justus retouched by Rubens: Lipsius and Johannes Woverius ('The Four Frans van den Wouwer, No.159a, copy; Philosophers’), N o . 117 , copy 3; 128 2.02-203; fig. 237

NANTES, MUSÉE DES BEAUX-ARTS PARIS, MUSÉE COGNACQ-JAY Anonymous, painting after Rubens: Anonymous, painting after Rubens: Isabella Brant, N0.76, copy 3; 57 Jan-Gaspar Gevartius, N o.106, copy 2; 114

NEW HAVEN, CONN., PARIS, MUSÉE DU LOUVRE YALE UNIVERSITY ART GALLERY Rubens, paintings: Anonymous, drawing after Rubens: Hélène Fourment with Clara-Johanna and Peter Paid Rubens, Philip Rubens, Justus Frans Rubens, N 0 .9 9 ; 27, 30, 93-98; Lipsius and Johannes Woverius ('The Four figs-96, 97 Philosophers’), N o.117, copy 12; 129 Hélène Fourment with Frans Rubens, N o . 100; 27, 98-103; figs. 103, 104 NEW YORK, METROPOLITAN MUSEUM OF ART Rubens, painting: Rubens, painting: A Member o f the Fourment Family, N o . 104; Peter Paul Rubens, Hélène Fourment and 110 -112; fig. 114 Clara-Johanna Rubens, N o.141; 27, 97, 159, 161, 170-174; figs-195-197 PARIS, MUSÉE DU LOUVRE, (?) Rubens, painting: CABINET DES DESSINS Ferdinand, Cardinal Infante of Spain, N o .9 3 c ; Rubens, drawings: 82-83, 86-87; fig. 82 Michael Ophovius, No.127a; 143-144; fig. 137 Anonymous, paintings after Rubens : Isabella-Helena Rubens, No-99a; 97; fig .98 Frans Francken the Elder, N o.105, copy 2; Peter Paul Rubens, No.137a; 160-161 ; fig. 182 112 -113 ; fig .117 PASADENA, CALIF., NORTON SIMON INC. Ladislas-Sigismund, Prince of Poland, N o . 113 , MUSEUM OF ART copy 1 ; 26, 123, 125; fig . 133 Rubens and workshop : NEW YORK, THE PIERPONT MORGAN LIBRARY Isabella, Infanta o f Spain, in the Habit o f a Poor Rubens, drawing: Clare, N o.m ; 120-122; fig. 130 375 INDEX i: COLLECTIONS

PETWORTH, LORD LEÇON FIELD ROUEN,MUSÉE DES BEAUX-ARTS Anonymous, painting after Rubens: Anonymous, paintings after Rubens : A Member of t/te Van den Wijngaerd Family, Albert, Archduke of Austria, N o .64, cop y 6; 40 No.i6o, copy2; 203-204; fig. 241 Isabella, Infanta o f Spain, N o.65, copy 6; 42

PHILADELPHIA, PHILADELPHIA MUSEUM SAARBRÜ CKEN, PRIVATE COLLECTION OF ART, JOHN G. JOHNSON COLLECTION (?) R ubens, p ain tin g: R ubens, oil sketch : Ferdinand, Cardinal Infante of Spain, Peter Paul Rubens and Hélène Fourment with N o .9 3 b ; 82, 85-86; fig. yS Nicolaas and Clara-Johanna Rubens, N o . 140; SAN FRANCISCO, THE CALIFORNIA PALACE 31, 169-170; fig. 194 OF THE LEGION OF HONOR PISTOIA, PRIVATE COLLECTION Anonymous, painting after Rubens: Anonymous, painting after Rubens: Ferdinand, Cardinal Infante of Spain, Isabella Brant, N o .76, cop y 5 ; 57 N o .93, cop y 8; 83

PITTSBURGH, THE FRICK ART MUSEUM SAN FRANCISCO, THE M.H. DE YOUNG Rubens, painting: MEMORIAL MUSEUM Charlotte-Marguerite de Montmorency, Rubens, paintings: Princess of Condé, N o.86; 22, 73-75; fig-63 Sara Breyll, N o.85 ; 71-73; fig. 60 Rogier Clarisse, N o .84; 24, 71-73 ;figs. 79, 61,62 PLYMOUTH, CITY MUSEUM AND ART GALLERY Anonymous, drawing after Rubens : SANKT-PÖLTEN, PRIVATE COLLECTION Anonymous, painting after Rubens : Domingo Ruççola, N o.145, copy 3; 181 Hélène Fourment with Frans Rubens, POTSDAM- SA NSSOUCI, BILDERGALERIE N o.98, copy; 93 (?) R ubens, painting: Hélène Fourment as St Barbara, N o .io o d ; SARASOTA, FLORIDA, THE JOHN AND 103; fig. 10S MABLE RINGLING MUSEUM OF ART Rubens and workshop : PRAGUE, NÂRODNI GALERIE Ferdinand, Cardinal Infante of Spain, N o .92; Rubens, painting: 80-82; fig. 73 Ambrogio Spinola, N o.148; 184-185; fig. 213 SCHLEISSHEIM, CASTLE RICHMOND, VIRGINIA, D.Teniers the Younger, fragment of VIRGINIA MUSEUM OF FINE ARTS The Gallery of Archduke Leopold-Wilhelm, Anonymous, painting after Rubens: painting: Hélène Fourment, No.141a, copy 4; 173-174 Maximilian, Archduke of Austria, N o . 121, copy 1; 134-135 fig-H P ROME, PALAZZO ROSPIGLIOSI-PALLAVICINI Anonymous, painting after Rubens : SCHOTEN (ANTWERP), BARON BRACHT Hélène Fourment, N o.96, copy 4; 88 (?) R ubens, p ain tin g: Jan van der Linden, N o.116; 127-128; fig. 13g ROTTERDAM, MUSEUM BOYMANS-VAN BEUNINGEN SCHWERIN, STAATLICHES MUSEUM Rubens, painting: Anonymous, paintings after Rubens: Gaspar Rinckens (?), N o.130; 76, 148; fig.162 George Villiers, Duke of Buckingham, Rubens, drawings: on Horseback,JSIo. 81a, copy 1 ; 66 Hélène Fourment, N o .9 6 a ; 90 ; fig. 86 Hélène Fourment with Frans Rubens, N o . 100, A Member o f the Fourment Family, N o . 104a; copy 2 ; 99 111-112 ; fig. n y SIEGEN, MUSEUM DES SIEGERLANDES Anonymous, drawings after Rubens : Anonymous, painting after Rubens: Michael Ophovius, No.127a, copy 2; 143; Peter Paul Rubens, N o.135, copy 4; 154 fig-H $ Frans Rubens, N o.99b, copy 1; 97-98; fig. 99 S'l' LOUIS, CITY ART MUSEUM Frans Rubens, N o.99b, copy 2; 97-98; Rubens, painting: fig. 100 Ambrogio Spinola, N o.150; 184-188; fig .213

3 76 INDEX i: COLLECTIONS

STOCKHOLM, NATIONALMUSEUM VIENNA, KUNSTHISTORISCHES MUSEUM Rubens, drawings: Rubens, paintings: Robin the Dwarf, No.72a; 29, 52, 196; fig. 28 Albert, Archduke of Austria, N o.68; 31, 45- Nicolas Trigault (?), N o .1 5 4 a ; 30, 193-196, 4 7; fig-20 19S; fig. 231 Isabella, Infanta o f Spain, N o.69; 31, 45-47; fig -21 STOCKHOLM, SVEN BOSTRÖM Hélène Fourment in a Fur Coat ('Het Pelsken), Anonymous, painting after Rubens: N o.97; 27, 90-93; figs. 88, Sç Maximilian, Archduke of Austria, N o . 121, Peter Paul Rubens, N o.137; 117, 159-162; c o p y 6; 134 figs. 179, 1S0, 1S3

THORÖNSBORG, COUNT GÖSTA MÖRNER WAALRE, TINUS VAN BAKEL Anonymous, painting after Rubens : Anonymous, gouache after Rubens: Albert, Archduke of Austria, N o.68, copy 1 ; Jan Brueghel the Elder and his Family, N o .79, 45 cop y 5 ; 60

WARSAW, MUZEUM NARODOWE TRIESTE, ANNA R.E. CALZA Adam Braun, painting: Anonymous, painting after Rubens: Hélène Fourment in a Fur Coat (‘Het Pelsken ), Isabella Brant, N o.138, copy 2; 162 N o.97, copy 1; 91

VADUZ, PRINCE OF LIECHTENSTEIN WARSAW, PRINT ROOM OP THE UNIVERSITY Rubens, paintings: LIBRARY Albert and Nicolaas Rubens, N o . 142; 25, 30, Anonymous, drawing after Rubens: 96, 166, 170, 175-179; fig s.200, 201 Ambrogio Spinola, N o.151, copy; 188-189; Jan Vermoeien, N o .156; 24, 198-200; figs. 232, fig. 219 233 Anonymous, painting after Rubens: WELLESLEY, MASS., WELLESLEY COLLEGE Albert, Archduke of Austria, on Horseback, Anonymous, painting after Rubens: N o.58, copy 5; 35; fig. 1 Ambrogio Spinola, N o.147, copy; 183-184; fig. 213 VIENNA, ALBERTINA Rubens, drawings: WINDSOR CASTLE, COLLECTION OF George Villier s, Duke of Buckingham, N o .8 0 a; H. M. THE QUEEN 63-64; fig. 5 2 Rubens, paintings: Hélène Fourment, No.ioob; 102; fig. 106 Anthony van Dyck, N 0 .90 ; 78-80 ; fig. 71 Suçanna Fourment, N o .10 2 a ; 29, 106, Peter Paul Rubens, N o .135 ; 153-157, 159, 109-110; fig. 113 169; figs. 171, 176 Don Diego Messia, Marquis of Leganés, Rubens, drawing: N o .1 1 5 a ; 30, 63, 126-127; fig -137 Peter Paul Rubens, No.137b; 160-162; Nicolaas Rubens, N o .1 4 2 b ; 30, 178-179; fig. 181 fig .204 (?) P .S ou tm an , d raw in g after R uben s: Nicolaas Rubens with a Felt Cap, N o . 143; Isabella, Infanta of Spain, No.65a; 42-43; 179; fig. 20 y fig. 16 Peter Paul Rubens, N o.136; copy 5; 158 Drapery Study, N o.iooc; 29, 102-103; ZA NES VILLE, OHIO, ZA NES VILLE ART fig. 10 7 INSTITUTS Anonymous, drawing after Rubens: Anonymous, painting after Rubens: Anthony van Dyck, N o.89, copy; 77-78; George Villiers, Duke of Buckingham, fig -70 on Horseback, N o .8 ia , cop y 2; 66

377 Index II: Subjects

This index lists, in alphabetical order, ail subjects catalogued. Under each title are gathered ail known représentations; these include both works by Rubens himself and copies made by other artists after them. The number of the catalogue entry is given first, followed by page references; references to illustrations are in italics.

ALBERT, ARCHDUKE OF AUSTRIA, G. de Crayer, painting (Althorp, Earl Spencer) ON HORSEBACK, N0.58 No.64, copy 2; 40-41 ;fig. 13 Rubens, painting (whereabouts unknown; Anonymous, painting (Antwerp, Mrs Boudry) presumably lost) No.58; 35-37 No.64, copy 3 ; 40 J.Brueghel the Elder, fragment of The Allegory Anonymous, painting (Brussels, Baron Carton ofSight, painting (Madrid, Prado) N0.58, de W iart) No.64, copy 4; 40 cop y 1; 35- 3 7 ; fig .3 Anonymous, painting (Brussels, private Anonymous, painting (Ghent, private col­ collection) No.64, copy 5; 40 lection ) N o .58, cop y 2; 35 Anonymous, painting (Rouen, Musée des Anonymous, painting (formerly Prague, Beaux-Arts) No.64, copy 6; 40 C ou n ts S tern berg) N o .58, copy 3; 35 Anonymous, painting (formerly Brussels, Anonymous, painting (formerly Stockholm, Count de Mérode) No.64, copy 7; 40 O hlsen) N o .58, cop y 4; 23, 35; fig.2 Anonymous, painting (whereabouts unknown) Anonymous, painting (Vaduz, Prince of No.64, copy 8; 40 L iechten stein ) N o .58, copy 5; 35; fig.i Anonymous, painting (whereabouts unknown) Anonymous, painting (whereabouts unknown) No.64, copy 9; 40 N o .58, co p y 6; 35 Anonymous, painting (formerly Brussels, Vi­ Anonymous, drawing (Copenhagen, Konge- comte Ruffo de Bonneval) No.64, copy 10; 40 lige Kobberstiksamling) No.58, copy 7; 35 Anonymous, painting (formerly London, Terry Anonymous, drawing (formerly London, Engell Galleries) N0.64, copy 11 ; 40 J .C .R o b in so n ) N o .58, copy 8; 35 Anonymous, painting (formerly Cologne, J.A.Hellich, lithograph, No.58, copy 9; 35 B.Schmidt) No.64, copy 12; 40 ALBERT, ARCHDUKE OF AUSTRIA, N0.59 Anonymous, painting (Dresden, Gemaldegale- (?) Rubens, painting (Norfolk, Virginia, The rie) N0.64, copy 13; 40 Chrysler Muséum) No.59; 37; fig. y Anonymous, painting (formerly Paris, F.Klein- berger) No.64, copy 14; 40 ALBERT, ARCHDUKE OF AUSTRIA, N0.60 J.Suyderhoef, engraving, No.64, copy 15; 40 Rubens, painting (whereabouts unknown ; P. de Jodell, engraving, No.64, copy 16; 40 presumably lost) No.60; 38-39 J.M uller, engraving, N0.60, copy; 38-39, 45-46; ALBERT, ARCHDUKE OF AUSTRIA, No.66 fig' 7 W orkshop of Rubens and J. Brueghel the Elder, ALBERT, ARCHDUKE OF AUSTRIA, N0.62 painting (Madrid, Prado) No.66; 43-45; fig .iy (?) Rubens, painting (formerly Berlin, Karl ALBERT, ARCHDUKE OF AUSTRIA, N o.68 Haberstock) No.62; 39; fig. 11 Rubens, painting (Vienna, Kunsthistorisch.es ALBERT, ARCHDUKE OF AUSTRIA, N0.63 Museum) N0.68; 31, 45-47; fig.20 (?) R ubens, pain tin g (fo rm erly H. S. d eS lo w a k ) Anonymous, painting (Thorönsborg, Count N0.63; 39',fig-12 G östa M örn er) N o .68, copy 1 ; 45 Anonymous, painting (whereabouts unknown ; ALBERT, ARCHDUKE OF AUSTRIA, N0.64 p re su m a b ly lost) N o .68, copy 2; 45 Rubens, painting (whereabouts unknown ; presumably lost) No.64, 39-42 ALBERT, ARCHDUKE OF AUSTRIA, N0.7O J.Brueghel the Elder, fragment of The Allegory Rubens, painting (Castagnola, Villa Favorita, o f Sight, painting (Madrid, Prado) N0.64, Collection Bentinck-Thyssen) No.70; 47; copy 1; 39, 4 ï',fig -3 fig -!9 378 INDEX Ii: SUBJECTS

ALETHEA TALBOT, COUNTESS OF ARUNDEL, ISABELLA BRANT, N 0 .7 7 N o . 71 (?) Rubens, painting (Hamburg, Margret (?) Rubens, painting (Barcelona, Museo de Arte Kôser) No.77; 56, 58; fig.39 de Cataluna) No.71; 47-48 \jig.22 JAN BRANT THE YOUNGER, N 0 .78 ALETHEA TALBOT, COUNTESS OF ARUNDEL, Rubens, painting (Munich, Alte Pinakothek) AND HER TRAIN, N 0 .72 No.78; 26, 58-60, 126, 137-138; figs.42-44 Rubens, painting (Munich, Alte Pinakothek) No.72; 48-52, 168; figs.24, 24-11, 29 SARA BREYLL, N 0.85 Anonymous, drawing (Berlin, Staatliche Mu- Rubens, painting (San Francisco, The M.H. seen, Kupferstichkabinett) No.72, copy; 48 de Young M emorial Museum) No.85 ; 71-73 ; R ubens, Robin the D w a rf drawing (Stockholm, fig.6o Nationalmuseum) No.72a; 29, 52, 196;

fig-28 JAN BRUEGHEL THE ELDER AND HIS FAMILY, HELIODORUS DE BAREA, N 0 .73 N 0 .79 Rubens, painting (Barcelona, private collection) Rubens, painting (London,Courtauld Institute, Princes Gâte Collection) No.79; 23, 60-62, 72, N 0.73; 52- 5 4 ; fig-31 N.Lauwers, engraving, No.73, copy; 53; 77, 201; figs.46-40 Anonymous, painting (Boston, Museum of Fine fig -3 4 Arts) No.79, copy 1 ; 60 MARCELLIANUS DE BAREA, N 0 .7 4 Anonymous, painting (Mexico City, Academia Rubens, painting (Nîmes, Musée des Beaux- de San Carlos) N0.79, copy 2; 60 Arts) No.74; 52-54; fîg-32 Anonymous, painting (whereabouts unknown) N.Lauwers, engraving, No.74, copy; 53-54; N0.79, copy 3 ; 60 fig -33 S.Malden, gouache (formerly D .O ’Brien) No.79, copy 4; 60 ISABELLA BRANT, N 0 .75 Anonymous, gouache (Waalre, Tinus van Rubens, painting (Cleveland, Ohio, TheCleve- Baakel) No.79, copy 5 ; 60 land Museum of Art) No.75; 25, 54-56, 107, 109-110, 112; fig.36 GEORGE VILLIERS, DUKE OF BUCKINGHAM, Rubens, drawing (London, British Museum) N 0.80 No.75a; 29, 55-58; fig.38 Rubens, painting (whereabouts unknown ; ISABELLA BRANT, N 0 .7 6 p re su m a b ly lost) N o .80; 62-63 Rubens, painting (Florence, Uffizi) No.76; 25, Anonymous, painting (Florence, Palazzo Pitti) 56-58, 153; figs.40-41 N o .80, cop y; 62-63; fig-H Anonymous, painting (formerly London-New Rubens, drawing (Vienna, Albertina) No.80a; York, Vermeer Galleries) No.76, copy 2; 56 63-64; fig -5 2 Anonymous, painting (Nantes, Musée des Beaux-Arts) No.76, copy 3; 57 GEORGE VILLIERS, DUKE OF BUCKINGHAM, Anonymous, painting (formerly Paris, Jadwiga ON HORSEBACK, N 0 .8 1 Vuyk) No.76, copy 4; 57 Rubens, painting (formerly Osterley Park, Earl Anonymous, painting (Pistoia, private collec­ of Jersey; lost) No.81; 27, 64-67; fig.43 tion) No.76, copy 5 ; 57 Anonymous, painting (Antwerp, Rubenshuis) Anonymous, painting (whereabouts unknown) N o .81, cop y; 64 No.76, copy 6; 57 Rubens, oil sketch (Fort Worth, The Kimbell Anonymous, painting (whereabouts unknown) Art Museum) No.8ia; 31, 66-67; fig -54 N0.76, copy 7; 57 Anonymous, painting (Schwerin, Gemalde- Anonymous, painting (formerly Paris, Birts- galerie) N o .8 ia , cop y 1 ; 66 chansky) No.76, copy 8; 57 Anonymous, painting (Zanesville, Ohio, Zanes- T. Lawrence, painting (whereabouts unknown) ville Art Institute) No.8ia, copy 2; 66 No.76, copy 9; 57 Anonymous, painting (whereabouts unknown) A.Watteau, drawing (Cambridge, Fitzwilliam N o .8 ia, cop y 3; 66 Museum) No.76, copy 10; 57 Anonymous, drawing (Karlovy Vary, Méstké J.G.Facius, engraving, No.76, copy 11; 57 Muzeum) No.8ia, copy 4; 66 379 INDEX Ii: SUBJECTS

CHARLES DE LONGÜEVAL, Anonymous, painting (Hunstanton Hall, Nor­ COUNT OF BUCQUOY, No.82 folk) No.91, copy 3; 80 L.Vorsterman, engraving, No.82; 24, 67-70; FERDINAND, CARDINAL INFANTE OF SPAIN, fig -55 Rubens, oil sketch (Leningrad, Hermitage) N0.92 N o.82a; 7o;fig.y6 Rubens and workshop, painting (Sarasota, The John and Mable Ringling Museum of Art) JACOMO DE CACHIOPIN, N0.83 N0.92; 80-82; fig.73 Rubens, painting (whereabouts unknown ;■ presumably lost) No.83a; 70-71 FERDINAND, CARDINAL INFANTE OF SPAIN, ON HORSEBACK, N0.93 ROGIER CLARISSE, N0.84 Rubens, painting (Madrid, Prado) No.93; 27, Rubens, painting (San Francisco, The M.H. 65, 82-86; figs.74, 76 de Young Memorial Museum) No.84; 24, Anonymous, painting (Munich, Bayerische 71- 7 3 ; figs-39, 61, 62 Staatsgemaldesammlungen) No.93, copy 1 ; 82 CHARLOTTE-MARGUERITE DE MONTMORENCY, PRINCESS OF CONDÉ, No.86 Anonymous, painting (formerly Southern Ger- Rubens, painting (Pittsburgh, The Frick Art many, private collection) No.93, copy 2; 82 Museum) No.86; 22, 73-75; fig.63 Anonymous, painting (formerly Paris, André Anonymous, painting (formerly Madrid, de Hevesy) No.93, copy 4; 82 private collection) No.86, copy 1; 73 Anonymous, painting (formerly Paris, Eugène Anonymous, painting (formerly Grittleton K raem er) N o .93, copy 5; 82 House, L.W .Neeld) No.86, copy 2; 73, 75 T. van Thulden, Bust o f the Cardinal Infante, painting (Brussels, Musées Royaux des JEAN DE LA COURT, N0.87 Beaux-Arts de Belgique) N0.93, copy 6; 82 ? Rubens, painting (whereabouts unknown) Anonymous, Bnst o f the Cardinal Infante, p a in t­ No.87; 75-76; fig.66 ing (San Francisco, The California Palace of Anonymous, drawing (Antwerp, Stadsarchief) the Légion of Honor) No.93, copy 8; 83 N o .87; 76;fig.6y Anonymous, Bust o f the Cardinal Infante, p a in t­ ing (formerly Munich, Julius Böhler) N0.93, THE DUCHESS OF CROY, N0.88 cop y 9; 83 Rubens, painting (whereabouts unknown ; Anonymous, Head and Shoulders of the Cardinal p re su m a b ly lost) N o .88; 76-77 Infante, painting (whereabouts unknown) ANTHONY VAN DYCK, N0.89 No.93, copy 10; 83 Rubens, painting (Fort Worth, The Kimbell P.Pontius, engraving, No.93, copy 11; 83 Art Museum) No.89; 77-78 ; fig .69 Anonymous, copper dish, No.93, copy 12; 83 Anonymous, drawing (Vienna, Albertina) Rubens, oil sketch (Détroit, The Détroit Insti- N o .89, copy; 77 -78 ;fig.yo tute of Arts) No.93a; 31, 84-86; figs.73, 77, 79, So ANTHONY VAN DYCK, N0.90 ? Rubens, painting (Saarbrücken, private Rubens, painting (Windsor Castle, H.M. the collection) N o.93b; 82, 85-86; fig.78 Queen) No.90; 78-80; fig.71 ? R uben s, Bust o f the Cardinal Infante, p ain tin g Anonymous, painting (formerly Antwerp, (New York, Metropolitan Museum of Art) F. Oppenheimer) N0.90, copy 1 ; 78 No.93c; 82-83, 86-87; fig.S2 W.Dickinson, mezzotint engraving, No.90, co p y 2 ; 78 FERDINAND, CARDINAL INFANTE OF SPAIN, N o .94 FERDINAND, CARDINAL INFANTE OF SPAIN, (?) Rubens, painting (Berlin, DDR, Bode Mu­ N o .91 seum) No.94; 87; fig .83 Rubens, painting (Hamburg, Margret Kôser) No.91; 80-82; fig.72 CLARA FOURMENT (?), N 0 .I0 8 Anonymous, painting (Budapest, Szépmüvé- Rubens, painting (formerly Paris and Geneva, szeti Muzeum) No.91, copy 1; 80 Rothschild collection) N0.108; 117-118; Anonymous, painting (formerly Vienna, fig-124 Glückselig) No.91, copy 2; 80 Anonymous, painting (formerly Baron von

380 INDEX II: SUBJECTS

Goldschmidt-Rothschild) N0.108, copy; Anonymous, Frans Rubens, drawing (Rotter­ I I7 -I1 8 ; fig.120 dam, Museum Boymans-van Beuningen) No.99b, copy 1; 97-98; fig .99 HELENE FOURMENT, N 0 .95 Anonymous, Frans Rubens, drawing (Rotter­ Rubens, painting (Munich, Alte Pinakothek) dam, Museum Boymans-van Beuningen) No.95, 87-88; fig .84 No.99b, copy 2; 97-98;Jig. 100 M.Cosv'ay, Frans Rubens, engraving, No.99b, HELENE FOURMENT, N 0 .9 6 cop y 3; 9 8 ;fig .io i Rubens, painting (Munich, Alte Pinakothek) R ubens, Frans Rubens, drawing (London, Duke N0.96; 88-91; fig .S j of Sutherland) No.99c; 30, 98; fig. 102 Anonymous, painting (Mora, Sweden, Collec­ L.Schiavonetti, Frans Rubens, engraving, tion Zorn) No.96, copy 2; 88 No.99c, copy; 98 Anonymous, painting (formerly Antwerp, Roland Baudouin) No.96, copy 3; 88 HELENE FOURMENT WITH FRANS RUBENS, Anonymous, painting (Rome, Palazzo N o .100 Rospigliosi-Pallavicini) No.96, copy 4; 88 Rubens, painting (Paris, Musée du Louvre) Anonymous, drawing (London, British N o.100; 27, 98-103 ; figs.103, 104 M useum ) N o .96, cop y 5 ; 88 Anonymous, Half-length représentation, p a in t­ Anonymous, drawing (Danzig, Muzeum ing (Munich, Bayerische Staatsgemalde- Narodowe) No.96, copy 6; 88-89 sa m m lu n g e n ) N o. 100, cop y 1; 99 P.Fontana, engraving, No.96, copy 7; 89 Anonymous, Half-length représentation, p a in t­ Rubens, drawing (Rotterdam, Museum Boy- ing (Schwerin, Staatliches Museum) No. 100, mans-van Beuningen) No.96a; 9o;jïg.&6 cop y 2 ; 99 (?) Rubens, painting (Amsterdam, Rijks- Anonymous, Head and Shoulders of Hélène m u seu m ) N o.96b; 88, 90-91; fig .8 j Fourment, painting (formerly Vienna, Ncue G alerie) N o .100, cop y 3; 99 HELENE FOURMENT IN A FUR COAT Anonymous, Head and Shoulders of Hélène (‘h et pe l sk e n ’), N o .97 Fourment, painting (formerly Brussels, Count Rubens, painting (Vienna, Kunsthistorisches Cavens) N o. 100, cop y 4; 99 Museum) N0.97; 27, 90-93; figs.88, 89 Anonymous, Head of Hélène Fourment, d raw in g A.Braun, painting (Warsaw, Muzeum Naro­ (London, British Museum) No.100, copy 5; dowe) No.97, copy 1 ; 91 99 F. van Stampart, etching, No.97, copy 2; 91 R uben s, Hélène Fourment, drawing (London, A. J. Premier, etching, No.97, copy 3; 91 Courtauld Institute of Art, Princes Gate Collection) No.iooa; 101-102; fig.ioy HELENE FOURMENT WITH FRANS RUBENS, R ubens, Hélène Fourment, drawing (Vienna, N o .98 Albertina) No.ioob; 102; fig .io ó Rubens, painting (Munich, Alte Pinakothek) R ubens, Drapery Study, drawing (Vienna, No.98; 27, 93-95, 166, 170 ; figs.92, 93 Albertina) No.iooc; 29, 102-103;fig-107 Anonymous, painting (Sankt-Pölten, private (?) R uben s, Hélène Fourment as St Barbara, collection) N o .98 ; 93 painting (Potsdam-Sanssouci, Bildergalerie) Rubens, Frans Rubens, drawing (Dresden, N o .io o d ; 103 ;fig.io8 Kupferstichkabinett) No.98a; 95; fig.94 Anonymous, Frans Rubens, drawing (London, SUZANNA FOURMENT, No.IOI British Museum) No.98a, copy; 95; jîg.çy Rubens, painting (Brussels, private collection) N0.101; 105-m ; fig.109 HELENE FOURMENT WITH CLARA-JOHANNA Anonymous, painting (formerly Lausanne, AND FRANS RUBENS, N 0 .9 9 E.N.Broemmé) N0.101, copy 1; 105 Rubens, painting (Paris, Musée du Louvre) G. Maile, engraving, N0.101, copy 2; 105 N0.99; 27, 30, 93-98; figs-96, 97 J.S ch m u zer, en g ravin g, N o .99, copy; 95 SUZANNA FOURMENT, N o .I0 2 R ubens, Isabella-Helena Rubens, d raw in g, Rubens, painting (London, National Gallery) No.99a; 97;fig.98 No.102; 25, 106-112; figs. 110-112 R ubens, Frans Rubens, drawing (whereabouts A. van Ysendyck, painting (? formerly Brom- unknown; presumably lost) No.99b; 97-98 yard, Col. J.T.Lutley) No.102, copy 1; 107

381 INDEX Ii: SUBJECTS

A.Overlaet, drawing (formerly Lord North- Anonymous, painting (Paris, Musée Cognacq- w ick) N o .102, copy 2; 107 Jay) No.106, copy 2; 114 M me de Neuville, miniature painting (where- Anonymous, painting (whereabouts unknown) abouts unknown) No.102, copy 3; 107-108 No.106, copy 3; 114 M. de Meulemeester, gouache (whereabouts P.Pontius, engraving, No.106, copy 4; 114-115; unknown) No.102, copy 4; 108 fiS-121 J.M.W . Turner, drawing (whereabouts PETER VAN HECKE (?), N 0 .IO 7 unknown) No.102, copy 5; 108 Rubens, painting (formerly Paris and Geneva, A.Geddes, pastel (Edinburgh, National Gallery of Scotland) No.102, copy 6; 108 Rothschild) No.107; 116-119; fiS -123 R.Cooper, engraving, No.102, copy 7; 108 Anonymous, painting (formerly Baron Albert S.W . R eyn olds, en gravin g, N o .102, copy 8; 108 von Goldschmidt-Rothschild) No.107, copy; 116 -118 -, fig.125 Rubens, drawing (Vienna, Albertina) No.102a; Rubens, drawing (London, British Museum) 29, 106, 109-110; fig .113 No.107a; 118; fig,12J A MEMBER OF THE FOURMENT FAMILY, N o . 103 ISABELLA, INFANTA OF SPAIN, No.6l Rubens, painting (whereabouts unknown; Rubens, painting (whereabouts unknown ; presumably lost) No.ói; 38-39 presumably lost) No.103; iio -n i J.Muller, engraving, No.61, copy; 38-39, 45- A MEMBER OF THE FOURMENT FAMILY, 4 6 ;fig .8 N o . 104 ISABELLA, INFANTA OF SPAIN, N0.65 ? Rubens, painting (Paris, Musée du Louvre) Rubens, painting (whereabouts unknown ; N o .104; no-ii2.;jïg.ii4 presumably lost) No.65; 41-43 Rubens, drawing (Rotterdam, Museum Boy- J.Brueghel the Elder, fragment of The Allegory mans-van Beuningen) No.104a; m -112; o f Sight, painting (Madrid, Prado) No.65, fis -11 S copy 1; 41 \fiS-3 FRANS FRANCKEN THE ELDER, N 0.IO 5 G. de Crayer, painting (Norfolk, Virg., The Rubens, painting (Montpellier, Musée Fabre) Chrysler Museum) No.65, copy 2; 41-43; No.105; 112-113; figs. 116, 118 fiS -H C. de Vos, fragment of the Portrait of Frans Anonymous, painting (Antwerp, Mrs Boudry) Francken the Elder and his W ife (formerly N0.65, cop y 3 ; 41 Münster, private collection) No. 105, copy 1; Anonymous, painting (Brussels, Baron Carton 112 de W iart) N o .65, copy 4; 42 Anonymous, painting (New York, Metropoli­ Anonymous, painting (Brussels, private collec­ tan Museum of Art) No.105, copy 2; 112-113 ; tion) No.65, copy 5; 42 fig -217 Anonymous, painting (Rouen, Musée des Anonymous, painting (Frankfurt am Main, Beaux-Arts) No.65, copy 6; 42 Stâdelsches Kunstinstitut) No.105, copy 3; Anonymous, painting (formerly Brussels, 112 Count de Mérode) No.65, copy 7; 42 Anonymous, painting (formerly Seighford Anonymous, painting (whereabouts unknown) Hall, Major R.E.Eld) No.105, copy 4; 112 N o .65, copy 8; 42 Anonymous, painting (formerly Berlin, Julius Anonymous, painting (whereabouts unknown) Bôhler) No.105, copy 5; 112 N o .65, cop y 9; 42 A. van Dyck, etching, No.105, copy 6; 112,-113; Anonymous, painting (formerly Prague, Otto fis- “ 9 Kretschmer) No.65, copy 10; 42 Anonymous, painting (whereabouts unknown) JAN-GASPAR GEVARTIUS, N 0 .I0 6 N o .65, cop y 11 ; 42 Rubens, painting (Antwerp, Koninklijk Anonymous, painting (Dresden, Gemâldegale- Museum voor Schone Kunsten) N0.106; 26, rie) N o .65, copy 12; 42 113 -116 , 138 ;fig.i22 Anonymous, painting (formerly St Albans, (?) T.YVilleboirts Bosschaert, painting (Ant­ YValter Goldsmith) No.65, copy 13; 42 werp, Museum Plantin-Moretus) No.106 (?) P.Soutman, drawing (Windsor Castle, copy 1 ; 113-114 H.M. the Queen) No.65a; 42-43 ; fig. 16

382 INDEX Ii: SUBJECTS

J. Suyderhoef, engraving, No.65a, copy 1 ; 42-43 ; P.Pontius, engraving, No.113, copy 5; 26, 123- fis -1 S 125 \fig.132 P. de Jode II, engraving, No.65a, copy 2; 42-43 J. van der Heyden, engraving, No.113, copy 6; 123 ISABELLA, INFANTA OF SPAIN, N0.67 Anonymous, engraving, No.113, copy 7; 123 W orkshop of Rubens and J. Brueghel the Elder, J.Surmacki, engraving, No.113, copy 8; 123 painting (Madrid, Prado) No.67; 43-45; fig. 18 LADISLAS-SIGISMUND, PRINCE OF POLAND, ISABELLA, INFANTA OF SPAIN, N0.69 ON HORSEBACK, N 0 .I I 4 Rubens, painting (Vienna, Kunsthistorisches (?) Rubens, painting (Cracow, Wawel Castle, Museum) No.69; 31, 45-46:^.21 State Collection of Art) No.114, 124-125; f i g - m ISABELLA, INFANTA OF SPAIN, IN THE HABIT OF A POOR CLARE, N 0 .IO 9 DON DIEGO MESSIA, MARQUIS OF LEGANES, Rubens, painting (formerly Switzerland, N o .115 private collection) No.109; 31,119,122 \fig.12S Rubens, painting (formerly London, Martin Ascher) No. 115; 26, 30, 125-127, 187;figs.i3f, ISABELLA, INFANTA OF SPAIN, IN THE 136 HABIT OF A POOR CLARE, No.IIO Rubens, drawing (Vienna, Albertina) No. 115a; (?) Rubens, painting (formerly Lord Alden- 30, 63, 126-127 ’.fig -137 ham) No.no; 119-121, 123; fig.129 Anonymous, painting (Florence, Palazzo Pitti) JAN VAN DER LINDEN, N0.I16 N o .n o , copy 1 ; 120 (?) Rubens, painting (Schoten, Baron Bracht) Anonymous, painting (formerly Paris, A. de No.116, 127-128 ■, fig.139 B erghe) N o .n o , co p y 2; 120 Anonymous, painting (formerly Antwerp, Mr Anonymous, painting (Monaco, private collec­ and Mrs A.Mattheys-Smets) N0.116, copy 1; 127 tion) No.no, copy 3; 120 A. Overlaet, drawing (whereabouts unknown) ISABELLA, INFANTA OF SPAIN, IN THE No. 116, copy 2; 127 HABIT OF A POOR CLARE, N o.III N. van den Bergh, etching, No.116, copy 3; (?) Rubens, painting (Pasadena, Cal., Norton 127-128 \fig.138 Simon Inc. M useum of Art) No. 111 ; 120-122 ; PETER PAUL RUBENS, JUSTUS LIPSIUS AND fig -! ° 3 JOHANNES WOVERIUS ('THE FOUR PHILO­ ISABELLA, INFANTA OF SPAIN, IN THE SOPHERS'), N o .117 HABIT OF A POOR CLARE, No.II2 Rubens, painting (Florence, Palazzo Pitti) P.Pontius, engraving, No. 112; 24, 120-123; No.117; 23, 58, 128-132, 152; figs.140, 169 fig - m Anonymous, painting (Ghent, private collec­ W . Vaillant, engraving, No. 112, copy 1; 122 tion) N o .117, cop y 1; 128 A. Verhoeven the Younger, engraving, No.112, Anonymous, painting (Antwerp, Museum copy 2; 122 Plan tin -M oretus) N o .117, copy 2; 128 A. Voet, engraving, No.112, copy 3; 122 Anonymous, painting (Nancy, Musée des Anonymous, engraving, edited by J.C. Vischer, Beaux-Arts) No.117, copy 3; 128 No. 112, copy 4; 122 Anonymous, painting (Monceau-sur-Sambre, Coll. Houtart) No.117, copy 4; 128 LADISLAS-SIGISMUND, PRINCE OF POLAND, Anonymous, painting (formerly Washington, N o .113 Foster Cannon) No.117, copy 5; 128-129 Rubens, painting (whereabouts unknown ; Anonymous, painting (formerly RoslagsNasby, presumably lost) No.113; 123-124 C.R.Lamm) No.117, copy 6; 129 Workshop of Rubens, painting (New York, Me­ Anonymous, painting (formerly Shipley, Capt. tropolitan Museum of Art) No. 113, copy 1; Ridgway) No.117, copy 7; 129 26, 123, 125; fig.133 Anonymous, Head of Woverius and t/te Roman Anonymous, painting (Genoa, Palazzo vista, painting (formerly Brussels, Prince of Durazzo-Pallavicini) N o.113, copy 2; 123 Arenberg) No.117, copy 8; 129-130, 132 Anonymous, painting (lost) No.113, copy 3; Anonymous, The Head of Woverius, pain tin g 123 (whereabouts unknown) No.117, copy 9; 129 383 INDEX II: SUBJECTS

Anonymous, The books on the tablecloth, p ain t­ MAXIMILIAN, ARCHDUKE OF AUSTRIA, N o .I2 2 ing (formerly London, Duits & Co.) No. 117, (?) Rubens, painting (formerly Amsterdam, cop y 10 ; 129 Gebr. Douwes) No.122; 134-136; fig.146 Anonymous, watercolour (whereabouts JAN VAN MONTFORT, N 0 .I2 3 u n k n o w n ) N o .117, copy 11; 129 Rubens, painting (London, Courtauld Institute Anonymous, drawing (New Haven, Yale Uni- of Art, Princes Gâte Collection) No.123; 26, versity Art Gallery) No.117, copy 12; 129 126, 136-137. r-â,7\figs.±47, 149, 150 Anonymous, The Head ofWoverius, d raw in g (Cambridge, Fitzwilliam Museum) No.117, LUDOVICUS NONNIUS, N o .1 2 4 copy 13; 129 Rubens, painting (London, National Gallery) F.Gregori, engraving, No.117, copy 14; 129 N o.124; 26, 137-139; fig-1} 2 A .Morel, engraving, No.117, copy 15; 129 E.Quellinus II, painting (Antwerp, Museum C.Normand, engraving, No.117, copy 16; 129 Plantin-Moretus) No. 124, copy; 137-139; L.Paradisi, engraving, No.117, copy 17; 129 fig -H 1 ARNOLD LUNDEN, N o .I l8 MICHAEL OPHOVIUS, N 0 .I2 5 Rubens, painting (whereabouts unknown; Rubens, painting (whereabouts unknown ; presumably lost) N0.118; 132-133 presumably lost) No. 125; 139 FREDERIK VAN MARTSELAER, N 0 .I I9 Anonymous, painting (Brussels, G. Dulière) (?) A. van Dyck, painting (Baroda, Baroda M u­ No.125, copy 1; 139; fig.153 seum and Picture Gallery) No.119; 133-134; Anonymous, painting (formerly Bruges, fig -H 2 Alberic de Meester) No.125, copy 2; 139 Anonymous, painting (Louvain, University) Anonymous, painting (formerly London, A.L. N o.119, copy 1 ; 133 Nicholson) No.125, copy 3; 139 A.B. de Quertenmont, etching, No.119, copy 2; MICHAEL OPHOVIUS, N o .I2 Ô 133 ; fig -H 3 Rubens, painting (The Hague, Mauritshuis) A.Fogg, engraving, No.119, copy 3; 133 N o.126; 24, 139-142, 150; figs.154, 155 MAXIMILIAN, ARCHDUKE OF AUSTRIA, N o .I2 0 Workshop of Rubens, painting (Antwerp, Rubens, painting (whereabouts unknown ; Rubenshuis) No.126, copy 1; 140, 142; fig .iy é presumably lost) No.120; 134-136 Anonymous, painting (Brussels, F. C.Jacques) N o. 126, copy 2; 140 MAXIMILIAN, ARCHDUKE OF AUSTRIA, N o .I 2 I Anonymous, painting (formerly Matfen Hall, Rubens, painting (whereabouts unknown ; Sir Douglas Blacket) No.126, copy 3 ; 140 presumably lost) No.121; 134-136 (?) D.Teniers the Younger, painting (where­ D.Teniers the Younger, fragment of the abouts unknown) No.126, copy 4; 140 Gallery of Archduke Leopold-Wilhelm, pain tin g (?) N. van den Bergh, drawing (formerly J.G. (Schleissheim, Castle) No.121, copyi; 134- Verstolk-van Soelen) No.126, copy 5; 140 1 35 ; fig -H } N. van den Bergh, etching, No.126, copy 6; Anonymous, painting (formerly Munich, Baye- 140-141 rische Staatsgemaldesammlungen) No. 121, copy 3; 134 MICHAEL OPHOVIUS, N 0 .I2 7 Anonymous, painting (formerly Stockholm, Rubens, painting (whereabouts unknown ; Olga Bosman) No.121, copy 4; 134 presumably lost) No.127; 142-143 Anonymous, painting (formerly Duke of Anonymous, painting (’s Hertogenbosch, Buccleuch) No.121, copy 5; 134 Episcopal Palace) No.127, copy 1; 142-143; Anonymous, painting (Stockholm, Sven fig-1} 9 Bostrôm) No.121, copy 6; 134 Anonymous, painting (Madrid, Banco Urquijo) Anonymous, painting (whereabouts unknown) No. 127, copy 2; 142 No.121, copy 7; 134-135 Anonymous, painting (formerly Stockholm, Anonymous, drawing (whereabouts unknown) A.W.Sjôstrand) No.127, copy 3; 142 No.121, copy 8; 135 C. de Passe II, engraving, No.127, copy 4; 142 J.Suyderhoef, engraving, No.121, copy 9; 1935 C.Butkens, engraving, No.127, copy 5; 142 L. Vorsterman, engraving, No. 121, copy 10; 135 Rubens, drawing (Paris, Musée du Louvre, Ca­ P. de Jode II, engraving, No.121, copy 11 ; 135 binet des Dessins) No.127a; 143-144; fig .iy y 384 INDEX II: SUBJECTS

Anonymous, drawing (Berlin-Dahlem, Staat- PETER PAUL RUBENS, N 0 .I3 5 liche Museen, Kupferstichkabinett) No.127a, Rubens, painting (Windsor Castle, H.M. the cop y 1 ; 143 Queen) No.135; 153-157, 159, 169; figs.iyi, Anonymous, drawing (Rotterdam, Museum 176 Boymans-van Beuningen) No. 127a, copy 2; Anonymous, painting (Canberra, National Gal- ! 4 3 ; lery of Australia) No.135, copyi; 153-154, PETRUS PECQUIUS, N o .12 8 156-157, 159; fig -ijz Rubens, painting (Fareham, Southwick House, Anonymous, painting (Florence, Uffizi) No.135, Mrs H.F.P.Borthwick-Norton) No.128; 24, copy 2; 152-154; ƒ g. 173 Anonymous, painting (formerly Potsdam- 144- 145 ; fig-160 Anonymous, painting (Brussels, Musées Sanssouci, Bildergalerie) No.135, copy 3; 154 Royaux des Beaux-Arts de Belgique) No. 128, Anonymous, painting (Siegen, Museum des copy 1 ; 144-145 Siegerlandes) No.135, copy 4; 154 Anonymous, painting (formerly Paris, Dr Paul Anonymous, painting (formerly London, Mersch) No.128, copy 2; 144 Colnaghi) No.135, copy 5; 154 Anonymous, painting (Munich, Bayerische Anonymous, painting (formerly, Brussels, Staatsgemâldesammlungen) No.128, copy 3; C.-L.Cardon) No.135, copy 6; 154 144 Anonymous, painting (formerly New York, Anonymous, painting (whereabouts unknown) André de Coppet) No.135, copy 7; 154 No. 128, copy 4; 144 Anonymous, painting (formerly Santa Barbara, Cal., A.Falvy) No.135, copy 8; 154 NICOLAAS DE RESPAIGNE, N 0 .I2 9 Anonymous, painting (formerly Duke of Rubens, painting (Kassei, Staatliche Gemalde- Norfolk) No.135, copy 9; 154 galerie) N0.129; 24, 137, 145—148; Jîg.iôi Anonymous, painting (formerly Count Wall- (?) David Teniers II, painting (formerly moden Grimborn) No.135, copy 10; 154 Cologne, R.Peltzer) No.129, copy 1; 145 P.Pontius, engraving, No.135, copy n ; 154- G.P.Longhi, etching, No.129, copy 2; 145 157 ',fig-174 J.G.Facius, engraving, No.135, copy 12; 155 GASPAR RINCKENS (?), N 0 .13 0 J.G.Huck, mezzotint engraving, No.135, copy Rubens, painting (Rotterdam, Museum Boy- 1 3 ; mans-van Beuningen) No.130; 76,148; fig.162 155

NICOLAAS ROCKOX, M 0 .I3 I PETER PAUL RUBENS, N 0 .13 6 Rubens and J.Boeckhorst, painting (formerly Rubens, painting (Antwerp, Rubenshuis) Antwerp, Diego Duarte) No.131; 149 No.136; 157-159, 166, 172; figs. 177, 178 Anonymous, painting (whereabouts unknown) ANTONIUS DE ROORE, N 0 .I3 2 N o.136, copy x ; 158 Rubens, painting (whereabouts unknown) Anonymous, painting (Leningrad, Hermitage) N o .132; 149-151; figs.165, 166 No.136, copy 2; 158 Anonymous, painting (formerly Amsterdam, Anonymous, painting (Gôttingen, Gemalde- Augustinian Fathers) No. 132, copy 1 ; 149, 151 sammlung der Universitat) No.136, copy 3; Anonymous, painting (formerly Brussels, 158 Albert Warnant) No.132, copy 2; 149-151 Anonymous, painting (formerly Berlin,

PETER PAUL RUBENS (?), N 0 .I3 3 F.Arany) No.136, copy 4; 158 (?) Rubens, painting (whereabouts unknown) Anonymous, drawing (Vienna, Albertina) N0.133; 151 ; fig-i6y No.136, copy 5; 158 W.Panneels, etching, No.136, copy 6; 158-159; PETER PAUL RUBENS, N 0 .I3 4 fig -175 Rubens, painting (Florence, Uffizi) No. 134; W.FIollar, etching, No.136, copy 7; 158 15 1-15 3 ; figs.i68, 170 Anonymous, painting (Barcelona, private PETER PAUL RUBENS, N 0 .13 7 collection) No.134, copy 1; 151 Rubens, painting (Vienna, Kunsthistorisches C.Gregori, engraving, No.134, copy 2; 151 Museum) No.137; 117, 159-162; figs. 179, C.Towney, mezzotint engraving, No.134, 180, 183 c o p y 3; 151 A.J.Prenner, etching, No.137, copy; 159 385 INDEX Ii: SUBJECTS

Rubens, drawing (Paris, Musée du Louvre, PETER PAUL RUBENS AND HELENE FOURMENT Cabinet des Dessins) No.137a; 160-161; WITH NICOLAAS AND CL ARA-J OHANN A fig.lS2 RUBENS, N o .I4 0 Anonymous, drawing (London, British Rubens, oil sketch (Philadelphia, Philadelphia Museum) No.137a, copy 1; 160 Museum of Art, John G. Johnson Collection) S.Watts, engraving, No.137a, copy 2; 160 No.140; 31, 169-170 \ fig. 194 Rubens, drawing (Windsor Castle, H.M. the PETER PAUL RUBENS, HELENE FOURMENT Queen) No.137b; 160-162; fig.181 AND CLARA-JOHANNA RUBENS, N 0 .I 4 I Rubens, painting (New York, Metropolitan PETER PAUL RUBENS AND ISABELLA BRANT Museum of Art) No.141; 27, 97, 159, 161, IN THE HONEYSUCKLE BOWER, N 0 .I3 8 170-174; figs.197-197 Rubens, painting (Munich, Alte Pinakothek) J.Eccardt, Charles and Mary Churchill, painting No.138; 23, 162-166, 172; fig s.184-188 (Farmington, Conn., The Lewis-Walpole Anonymous, The Head of Rubens, pain tin g Library) No.141, copy 1; 170 (formerly Antwerp, Roland Baudouin) Anonymous, drawing (Cambridge, Fitzwilliam N o .138, copy 1; 162 Museum) No.141, copy 2; 170 Anonymous, The Head of Isabella Brant, paint- J.McArdell, mezzotint engraving, No.141, ing (Trieste, Anna R.E.Calza) No. 138, copy 2; copy 3 ; 170 162 R ubens, Hélène Fourment, painting (where­ C.Hess, engraving, No. 138, copy 3; 162 abouts unknown ; presumably lost) B.Weiss, engraving, No.138, copy 4; 162 No.141a; 173-175 W.Flachenecker, lithograph, No.138, copy 5; Anonymous, Hélène Fourment, pain tin g 162 (formerly Vienna, Czernin Collection) A . D evéria, The Head o f Isabella Brant, lithograph, No.141a, copy 3; 173 N o.138, copy 6; 162 Anonymous, Hélène Fourment, painting (Rich- R ubens, Peter Paul Rubens, drawing (where­ mond, Virg., Virginia Museum of Fine Arts) abouts unknown ; presumably lost) No.141a, copy 4; 173-174 No.138a; 164-165 Anonymous, Hélène Fourment, painting (Brus­ A.Watteau, Peter Paul Rubens, d raw in g sels, Robert Finck) No.141a, copy 5; 174 (? formerly A.Thibaudeau) No.138a, copy 1; (?) R ubens, Hélène Fourment, painting (formerly 164-165 Vevey, Jan Dik and another) No.141b; 173- A.Watteau, Peter Paul Rubens, counterproof of ; fig-198 drawing (New York, Mr and Mrs E. V. Thaw) 175 (?) R ubens, Hélène Fourment, painting (The No.138a, copy 2; 165; fig.189 Hague, Schilderijenzaal Prins W illem V) C. Ploos van Amstel, The Head of Rubens, N0.141C; 173-175; fig engraving, No.138a, copy 3; 165 -199 G.Demarteau, The Head of Rubens, engraving, ALBERT AND NICOLAAS RUBENS, N 0 .I4 2 No.138a, copy 4; 165 Rubens, painting (Vaduz, Prince of Liechten­ P. C hen ay, The Head of Rubens, engraving, stein) No.142; 25, 30, 96, 166, 170, 175-179; No.138a, copy 5; 165 figs.200, 201 Workshop of Rubens, painting (Dresden, Ge- PETER PAUL RUBENS, HELENE FOURMENT maldegalerie), No. 142, copy 1; 175, 177-178; AND NICOLAAS RUBENS (‘THE WALK IN fig.202 THE g a r d e n ’), N o .139 Anonymous, painting (Orléans, Musée des Rubens, painting (Munich, Alte Pinakothek) Beaux-Arts) No. 142, copy 2; 175 No.139; 27, 100, 158-159, 161, 165-168, 172; Anonymous, The Busts o f the Boys, painting figs.192, 193 (whereabouts unknow'n) No.142, copy 3; Anonymous, painting (formerly Bucharest, 175 King Carol I of Rumania) No.139, copy; 165 N. de Keyser, drawing (Antwerp, Koninklijk Rubens, drawing (London, British Museum) Museum voor Schone Kunsten) No.142, No.139a; 168; jjg.190 copy 4; 175-176 R uben s, An Old Woman in Two Views, draw in g G.A.M üller, engraving, No.142, copy 5; 176 (Berlin-Dahlem, Staatliche Museen, Kupfer- J.Daullé, engraving, No.142, copy 6; 176 stichkabinett) No.139b; 168-169; fig.191 Dauzel, engraving, No.142, copy 7; 176

386 INDEX II : SUBJECTS

R uben s, Albert Rubens, drawing (formerly Brus­ AMBROGIO SPINOLA, N 0 .I5 I sels, Count Duchastel-Dandelot) No.142a; Rubens, painting (formerly E.H.Bunbury) 178 ',fig.203 No.151; 188-189; fig.2i8 R u ben s, Nicolaas Rubens, drawing (Vienna, Anonymous, drawing (Warsaw, Print Room of Albertina) No.142b; 30, 178-179; fig .204 the University Library) No.151, copy; 188- 189; fig.219 NICOLAAS RUBENS WITH A PELT CAP, N 0 .I4 3 Rubens, drawing (Vienna, Albertina) No.143; PETRUS DE SPIRA, N 0 .I5 5 179 ;fig-20j Workshop of Rubens, painting (Douai, Musée

PHILIP RUBENS, N 0 .I4 4 de la Chartreuse) No.155; 191-194, 198; Rubens, painting (Détroit, The Détroit Insti- fig -223 tute of Arts) No.144; 130, 179-181 ; fig.206 HENDRIK VAN THULDEN, N 0 .I5 2 C.Galle I, engraving, No.144, copy; 179-180; Rubens, painting (Munich, Alte Pinakothek) fig-20 7 No.152; 24, 145, I50, 189-191, 199; fig.220 DOMINGO RUZZOLA, N 0 .145 J.Coelemans, engraving, No.152, copy; 189 Rubens, painting (London, Mr and Mrs E. Rubens, drawing (London, British Museum) Verdon-Lee) No.145; 181-182; fig .n z N o.152a; 30, 190, fig.221

Anonymous, painting (formerly Munich, HENDRIK VAN THULDEN, N 0 .I5 3 Dr Anschütz-Kampfe) No.143, copy 1; 181- (?) Rubens, painting (formerly Bucharest, 182; fig.211 private collection) No.153; 189-191; fig .222 Anonymous, painting (formerly Prague, Dr Eduard Safarik) No.145, copy 2; 181 NICOLAS TRIGAULT, N 0 .I5 4 Anonymous, drawing (Plymouth, City Mu­ Workshop of Rubens, painting (Douai, Musée seum and Art Gallery) No.145, copy 3; 181 de la Chartreuse) No.154; 191-198; fig.224 R.Collin, engraving, No.145, copy 4; 181-182; R ubens, Nicolas Trigault (?), drawing (Stock­ fig.210 h o lm , N atio n alm u seu m ) N o.154a; 30, 193- 196, I98;fig.23i ABEL SOCIN (?), N o . 146 Anonymous, Nicolas Trigault (?), drawing (for­ (?) Rubens, painting (Norfolk, Virg., The m erly Frankfurt, private collection) No.154a, Chrysler Museum) No.146; iS3;fig.2oS copy; 195 AMBROGIO SPINOLA, N 0 .I4 7 R ubens, Nicolas Trigault (?), drawing (Mary- Rubens, painting (whereabouts unknown ; land, private collection) No.154b; 30, 193- presumably lost) No.147; 183-185 i96;fig.22y Anonymous, painting (Wellesley, Mass., R ubens, Nicolas Trigault (?), drawing (formerly W ellesley College) No.147, copy; 183-184; London, Ludwig Burchard) No.154c; 30,193- fig -213 198 ',fig-229 W .Baillie, Nicolas Trigault (?), mezzotint AMBROGIO SPINOLA, N 0 .I4 8 engraving, No.154c, copy; 196-197; fig.228 Rubens, painting (Prague, Nârodni Galerie) R ubens, Nicolas Trigault (?), drawing (New No.148; 184-185; fig .21} York, The Pierpont Morgan Library) AMBROGIO SPINOLA, N 0 .14 9 N o .i5 4 d ; 30, 193-195, 197-198; fig.230 Rubens, painting (Brunswick, Herzog Anton JAN VERMOELEN, N 0 .I5 6 Ulrich-Museum)No.i49; 126,185-187; fig.2i6 Rubens, painting (Vaduz, Prince of Liechten­ Anonymous, painting (formerly Warwick, The stein) No.156; 24, 198-200; figs.232, 233 Earl of Warwick) No.149, copy 1; 185-186 Anonymous, painting (formerly Brussels, A. de JAN WILDENS, N 0 .I 5 7 Maleingreau d’Hembise) No.149, copy 2; 186 Rubens, painting (formerly New York, Metro­ Anonymous, painting (Détroit, private collec­ politan Museum of Art) No.157; 77, 200-201 ; tion) N o. 149, copy 3; 186 figs-234’ 23S P. de Jode II, engraving, No.149, copy 4; 186 WOLEGANG-WILHELM, DUKE OF NEUBURG, AMBROGIO SPINOLA, N 0 .I5O N o . 158 Rubens, painting (St Louis, City Art Museum) Rubens (whereabouts unknown ; presumably N o.150; 184-188 ;fig .2iy lost) No.158; 201-202 387 INDEX III: OTHER WORKS BY RUBENS

FRANS VAN DE WOUWER, N 0 .I5 9 Anonymous, painting (whereabouts unknown) C.Galle I, engraving, No.159; 202-203 No.160, copy 1 ; 203 C. Galle I, proof state of engraving, retouched Anonymous, painting (Petworth, Lord Lecon- by Rubens (Paris, Bibliothèque Nationale, field) No.160, copy2; 203-204; fig.241 Cabinet des Estampes) No.159a, copy; 202- A.Schôn, engraving, No.iôo, copy 3; 203 203; fig. 23 y MATTHAEUS YRSSELIUS, N o . l 6 l A MEMBER OF THE VAN DEN WIJNGAERD Rubens, painting (Copenhagen, Statens Mu­ FAMILY, N o .160 seum for Kunst) N0.161; 204-206; fig .242 Rubens, painting (Munich, Alte Pinakothek) Anonymous, painting (Copenhagen, Adam No.160; 203-204; fig .239 Pasler) No.161, copy; 204

Index III: Other Works by Rubens mentioned in the Text

The following abbreviations are used throughout this index: D— drawing; E— engraving; P— painting.

OLD TESTAMENT St Francis o f Assisi Receiving the Stigmata P (A n t­ werp, formerly Capuchin Church, now St Samson and Delilah P (London, National Gallery) A n ton iu s, 75 — E (L. Vorsterman) 71 The Last Communion of St Francis of Assisi D (Farn- NEW TESTAMENT ham, W olfgang Burchard) 196 St Francis Xavier P (lost) 192 The Adoration of the Magi P (Antwerp, Koninklijk The Miracles of St Francis Xavier P (Vienna, Kunst- Museum voor Schone Kunsten) 147, 205-206 historisches M u seu m ) 193 •—P (Madrid, Prado) 134, 152, 159 St Gregory with other Saints P (Berlin-Dahlem, The Assumption o f the Blessed P (Munich, Alte Pina­ Staatliche Museen Preussischer Kulturbesitz) kothek) 149 131 Holy Family with a Parrot P (Antwerp, Koninklijk — P (Grenoble, Musée des Beaux-Arts) 131 Museum voor Schone Kunsten) 173 Stlgnatius Loyola P (Pasadena, Calif., The Norton The Incredulity of St Thomas P (Antwerp, Konink­ Simon Museum of Art) 192 lijk Museum voor Schone Kunsten) 149 Madonna with Saints P (A n tw erp , St. Jacobskerk) 93 The Raising o f the Cross P (Antwerp, Cathedral) MYTHOLOGY Rest on the Flight into Egypt P (Madrid, Prado) The Battle o f the Amaçons P (Munich, Alte Pina­ 169-170 kothek) 24 — E (C.Jegher) 169 The Temple of Janus P (lost) 69 The Scourging of Christ P (Antwerp, St Paul) 71 Nymphs and Satyrs P (Madrid, Prado) 161 Orpheus and Eurydice P (Madrid, Prado) 92-93 SAINTS The Judgement of Paris P (Madrid, Prado) 92

The Mystic Marriage of St Catherine P (A n tw erp , St. Augustinuskerk) 150 ALLEGORY — P (Toledo, Ohio, The Toledo Museum of Art) 171, 173 The Garden ofLove P (Madrid, Prado) m , 171 St Cecilia P (Berlin-Dahlem, Staatliche Museen Allegory o f Hearing P (with Jan Brueghel the Preussischer Kulturbesitz) 117-118 Elder (Madrid, Prado) 62

388 INDEX III: OTHER WORKS BY RUBENS

'The Lansquenet with his Sweetheart’ P (Genoa, Portrait of Caterina Grimaldi (?) P (K ingston Lacy, P a la zzo Bianco) 204 Bankes Collection) 132 Pausias and. Glycera P (Sarasota, John and Mable Portrait of Isabella of Bourbon P 31 R in glin g M u seu m o f A rt) 163 Portrait of the Duke of Ferma on Horseback P Studies for a Religions Allegory (?) P (Bayonne, (Madrid, Prado) 21, 23, 31, 36 M usée B onnat) 194 — D (Paris, Musée du Louvre) 29-30 The Victims ofW ar P (Vaduz, Prince of Liechten­ Portrait of Justus Lipsius P (Antwerp, Museum stein) 83 Plantin-Moretus) 132 Portrait ofEmpress Maria P 31 HISTORY Portrait of Maria de’ Medici P 31 Portrait of Don Gaspar de Guçman, Count of Oliva- Marriage of Henri IV to Maria de Medici P (L on ­ res and Duke of Sanlücar E 7 don, W allace Collection) 172 Portrait of Philip II on Horseback P (Madrid, The Apotheosis of Henri IV P (Paris, Musée du Prado) 7 L o u vre) 69 Portrait of Philip IV P 31 Battlefront the Henri IV Cycle P (Antwerp, Rubens- Portrait of Philip IV on Horseback P (lost) 29, 65, huis) 85 ; fig.Si 83-84 M aria de’ M edici at the Battle o f Jülich P (Paris, Portrait of Nicolaas Rockox P (Antwerp, Konink­ Musée du Louvre) 125 lijk Museum voor Schone Kunsten) 72, 149 Tomyris and Cyrus P (Boston, Museum of Fine Peter Paul Rubens with Friends P (Cologne, Wall- A rts) 147 raf-Richartz Museum) 131, 151 Portrait ofBrigida Spinola-Doria D (New York, Pierpont Morgan Library) 29, 100, 173 LANDSCAPES Portrait of Veronica Spinola-Doria P (Karlsruhe, AND HUNTING SCENES Staatliche Kunsthalle) 173 Portrait of Théodore Turquet de Mayerne P 31 The Boar Hunt P (Dresden, Gemâldegalerie) 24 Portrait of an Architect or Geographer P (New York, The Return front the Harvest P (Florence, Palazzo Metropolitan Museum) 21, 151, 183 Pitti) 169 Portrait o f a Boy D (Vienna, Albertina) 8 Landscape with the Ruins o f the Palatine P (Paris, Portrait of a Carmélite Monk P (Lord Plunket) 76 Musée du Louvre) 131 Portrait o f a Girl P (Vaduz, Prince of Liechten­ Tournament in Front of a Castle P (Paris, Musée du stein) 8 L o u vre) 85 Three Horsemen P (formerly Berlin, Kaiser Fried- rich-M useum ) 30, 36, 65, 84; fig.4 PORTRAITS Portrait o f a Lady P (Baltimore, The Baltimore Museum of Art) 76-77 Portrait of Anne of Austria P 31 — P (Lisbon, G u lb en k ian Foundation) 102, 109 Portrait of Thomas Howard, Earl of Arundel P — P (New York, Metropolitan Museum) 100 (Boston, Isabella Stewart Gardner Museum) Portrait of a Young Lady in a Fur P (after Titian) 80 (Brisbane, Queensland Art Gallery) 92-93 — P (London, National Gallery) 48 Portrait of a Man P (Aix-en-Provence, Musée Gra- Portrait o f Charles the Bold P (Vienna, Kunst- net) 72 historisches Museum) 7 Portrait of a Man in Korean Costume D (Malibu, Portrait of Charles V with Upraised Sword P (after Getty Museum) 193-194, 197 T itian) 26, 80, 124 Portrait of a Soldier P (Lenin grad , F lerm itage) 204 Portrait of Giancarlo Doria on Horseback P (Florence, Palazzo Vecchio) 21, 23, 36 TITLE-PAGES Portrait of Ferdinand, Cardinal-Infante of Spain as a Cardinal P (Munich, Alte Pinakothek) 87 Title-page for S. Asterii Amaseae Homiliae E 139 Portrait ofLady Gerbier and lier Family P (Washing­ Title-page for Legatus Frederici de Marselaer E 133 ton, National Gallery of Art) 27, 96, 173 Title-page for Senecae Opera Omnia E 130, 132

389 Index IV: Names and Places

This index lists names of artiscs, authors, collectors, owners, historical persons and antique models. W orks of art are included; but, in order to avoid duplication, no reference is made to works by Rubens and his assistants or to the copies after these works.

Aeschines (antique sculpture) 79 Baillie 196-197 Agnew’s 149-150 Bakel, Tinus van 60 Airoldi, Monsignore 152 Balme, Edward 203-204 Aix-en-Provence, Musée Granet 72 Baltimore, The Baltimore Museum of Art A lb e rt, A rch d u k e o f A ustria 35-47, 68, 134, 136, 76 184., 202 Bancroft, Mrs L.M. in Albertine, Princess of Sweden 164 Banks, T. 170 A lcan tara, d ’ 105 Barberini, Cardinal Antonio 63 A lciati, A n d ré a 132, 163 Barck, Count Nils 165 Aldenham, Lord 119-121 Barea, Heliodorus de 52-54 A l vin, L. 140 Barea, Marcellianus de 52-54 A m ste rd a m Barnard, John ióo, 196 Augustinian Convent 149 Bass 153 Rembrandthuis 107 Baudius, Dominicus 164 Anne, Queen of Great Britain 78 B au dou in , R o lan d 88, 162 Anschütz-Kâmpfe 181-182 B au gy 123 Anthoine, J.-B. 92 B avaria, E lecto rs o f 59, 144, 203 A n tw e rp Bayonne, Musée Bonnat 194 Churches and Convents B eck erath , A d o lf von 168 Alexians 127-128 Beeckmans 105-107 Capuchins 71 B e lle g a m b e , Jean 191-192, 198 Cathedral 75 B ellesi, R ita 183 Dominicans 139-141 Bentinck-Thyssen, Baroness Gabriele 47 Jesuits 157 Berckel, Count Anton Franz 184-185 St Joris 189-191 Bergh, Count Hendrik van den 53 St Michiels 83, 179-180, 204-206 Bergh, N. van den 127, 140-141 Koninklijk Museum voor Schone Kunsten B ergh e, A . d e 120 72, 88, 147, 149, 173, 178, 205 B erlin Museum Plantin-Moretus 132, Kaiser-Friedrich-Museum 87 138-139 R o yal M u se u m 103 R ubenshuis 79, 85, 131, 137 B erm an n , H ans 66 Stad sarchief 76, 148 B erm o n d , François 153 S ted elijk P ren ten kab in et 69 B ernard , J. 97 A p p le b y Bros. 39 B erners 183 A ran y, F. 158 Bernini, Gianlorenzo A re n b e rg , C h arles d ’ 54 Portrait of Thomas Baker (sculpture), London, Arenberg, Dukes and Princes of 53, 129-130, Victoria and Albert Museum 79 144, 158 Portrait of Charles I (sculpture), lost 29 Arundel, Alethea Talbot, Countess of Bernouilli, Dr 149 47- 52. Beuningen, D.G. van 90, 97, 111 Arundel, Thomas Howard, Earl of 48-52 Beurnonville, De 114 Ascher, Martin 125 Bianchi, E rco le 41 A u gu stu s III, K in g o f Polan d and E lecto r o f Saxony B irtsch an sky 57 175 B ish tovius, C orn éliu s 202 Aylesford, Earl of 168 Blacket, Sir Douglas 140 390 INDEX iv: NAMES AND PLACES

Blaisel, Marquis de 60 Buckingham, George Villiers, Second Duke of B la k e r, H u g h 54 64 Blamire, George 181 Bucquoy, Charles de Longueval, Count of 67-70 Blumenreich, Léo 142 B un bu ry, Sir H en ry E d w a rd 188 Boeckhorst, Jan 149,171,191 Burg Berger, Eric 149 Boer, P. de 62, 85 B oessière-T h ienn es, M arquis de la 40, 42 Bogiano, Duchesse de 142 C aca u lt 57 B ô h ler, Julius 47, 83, 112 Cachiopin, Jacomo de 70-71 Bolswert 112 Cachiopin de la Redo, Jan-Baptista 70 Bolton, Eugène 75 Calvert Eden, Sir Timothy 40, 42 Bonaparte, Lucien 90 Calza, Anna E. 162 B on n em aiso n 145 C am bacérès 120 Booth, Ralph H. 84 Cambô, Francisco 47 Borden, M.C.D. 139 Campiglia, G.B. 151 Borrekens, Jan-Baptist 60-62 Cannon, Foster 129 Bosman, Cornélius 134 Canza, Dona Ludovica 199 Bosman, Olga 134 Caravaggio 21 Boston, Isabella Stewart Gardner Museum 80 C ard ijn 140 Boström, Sven 134 C ard o n , C.-L. 83, 155, I74-I 75 Bottenwieser, Paul 47, 127 C arleton , Sir D u d le y 50, 155 Bourilly, Boniface 153 Carol I, King of Rumania 165 Bourilly, Michel 153 Carracci, Annibale 21 Boursault, Mme 107 Portrait of Claudio Merulo, Naples, Museo di Boydell, J. 155 Capodimonte 116 B rad b u ry, L . R. 149 Caspari 87, 175 Brandt, Mortimer 85 Castiglioni, Camillo 179 Brant, Isabella 54-58, 124, 176, 178 C ath erin e II, E m press o f Russia 70 B ran t, Jan II 58-59, 162, 164, 180 C avens, C ou n t 99 Braun, Adam 91 Chalette, Jean 156 Breyll, Sara 71-73 Champaigne, Philippe de Bienen van de Grootelindt, Baron van 183 Portrait of Richelieu front three Angles, Lon don, Brisbane, Queensland Art Gallery 93 N ational G alle ry 29 Bristol, Marquess of 84 C h arles I, K ing o f G reat B ritain 26, 62, 79, 92, B ro e m m é , E .N . 105 96, 153, 155- 157, 159, 193, 197 B ro m b e rg , M artin 148 Charles V, Emperor of the Holy Roman Empire Brouwer, Adriaan 71 120 Brueghel, Ambrosius 60-61 Charles, Duke of Lorraine 101 B ru e g h e l, C atharin a 60, 62 C hen ay, P aul 165 Brueghel, Jan I 41, 44, 60-62 Chifflet, Philippe 120 The Allegory of Sight, M ad rid , Prad o 35-36, 39, C h ild , Sir Francis 64 4 i ; f i g -3 Chrysler, Walter, Jr. 41 B ru e g h e l, Jan II 62 Clarisse, Louijs 71 B ru e g h e l, P ieter I 61 Clarisse, Marie 71 Brunswick-Wolfenbüttel, Dukes of 185 Clarisse, Rogier 71-73 B russels C la rk , H. M . 66 Church of the Discalced Carmélites 182 Clarke, C.B.O. 170 Dominican Church 181 Clarke, L.C.G. 129,170 Musées des Beaux-Arts de Belgique 37,43, 150 Clavering, William A. 129 B ryan 203 C le ve , Joos van 150 Buccleuch, Duke of 134 C live, L o rd 56 Buchenau 175 Clos, Claude-Joseph 63 Buckingham, George Villiers, First Duke of Coats, J.A. 60 62-67, 76, 187 Coats, W . A . 60 391 INDEX iv: NAMES AND PLACES

Cobenzl, Count Karl 70 Demarteau, Gilles 165 C oclers, L .C . 204 Demidoff de San Donato, Prince 183 C oelem an s, Jacques 189 D enain , M m e 139 C o ello , San chez 185 D escam p s 40, 42 C oen , Jean D e 66, 128 Devéria, Achille 162 C o g els 40, 42 Dickinson, W illiam 78-79 Colen, Gisbert van 87-88, 93, 165 D idier, H e n ry 139 Collin, Richard 181-182 D ie m e n , V a n 190 Colnaghi 116, 118, 125, 154 Diepenbeeck, Abraham van 66 Cologne, Wallraf-Richartz Museum 131, 151 Dik,Jan 175 Colonna, Ascanio 180 D ollfu ss, J. 114 Condé, Charlotte-Marguerite de Montmorency, Doort, Abraham van der 155 Princess of 73-75 Douai, Jesuit Convent 191-192 Condé, Eléonore de 74-75 D o u w e s 135 Condé, Louis II, Prince of 74 D ra eck , C orn elia 145 Cook, Sir Francis 124 Dresden, Kupferstichkabinett 69 Cook, Sir Frederick 124 Duarte, Diego 149 Cook, Sir Herbert 124 Duarte, Juffrouw 152 C oo p er, R. 108 Dubreuil 175 Coppet, André de 154 Duits and Co. 129 Cortenbach 135 Dulière, Gaston 139-140 Cosimo II, Grand Duke of Tuscany 192 Dupuy, Pierre 126, 147, 185-186 Cosimo III, Grand Duke of Tuscany 56, 151-154 Dürer, Albrecht 27 Cossée de M au ld e, V ico m te 128 The Loving Couple (engraving) 172-173 Cosway, Maria 98 Durré, Mme 119 C osw ay, R. 98, 118 D u sart 140 Cotton,W. 181 D u tu it 69 Court, Jean de la 75-76 Dyck, Anthony van 28, 37, 48-50, 72, 77-80, 112- Crayer, Gaspar de 36-37, 40-41, 202 114, 116-120, 133-135, 152-154, 156, 170, 192, Portrait of Albert, Archduke of Austria, Sao Paulo, 196-200, 202 Museo de Bellas Artes 37-38; fiv.6 Portrait of Isabella Brant. Washington, National C rosby, F.W . 183 Gallery of Art 54, 58; fig.57 Croy, Geneviève d’Urfé, Duchess of 77 Portrait of Jan Brueghel the Elder (etching) 61 ; Crozat, Pierre 52, 157, 164 f i s -41 Cumberland, Duchess of 60-61 Portrait of Jacomo de Cachiopin 71 Currie, Bertram 37 Portrait of Charles I from three Angles, L o n d o n , C u yp , J.G . Buckingham Palace, Royal Collections 29 Family Portrait, Lille, Musée des Beaux-Arts 173 Portrait of Geneviève d’Urfé, Duchess of Croy 77 Cuypers de Rijmenam, Count de 101 Portrait o f the Infanta Isabella in the Habit o f a Czernin 173 Poor Clare, Turin, Galleria Sabauda 37. 12,0 Portrait ofFrederik van Martselaer, D u b lin , D acre, L a d y 49 National Gallery of Ireland 134; Danby, Lord 155, 157 fi g- N i Darnley, Lord 169 Portrait ofjan van Montfort, Vienna, Kunst- Daullé, J. 176 historisches Museum 136-137; fig. 148 Dauzel 176 Portrait of Erycius Puteanus, Raleigh, North Davenport Bromley 72 Carolina Museum of Art 69 D e ffett Francis, J. 99 Portrait o f Robert Shirley, Petworth, Lord Lecon- Delff, W illem fie ld 146 Portrait of George Villiers, Duke o f Buckingham Portrait of Jan Wildens 200 (engraving after Michiel Mierevelt) 63 Portrait of a Family, London, Somerville and Portrait of Sir Dudley Carleton (engraving after Simpson 62 Michiel Mierevelt) 50; fig.30 Dyck, Theodoor van 78 392 INDEX iv: NAMES AND PLACES

E ccardt, J. 170 Franklyn, Léo 165 Eden, Sir Timothy Calver 186 Fraula, co m te de 63 E g re m o n t, L o rd 203 Frederick, Elector Palatine and King of Bohemia Eld, Major R.E. 112 181 Ellesmere, Francis Egerton, First Lord 98 Frederick II, King of Prussia 103 Ely, Marquess of 144 Fréminet, Martin 157 Engell, Terry 40 Friedmann, Dr 127 Erard, Chevalier 112 Friedsam, Michael 112 Erasmus, Kurt 47 Fries, Count Moriz von 90 Esdaile,W. 97 Essex, Earl of 60 Esterhâzy, Prince Nicholas 80 Galle, Cornelis 139, 179-180, 202 Evens, Edgar 167 Galton, Major Howard 85 Eyck,Jan van Gauchez, Léon 116, 118 Portrait o f Giovanni Arnolfini and his W ife, G eddes, A n d re w 108 L o n d o n , N atio n al G a lle ry 163 G enoa Eyl Sluyter, Hendrik van 195 P a la zzo Bianco 204 Palazzo Carrega 136-137 George III, King of Great Britain 43 Faber, Johannes 138 Georg IV, King of Great Britain 107 Fabre, François-X.-P. 112 Gevaerts, Anna 113-114 Fabri-Bourilly, Gaspard de 153 Gevartius, Jan 115-116 Fabri-Bourilly, Honoré-Sauveur de 153 Gevartius, Jan-Caspar 83, 113-116, 121-123, 138, Fabri-Bourilly, Michel de 153 156 Facius, J.G. 57,155 G ianni, F. 95 Faille, R. délia 127 Gilles, Philippe 113 Falckenstain 136 G lan usk, L o rd 54 Falvy, A. 154 G len orch y, L o rd 123 Ferdinand, Cardinal Infante of Spain 80-87, 92. Gliboff 105 Ferdinand II, Emperor of the Holy Roman Glückselig 80 E m p ire 67, 69 Godefroy, Charles 63 Ferdinand III, Emperor of the Holy Roman Godlew’ski, Julian 124-125 Empire 116 Goering, Herrmann 175 Flachenecker, Wolfgang 162 G o ld a m m er, v o n 39 F leitm an n , F .T . 53 Goldschmidt-Rothschild, Baron Albert von Florence 116, 118 Palazzo Pitti 56, 94, 136 Goldschmidt-Rothschild, Baron Max von 116, Uffizi 126 118 Floris, Frans 23 G old sm ith , W a lte r 42 Fogg,A. 133 G old tsch m id t, L é o p o ld 153 Fontainebleau, Castle 167 G oltziu s, H e n d rik 23, 201 Fontana, P. 89 Portrait ofjustus Lipsius (engraving) 132 Forchondt, Marcus 185 G o m é z, D on E n riq u e 73 Fortescue, Sir John 43 Gonzaga 126 Fossard 90 Goudstikker, Jacques 75 Foster, J. 107 Grambs, Dr 112 Fourment, Clara 116-119 G ran d idier, E rn est 143 Fourment, Daniël 117 Gray, Edward 110 Fourment, Hélène 87-103 Gregori, C. 151 Fraikin, D r 82 G regori, F. 129 Francken, Frans I 112-113 Greyfié de Bellecombe, Louis 153 Francken, Frans II and Pourbus, Frans II Grote, Baron von 116,118 Bail at the Court o f Albert and Isabella, Grotius, Hugo 132, 203 The Hague, Mauritshuis 74; fig-6$ Gutekunst, Mrs 125-126 393 INDEX iv: NAMES AND PLACES

Haas McMath, Constance 66 Infantado, Dukes of 73 H aberstock, K arl 39 Isaacz, Isaac 37 Hackenbroich 116, 118 Isabella, Infanta of Spain 36, 119-123, 125, 136, The Hague, Mauritshuis 74 141, 181-182, 184 H al, J. van 174 Islington, Lady 181 Halen, Theresia van 127 H a m b ro , Sir Eric 190 Hapsburg 121 James I, King of Great Britain 62 H a rd w ick e, E arl o f 183 James II, King of Great Britain 78-79 Haren, Groot-Seminarie 142 Jamesone, George 77 Harewood, Earl of 47 Janssens, Abraham Harvey, Henry 88 Portrait of Justus Lipsius 130 H arvey, T h o m as 106 Jeffery 35 H avem eyer, H .O . 123 Jegher, Christoffel 169-170 H avre, van 107 Jersey and Westmoreland, Earls of 64 Havre, Jean-Michel-Antoine-Joseph van 107 Jode, P ieter II de 40, 42-43, 135, 184, 186, 202 Havre, Jean-Michel-Joseph van 107 Portrait of Erycius Puteanus (engraving) 69 H ecke, P eter van 48, 92, 116 -119 Johann-Wilhelm Elector Palatine 48, 99, 151, Heemskerck, Maarten van 23 153, 162, 189 Portrait of Jemsalem Pilgrims, Haarlem, Frans Johnson, Harry A. 134 Hals Museum 147 Jolles, J.A. 196 Heinemann, Dr 187 Joly, Hugues-Adrien 203 H ellich , J .A . 35 Jordaens, Jacob 64 Hémé, Mme 175 A s the Old S a n g ..., Antwerp, Koninklijk Mu­ Hennequin, Mattheus 154 seum voor Schone Kunsten 88 Heseltine, J.P. 90 St Martin Healing a Possessed Man, Brussels, Hess, Cari 162 Musées Royaux des Beaux-Arts de Belgique Hevesy, André de 82 150 H eyd en , J. van der 123 Juana, Infanta 120 Hickman 88 Jullien ne, J. de 164-165 Highmore, Joseph 175 H ines, R alp h J. 86 Hoare, Eustace 93 K abrun 88 Hobhouse, Arthur 196 K ann, R o d o lp h e 148 Hobhouse, Eliza 196 Kappel, Marcus 54, 169 Hobhouse, Henry 196 Karlsson, Harry 88 Hoet, Gérard 145 Kat, H. de 196 Holbein, Hans Katz, A. 139 Portrait of Henry Howard, Earl of Surrey Kay, Mrs 77 79 K aye, F. B. 129 H o lfo rd , G eo rge Lindsay 83, 101 Kent, Anthony, Duke of 137, 139 H o lfo rd , L .R .S . 56, 101 Kent, Earl of 139 H o lla r, W e n ze l 158 Keyser, N. de 175-176 Hollitscher, Cari von 179 Kimbell, Velma 77 Honthorst, Gérard 41 Kinsschot, Ambrosius 113-114 Shepherdess, Utrecht, Centraal Museum 107 Kinsschot, Marie de 113-114 Hoofman 88 K isters, H ein z 85, 135 Hoogendijk 127-128 Klein, O. 72 Hoof, A. van der 90 K lein b erger 40, 112 Howard Bartol, Elizabeth 60 Knoedler 81 Huck.J.G. 155 Knyff, de 162 Hudson, T. 95, 97, 118, 160, 170, 181, 190 K oenigs, F. 90, 97, n i , 142-143 H u ghes, Frances L. 183 K oen igsw arter, Baron 133 Huquier, G. 90 K oetser 190 394 INDEX iv: NAMES AND PLACES

Koetser, David M. 84-85 Victoria and Albert Museum 79 K o etser, L éo n ard F. 37, 86, 124 Wallace Collection 172 K ra e m e r, E u gèn e 82, 153 W h ite h a ll 153 K retsch m er, O tto 42 York House 64-65 K u p p e r 134 Longford Castle 35 L o n gh i, G .P . 145 Longueval, Charles Albert de 68-69 Labia, Princess 174 Louis XIV, King of France 74 Ladislas-Sigismund, Prince, later King of Poland Louis XVI, K in g o f France 95 123-125 Lucas, Baroness 137, 139 Lamm, C.R. 129 Luise-Ulrike, Queen of Sweden 164 Lancellottus, Henricus 149-150 L u n d en 107, 109, 119 L a n g la d e , S ylvie de 66 Lunden, Arnold 63, 104-107, 109, 119, 132-133 Lankrink,P.H. 55-56,170 Lunden, Arnold-Albert 104-107 L an tsh eer, W . 196 L u n d en , C atharin a 104 Largillière, Nicolas de Lunden, Cathérine-A.M. 107 Portrait of a Mon in Persian Costume, Brunswick, Lunden, Willem 104-107 Herzog Anton Ulrich-Museum 146-147 Lutley, Col. J.T. 107 Lauwers, Nicolaas 53-54 Lyndhurst, Eric 47 Lauzière, Mme de la 153 L a w ren ce, Sir T h o m as 57, 90, 98, 160 Lawson Peacock, W. 129 M ad rid L e b e l 72 A lca za r 44, 82, 189 L e b ru n , J.B . 145 Archiépiscopal Palace 82 Leconfield, Lord 203-204 Palacio N u evo 82 Leembruggen 88 Prado 35, 39, 41, 92, m , 132, 169 Leganés, Don Diego de Guzmân, Marquess of M aile, G eorges 105 73-75. 84, 121, 125-127, 185, 187 Makart, Hans Senior 173 L e n in gra d , H e rm itag e 148, 204 Makart, Hans Junior 173 Leopold II, King of the Belgians 112 M a lco lm , W . 88, 95 Leopold-Wilhelm, Archduke of Austria 134-136 Malden, Sarah 60-61 Leuchtenberg, Eugène de Beauharnais, Duke of Maleingreau d’Hembise, A. de 186 187 Malibu, The J.P. Getty Museum 193-194, 197 Lewis, Charles W. 174 Maltz, B.N. 72 Lewis, Edward A. 174 Mantua, Palazzo Ducale 126 Liechtenstein, Princes of 80, 175 Mariette, P.-J. 203 Lilienfeld 173 Marlatt, William H. 54 Lille, Musée des Beaux-Arts 173 M arlb o ro u gh , D u k e s o f 41, 98, 155, 170 Linden, Jan van der 127-128 Marlborough, John Churchill, First Duke of 40, Lipsius, Justus 71, 128-132, 178, 180 98, 100, 170, 172 Lisbon , G u lb en k ian Foundation 102, 109 Marneffe, P.J. de 114 Liss, Johann 173 Martselaer, Frederik van 133-134 L ive d e Ju lly, de la 95 M aryad ale o f Islay, L o rd 73 L o m m e l, L au ren tiu s van 143 Masson, H.J. 135 Lommelin, Adriaan Master of the Hausbuch Epitaph of Jan Gevartius (engraving after Eras­ Loving Couple (engraving) 163 in u s Q u ellin u s II) 116 Mathiesen 125 L o n d o n Mattheys-Smets, Mr and Mrs A. 127 Bridgewater House 98 Matthijs, Abraham 151 Buckingham Palace 153 Max Emanuel, Elector ofBavaria 87-88, 93,165 C a rle to n H ouse 78, 107, 153 Maximilian, Archduke of Austria 134-136 Kensington Palace 78, 153 Maximilian I, Duke ofBavaria 181-182 N a tio n a l G a lle ry 38, 72, 75, 124 Maximilian II, Emperor of the Holy Roman St Jamcs’s Palace 153 Empire 35-36, 134 395 INDEX iv: NAMES AND PLACES

M ayer, W . 57 M u ller, Jan 38, 40, 45-46 Mazarin, Cardinal 81 M un ich M c A r d e ll.J . 170 A lte P in akoth ek 39, 149, 203 Mecklenburg, Henry, Grand Duke of 179 Bayerische Staatsgemaldesammlungen 134 Mecklenburg-Schwerin, Grand-Dukes of 66, 99 Hofgartengalerie 59 , 87-88, 93, 99, 144, 162, Medici, Cardinal Leopoldo de’ 62, 152 165, 203 Medici, Maria de’, Queen of France 74 Musson, Matthijs 172 Meester, Alberic de 139 Mytens, Daniel M erle n , Louis Jacob van 64 Portrait of Thomas Howard, Earl of Arundel, M érod e, C ou n t de 40, 42 T h e D u k e o f N o rfo lk 48, 51 M ersch, D r P au l 144 Portrait of Alethea Talbot, Countess of Arundel, Metcalfe, Henry 124 The Duke of Norfolk 25, 48, 50-51 \ fig. 23 Metcalfe, Philip 124 Metsijs, Quinten 150 Portrait of Erasmus, Rome, Palazzo Barberini Naples, Museo di Capodimonte 72 115 Nardus, Leo 47 Portrait of Petrus Aegidius, Longford Castle, Nassau, Philip-William, Count of 75 Lord Radnor 115 Neeld, Sir Audley 84, 144 M eu le m e este r, M . de 108 N eeld , L .W . 84 M eu rs, Jan van 182 Neeld, W. 144 Meyssens, Jan 43 Neuerburg, August 58, 80 Michelangelo 21, 157 Neuerburg, Gottfried 58 Tomb projectsfor Pope Julius II 69 Neuville, Mme de 107 Michieli, Antonio 154 N ew h ou se G alleries 183 Michielsz., Cornelis 178 Newton, Arthur U. 72 Mierevelt, Michiel N e w Y o rk , M etro p o lita n M u se u m 100, 115, 151 Portrait of George Villiers, Duke of Buckingham Niarchos, Stavros 158 63 N icholson, A .L . 72, 83, 139 Portrait of Sir Dudley Carleton 50 Nieuwenhuys, L.J. 107 Portrait of Ambrogio Spinola 25, 185 Nieuwenhuys, M.J.L. 179 M illais, J.E. 57 Nonnius, Ludovicus 137-139 Mocchi, Francesco N o rfo lk , D u k es o f 56 Portrait of Richelieu (sculpture) 29 Norfolk, Thomas Howard, Duke of 51, 154 M oerem an s d ’Em aus, G. 40, 42 Normand, C. 129 Mont, Frederick W. 77 Northwick, Lord 107, 129 M o n te, C lara del 104 N o stitz 184 Montfort, Jan van 136-137 Nostitz, Count Anton Johann 184-185 Montglat, Marquis de 82 N o ttin gh am , E arl o f 65 More, Sir Thomas 115 N u n ez, A lv a ro 138 Moreelse, Paulus Shepherdesses 107 Morel, A. 129 O’Brien, Donough 60 M o rel de V in d é 160 O hlsen 35 M oren o, D an iel 142 Olivares, Gaspar de Guzmân, Count of Olivares Moretus, Balthasar 7, 113, 132, 137-138 and Duke of Sanlücar 85 Morley, C.L. 85 O livares, M igu el de 82, 84 M örn er, C o u n t A x e l 45 Ophovius, Michael 139-144 Moro, Antonio 25, 128, 185 O p p en h eim er, F. 78 Portrait of Jérusalem Pilgrims, Berlin-Dahlem, Orde, Sir Charles 39 Staatliche Museen Preussischer Kultur- Overlaet, Antonis 107, 127 besitz 147 M orren s 182 M orrisson 73 P aign on -D ijonval 160 M ü lle r, G. A . 176 Pâlffy, Count Jânos 42 396 INDEX iv: NAMES AND PLACES

Palmer, Sir James 63 Raphaël 21,27,157 Panneels, W illem 158-159 Madonna délia Sedia, Florence, Palazzo Pitti Pantoja de la Cruz, Juan 27, 94 Portrait o f the Infanta Isabella, Munich, Alte Portrait ofPope Julius II, London, National Pinakothek 39 Gallery 72 Paradisi, L. 129 Portrait of Pope Leo X with two Cardinals, Paris Florence, Uffizi 131 Musée du Louvre 27, 85, 94, 96, 131, 167 R avesteyn , J. A . van 178 M usée N a tio n a l 97 Reiset, J. 114 Palais du Luxembourg 83 R em b ra n d t 146 Parrhasius 177 Aristotle, New York, Metropolitan Museum Passe, C h risp ijn II de 142 115 Passe, W illem de Renate, Archduchess of Austria 124 Portrait of George Villiers, Duke of Buckingham Respaigne, Nicolaas de 145-147 (en gravin g) 65 Reynolds, Sir Joshua 81, 106, 109, 170, 190 Pecquius, Petrus 144-145 R eynolds, S.W . 108 Peel, Robert 107 Ricci, Matteo 194 Peeters d’Aertselaer, J.E. 144-145, 179 Richardson, Jonathan Senior 55-56, 95, 97, 118, Peiresc, Nicolas Claude Fabri de 153, 156 160, 170, 181, 190, 196 Peltzer, Rudolf 145 R icketts 57 Philip III, King of Spain 68, 124 Ridder, A. de 112 Philip IV, King of Spain 26, 82, 84, 92, 125-126 Ridgway, Captain 129 Philipe, T. 196 R id ley, V isco u n t 72 Picart, Michel 172-173 R inckens, G aspar 76, 148 Picqueri, Nicolaas 156-157 Robiano, de 40, 42 P ie rp o n t M o rgan , J. 81, 200 Robinson, C harles 133 Pietro, Marquis de 162 Robinson, J.C. 35,174 Pilaer 105-107 Rockox, Nicolaas 138, 149 Pliny the Elder 177 Rogers, C. 181 Ploos van Amstel, Cornelis 165 R o m b a u lt, R e m y de 191, 198 Plunket, Lord 76 Roore, Antonius de 149-151 P o g g io a C ajan o, C astle 56 Roose 113-114 Pontius, Paulus 83, 114-115, 120-121, 123, 154, Roose, Jan 113-114 156-157,184 R osen berg 54, 121 The Bust of Hippocrates (engraving) 139 Rosso Fiorentino Portrait of Jan Wildens (engraving, after Vertunmus and Pomona, Fontainebleau, Castle, Anthony van Dyck) 200 Pavillon de Pomone 167 Potsdam-Sanssouci, Bildergalerie 154 Rota, Martino P o u rbu s, Frans II 22, 74-75 Portrait of Maximilian, Archduke of Austria, Portrait o f the Infanta Isabella 43 Vienna, Kunsthistorisches Museum 135; Poynter, Sir J.E. 170 fig -144 P rag u e, H radschin 45 R o th m an n 87, 175 Preisler, G.M. 151 Rothschild, Baron Alphonse de 98, 170 Prenner, A.J. 91,159 Rothschild, Baron Edouard de 98, 116, 118, 170 P u tean u s, E rycius 156, 202 Rothschild, Baronne Germaine de 170 Rothschild, Baron Guy de 98 Rotterdam, Museum Boymans 127, 142, 148 Quellinus, ErasmusII 36, 116, 137-139 Roux-Alpheran 153 Quellinus, Jan-Erasmus 60 Rovere, délia 126 Roxard de la Salle 66 Rubempré, Prince de 158 Radnor, Earls of 35, 66 Rubens, Albert 59, 104, 114, 175-179 Raleigh, North Carolina Museum of Art 69 Rubens, Clara-Johanna 90, 94-96 Randon de Boisset 95 Rubens, Clara-Serena 58 397 INDEX iv: NAME5 AND PLACES

Sutherland Gower, Lord Ronald 57 Torrey, IT.N. 186 S uyderh oef, J. 40, 42-43. 135 Tournai, Abbey of St Martin 149-151 S ylva, V .D . 140 Towney, C. 151 Sylvester, P. 98 Trigault, Nicolas 191-198 T ro tti 123 Trumbull, William 155 Tampé, Mme 154 Turin, Galleria Sabauda 37 Tartre, du 90 T u rn e r, J .M .W . 108 T eix e ira de M attos, J. IT. 127 Turnhout, Museum Taxandria 116 T em p esta , A n ton io 36 Turquet de Mayerne, Théodore 26, 27, 115, 138. Teniers, David II 60-62, 140, 145 152 The Art Gallery of Archduke Leopold-Wilhelm, Tuscany, Grand-Dukes of 120, 128 Schleissheini, Castle 135 ; fig. 14} Company in a Garden, London, Edgar Evens Collection 167 U pper O ssory, E a rl o f 47, 81 Tessin, Count Cari Gustav 52, 164, 195 Urquijo, Marquess 129 T h an e, J. 118 Utrecht, Centraal Museum 107 Thaw, Eugène V. 165 Thibaudeau, Count Adolphe 165 Thiermann, A.-G, 151 Vaillant, Wallerant 122 Thilemans 53 Valavez, Palamède de Fabri, Sieur de 155 Thornhill, James 55-56 V a u d reu il, C o m te de 95 T h o rp e , T h o m as 66 Veen, Otto van 21, 22 Thulden, Hendrik van 189-191 Portrait of Albert, Archduke of Austria, Vienna, Thulden, Theodoor van 64, 82 Kunsthistorisches Museum 38 T h u n , C o u n t 66 Portrait of Albert, Archduke of Austria 37 Thurn and Taxis 181 Vega, Lope de 84 T h yssen 62, 121 Velâzquez, Diego de Silva y 86 Thyssen-Bornemisza, Baron Heinrich 47 Venus Pudica (antique sculpture) 27, 92-93 Tilly, Jean t’Serclaes, Count of 181 Vercellini, Francesco 49-50 Tintoretto, Jacopo 36 Verdussen, F. A. 127 T itian 22, 24, 26-28, 30, 50, 68, 157 V e rg elo , M . v an 133 Allegory of Love (So-called Portrait o f Marquis Verhoeff 154 del Vasto), Paris, Musée du Louvre 27, 94, 96 V erh o even , A b ra h a m II 122 Portrait of Pietro Bembo, Washington, National V e rm e e r G alleries 56 Gallery of Art 141 Vermeyen, Jan Cornelisz. 141 Portrait of Charles V on Horseback, M adrid, Vermoeien, Jan 198-200 Prado 84 Vernon, Captain B.C. 125 Portrait of Charles V with Upraised Sword 26, V ern o n , G re v ille R ichard 81 80, 124 V ern o n , R o b e rt 81 Portrait of Johann-Priedrich, Elector of Saxony, Veronese, Paolo 22, 28 Vienna, Kunsthistorisches Museum 189 V ersto lk -van Soelen , J.G . 140 Portrait of Johann-Friedrich, Elector of Saxony, in V ien na Armour 190 Albertina 127 Portrait ofPope Paul III, Naples, Museo di Capo- Galerie Sankt-Lucas 121 dimonte 72 Impérial Collection 159 Portrait ofFrancesco délia Rovere, Duke ofUrbino, K unsthistorisches M u se u m 38, 135-137, 189 Florence, Uffizi 26, 126 N eu e G alerie 99 Portrait of Fabriçio Salvaresio, Vienna, Kunst­ Vinci, Leonardo da historisches Museum 26, 137, 147 Pointing Lady (drawing), Windsor Castle, Royal Young Lady in a Fur, Vienna, Kunsthistorisches Collection 92 M u seu m 92 Vinck de Wesel, J.F. de 139, 141 Toledo, Ohio, The Toledo Museum of Art 171- Vischer, J.C. 122 173 Vischere, Peter de 136 399 INDEX iv: NAMES AND PLACES

Rubens, Frans 93-100 Shrewsbury, Gilbert Talbot, Earl of 48 Rubens, Isabella-Helena 94, 97 Sidmouth, Lady 196 Rubens, Nicolaas 175-179 Siete Yglesias, Marquis of 38 Rubens, Philip 128-132, 139, 170, 172-173, Sigismund III, King of Poland 124 179-181 Silvani, G aetan o 204 Ruffo de Bonneval, vicomte de 40 Simon, Norton 121 Russell.W. 118 Sim pson 62 Ruzzola, Domingo 181-182 Sivory, Carel-Jacob de 113-114 Sjöstrand, A.W. 142 S low ak, H. S. de 39 Sabin, Frank 60 Smirnoff 80 Sachsen-Teschen, A lb e rt, D u k e o f 63, 102, 109, S m ith 181 126, 158, 178-179 Sm ith , John 90, 107 Sachsen-Weimar, Grand-Dukes of 143 Snyders, Frans 92 Sadeler, Egidius Snyers, P.J. 127 Portrait of Charles de Longueval, Count of Socin, A b e l 183 Bucquoy (engraving) 69; ƒ £.37 Solly, Edward 47 Safarik, E d uard 18 S o m erv ille 62 Salamanca, Marquis of 73-74 Son, Nicolas de Salomon, Bernard 164 Garden of Love (etching after Johann Liss) 173 San Carlos, Duke of 129 Sophocles (antique sculpture) 79 Sandby, P. 98 S ou tm an, P ieter 43, 88, 135 Sào Paulo, Museo de Bellas Artes 37-38 Souza, de 196 Sarasota, The John and Mable Ringling Museum Speelman, E. 42 o f A r t 163 Spencer, Earl 55-56 Sartiges, Gilberte de 153 Spink 47 Sartiges, vicomte Louis de 153 Spinola, Ambrogio 120, 126, 184-188 Savel, V an den 140 Spira, P etrus de 191-194, 198 Saxony, E lectors o f 40, 42, 95 Spoelberch, vicomtesse de 116, 118 Schamp d’Aveschoot 101, 106, 119, 158, 181 Stafford, W illiam Howard, Viscount of 48, 51 Scherpenbergh, J.B. van 53 S tam p art, F. von 91 Schiavonetti, L. 98 Stanislas-Augustus, King of Poland 91, 188 Schilders, Robert 68 Stappaert, Elisabeth 146 Schleissheim, Castle 59, 87-88, 93, 135, 165 Stappaert, Orlandus 146 Schlichting, Baron de 110 Stenbock, Count Gustav 164-165 Schmidt, B. 40 Stern 154 S chm uzer, J. 95 Stern, Louis 66 Schoen, Cari 173 Sternberg, Counts 35 Schôn, A . 203 Stiebel 54, 121 Schônborn, Counts of 83 Stier d Aertselaer, Henri-Joseph 107, 110, 139- Schorel, van 119 140, 179 Schulthess, M. 149 Stockholm, Royal Library 52 Scorel, Jan van 128 Storffer 91 Portraits of Jérusalem Pilgrims 147 Stradanus, Johannes Scripps, W illiam E. 179 Julius Caesar (engraving) 36 Sebright, Sir Giles 136-137 Strathmore, Earl of 47 Sebright, Sir Thomas 136-137 Stroganoff 158 Sed elm ayer, C h arles 60, 81, 133, 148 Strutt, Joseph 85 Seilern, Count Antoine 60, 101, 136-137 S u erm o n d t, B. 143 Semeonoff 80 Sunderland, Earls of 40 Seneca (so-called) (antique sculpture), Antwerp, S urm acki, J. 123 Rubenshuis 131 Sustermans, Justus Shannon 57 Portrait of Maximilian, Archduke of Austria, Shepherd Bros, 133 Florence, Palazzo Pitti 136 398 INDEX iv: NAMES AND PLACES

Voet, Alexander 122, 152 Watteau, Antoine 57, 164-165 Vorsterman, Lucas 26, 67, 69-71, 80, 124, 135 W atts, Sim on 160 Portrait of Charles de Longueval, Count ofBucquoy W eiss 181 (engraving) 70 ;fig.;S Weiss, Bartholomeus 162 Portrait of Jacomo de Cachiopin (engraving after W eitzn er, J. 41 Van Dyck) 71 W e lk e r 190 Vos, Cornelis de 37, 42, 60-62, 115-116, 144, W entworth, W. V. 125 149- 151 Werhashga, Catharina 183 Portrait o f Frans Francken the Elder and lus W ife, Wertheimer, O. 119, 122 whereabouts unknown 112 Wesselman van Helmond 135 Portrait of a Family, Antwerp, Koninklijk Mu­ W est, H ans 204 seum voor Schone Kunsten 178 Widstrand, A. 196 V o s, M aarten de 40, 42 Wijngaerd, van den 203-204 V os, P a u l de 65 Wildens, Jan 200-201 V os, S im on de 40, 42 Wildens, Jeremias 200 Vriendt, Michiel 113 Wildenstein 79 Vries, Abraham de 156 W ilhelm VIII, Landgraf of Hessen-Cassel 145 Vuyk, Jadwiga 57 Willeboirts Bosschaert, Thomas 37, 113 W illiam I, King of the Netherlands 140 W in d so r C astle 92 W a e yen b erg h , M gr H . van 133 Wolfgang-Wilhelm, Count Palatine and Duke of W ah a 124 Neuburg 201-202 Wallace, James Hope 86 Woodburn, Samuel 88 W allis, D u d le y 39 Worcester, Mass., Worcester Art Museum 55 Wallmoden Grimborn, Count 154 W o u te rs, C an on Pierre 158 Walrond, Bethell 37 Wouwer, Frans van de 202-203 Wanamaker 41 W o u w er, Louis van de 202 W a rd , J. 133 Woverius, Johannes 71, 128-132 Warnant, Albert 149 Wrightsman, C. 170 Warneck, Edouard 142 W rzo w e c z 40, 42 W a rw ic k C astle 35 Warwick, Earl of 185 Washington, National Gallery of Art 55,100,141 Yrsselius, Matthaeus 204-206 Waterloos, Adriaan Ysendyck, A. van 107 Portrait Medallion o f Johannes Woverius, Brussels, Bibliothèque Royale Albert 1er, Cabinet des Médailles 130, 132 Zacharias 127

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