Peter Paul Rubens

Sir Peter Paul Rubens (Siegen 1577-1640 Antwerp) A wooded landscape at sunset oil on canvas 19¾ x 25½ in. (49.3 x 64.8 cm.) Charleston Wallace. Art market, Holland, where acquired by August Neuerburg (d. 1944), Hamburg, probably in the late 1920s, and most probably in or shortly before 1928 (Wilhelm von Bode's certificate is written on the reverse of a photograph taken in Hamburg, where Neuerburg lived); and by descent. Anonymous sale [The Property of a Family]; Sotheby's, London, 7 July 2010, lot 10 (£313,250). THE PROPERTY OF A EUROPEAN COLLECTOR G. Glück, Die Landschaften des Peter Paul Rubens, Vienna, 1945, pp. 45-7, 72, no. 39. J. Müller Hofstede, 'Zwei Hirtenidyllen des späten Rubens', Pantheon, XXIV, 1966, pp. 38, 41, notes 29, 20, fig. 7. W. Stechow, Dutch Landscape Painting, London, 1966, p. 221, note 27. W. Adler, Corpus Rubenianum Ludwig Burchard, XVIII, Landscapes and Hunting Scenes, Oxford, 1982, I, pp. 158-9, no. 51, pl. 134, as Rubens, circa 1635. D. Bodart, M. de Battisti and A. Biffi, Peter Paul Rubens, Milan, 1985, p. 199, no. 890. M. Jaffé, Rubens. Catalogo Completo, Milan 1990, p. 350, no. 1217, as Rubens, circa 1635-8. D. Jaffé, 'Rubens back and front. The case of the National Gallery Samson and Delilah', Apollo, August 2000, p. 25, as Rubens, circa 1638. This landscape sketch has always been published as an autograph late work, datable to circa 1635-38, the years in which Rubens produced many of his large-scale landscape paintings and associated sketches. Wilhelm von Bode was the first scholar to authenticate it in 1928, followed by Ludwig Burchard (undated certificate), Gustav Glück, Wolfgang Stechow, Wolfgang Adler and Michael Jaffé. Only Julius Held was more circumspect, suggesting in private correspondence in 1985, that 'Rubens's authorship is possible, though not completely compelling', adding that it was 'evidently of some importance that no-one seems to have ever seriously doubted the attribution to Rubens'. Although the compositional structure and the rendering of the trees in particular perhaps lack the dynamic coherence usually associated with landscapes by this artist, this work does conform in general terms with Rubens's distinctive style, seen most clearly in the rich use of colour and thick application of paint in the admirable rendering of the warm, summer, evening light.

Peter Paul Rubens Flandern 1577‑1640. Kopia efter. Akilles bland Lykomedes döttrar. Olja på uppfodrad duk, 84 x 123. Copy after. Oil on relined canvas, 84 x 123 cm. / 12.000 - 15.000:- / / € 1.300 - 1.700 / Dra musen över bilden för att se större, ladda ner eller lägga bud. Klicka på 'Lägg bud' för att spara objektet i 'Mina objekt', där Ni nu eller senare kan lägga bud.

Sir Peter Paul Rubens (Siegen, Westphalia 1577-1640 Antwerp) The Adoration of the Magi oil on panel 15 x 12½ in. (38.1 x 31.7 cm.) by family descent for three generations. PROPERTY FROM A PRIVATE VIRGINIA COLLECTION This unpublished panel constitutes an exciting new discovery and an important addition to the corpus of oil sketches by Sir Peter Paul Rubens. A powerful compositional study executed with the bold confidence and refined brushwork that defines Rubens's painting on this scale, it relates to a large canvas painted by the master circa 1626-1627 for the high altar of the Cloister of the Annunciation in Brussels (fig. 1). The altarpiece was most likely commissioned by Barbara-Maria Boonen (d. 1629), the widow of Pieter Peck (Peckius or Pecquius) (1562-1625) (see J. Foucard, Catalogue des peintures flamandes et hollandaises, Paris, 2009, p. 223, no. 1762). Pieter Peck had a distinguished career at the court of the Archdukes, serving as ambassador to the King of France, Henri IV, and later as Chancellor of the Sovereign Council of Brabant in 1616. He was also a benefactor of the Convent of the Annunciation, which was founded that same year, and three of his daughters would reside there. The Chancellor met Rubens on several occasions, and, in fact, sometime in the second decade of the seventeenth century, the artist painted his portrait (Fareham, Hampshire, Southwick House, Mrs. H.F.P. Borthwick-Norton), possibly on the occasion of his appointment as Chancellor (see H. Vlieghe, Rubens Portraits of Identified Sitters Painted in Antwerp, New York, 1987, pp. 144-145, no. 128, fig. 160). In 1777, the Cloister of the Annunciation would sell Rubens's altarpiece to Louis XIV of France, and it is now displayed in the Louvre. The Adoration of the Magi was frequently interpreted by Rubens throughout his career: he painted this subject more often than any other story from the life of Christ, and over a dozen large paintings by his hand dedicated to this theme survive (see M. Jaffé, Rubens: Catalogo completo, Milan, 1989, nos. 21, 96, 98, 476, 428A, 503, 525, 526, 559, 560, 779, 780, 880, 948, 1094). As recounted in the Gospel of Matthew 2:11, three wise men from the East followed a star in search of the King of the Jews. They were directed by Herod to Bethlehem, where they delivered gifts of gold, frankincense and myrrh to the newborn Christ Child. Rubens's earliest treatment of the story dates to about 1602 and is now in a private collection in Belgium. Shortly after producing this sketch, Rubens created a larger oil study in the Groninger Museum in Groningen which ultimately served as the model for a large canvas for the Statenkamer of Antwerp's Town Hall (today in the Prado, Madrid). In the Prado Adoration, we see many of the compositional devices that Rubens further developed in the present sketch, such as the standing Virgin at the far left. Mary is portrayed with a bent knee, a pose that might derive from Annunciation scenes, where she is customarily shown kneeling at her prayer desk. Julius Held has argued that this arrangement places emphasis on the Christ Child as the object of the Magi's adoration, and positions Mary as a symbol of the Church itself (J. Held, Oil Sketches of Peter Paul Rubens: A Critical Catalogue, Princeton, 1980, I, pp. 451, 456). The present sketch is closely related to the central panel of Rubens's triptych in the St. Janskerk in Mechelen, which was commissioned in December 1616 and completed in 1619. The Mechelen Adoration is the first of many compositions devoted to this theme for which Rubens employed a vertical format. In the triptych, the Virgin wears a white mantle over a blue gown with scarlet sleeves; a close variant of this attire may be seen in the present sketch. Moreover, in both images the Christ Child rests on a similar Roman sarcophagus, while a kneeling, bearded magus in a rich robe of gold brocade presents him with a golden coin-filled vessel. Comparison with the finished altarpiece in the Louvre provides further insight into Rubens's artistic process. The painter used oil sketches such as the present example to formulate his composition and created additional chalk studies to refine figural details. While the overall pictorial structure of the Louvre altarpiece and its corresponding oil sketch is the same, close examination reveals several differences. The most dramatic change occurs in the figure of the Virgin. In the sketch, Mary's face is drawn in profile and she appears to rest her knee on a broken column, an allusion to the crumbling institution of pagan idolatry as well as the collapse of the Old Testament order. In the finished painting, the column fragment is in the center foreground, and the Virgin's leg is straightened to clarify her pose. Perhaps to counteract this loss of movement, Rubens painted her face in a more dynamic three-quarter-profile. Moreover, in the finished version, Rubens chose a different color scheme for Mary's garments. She now wears a white mantle and blue shawl over a scarlet gown. A similar change in color may be observed in the kneeling magus's sleeve. In the sketch, Rubens has painted it with a magisterial symphony of blues, scarlets and pinks, but selects a simpler monochromatic white in the altarpiece. The sketch's style suggests that it was executed toward the end of the second decade of the seventeenth century. The brushwork and handling of the figures recall the sketch of Christ on the Cross, of circa 1618-1620, which was formerly with Otto Naumann (see P. Sutton, M. Wieseman and N. van Hout, Drawn by the Brush: Oil Sketches by Peter Paul Rubens, exhibition catalogue, New Haven and London, 2004, no. 8). If this dating is correct, a ten-year gap presents itself between the creation of the present panel and the execution of the Louvre altarpiece. For the Cloister of the Annunciation project of the 1620s, did Rubens return to an older, unused composition from the late 1610's? It is tempting to hypothesize that Pieter Peck may have discussed the possibility of a future commission of an Adoration of the Magi altarpiece with Rubens during one of their several meetings, some years before Barbara-Maria Boonen officially contracted the artist to paint it. If this was the case, then Rubens might have been working on this composition over the course of many years.

PETER PAUL RUBENS , Werkstatt (1577 Siegen - 1640 Antwerpen) KOPFSTUDIE EINER ALTEN FRAU Öl auf Holz. 44 x 33,5 cm. Gutachten Hans Vlieghe, Antwerpen/Bonheiden 12.3.2012. Provenienz Sammlung Heinrich Neuerburg, Köln, seit ca. 1920/1930. - Seither in Familienbesitz. Zu den zu vergleichenden Gemälden siehe Rudolf Oldenbourg: P. P. Rubens. Des Meisters Gemälde, Stuttgart/Berlin 1921, S. 121 (München) u. 340 (Köln), jeweils mit Abb. - P. della Pergola: Galleria Borghese. Bd. II, Rom 1959, S. 173-174, Nr. 256 mit Abb. (Rom). Das qualitätvolle Gemälde zeigt den Kopf und die Schultern einer beleibten und freundlich lächelnden älteren Frau, die in Dreiviertelansicht und nach rechts blickend wiedergegeben ist. Dabei lässt die skizzenhafte Ausführung vermuten, dass es sich wohl um eine nach dem Leben gemalte Kopfstudie handelt. Das Gemälde lässt sich mit weiteren Werken von Rubens und seinem Kreis aus den Jahren um 1630/1640 in Beziehung bringen. So wurde unsere Kopfstudie verwendet für die Darstellung der Elisabeth in dem um 1635 zu datierenden Gemälde von Rubens "Hl. Familie mit der hl. Elisabeth und dem Johannesknaben" (Wallraf-Richartz-Museum, Köln, Inv. 1038). Zudem bildet sie den Ausgangspunkt für die Elisabeth in dem Gemälde "Marias Besuch bei Elisabeth" (Galleria Borghese, Rom), ein von Marten Mandekens - ein Maler aus der unmittelbaren Umgebung von Rubens in den dreissiger Jahren - ausgeführtes und signiertes sowie 1638 datiertes Werk. Darüberhinaus zeigt die Kopfstudie ebenfalls eine große physiognomische Ähnlichkeit mit der nach links blickenden "Kopfstudie einer alten Frau" (Alte Pinakothek, München, Inr. Nr. 333), die ebenfalls in den dreissiger Jahren von Rubens - allerdings in weit pastoserer Ausführung - geschaffen wurde; in beiden Kopfstudien trägt die Frau zudem dieselbe schwarze und zungenförmige Kopfdedeckung, einen sogenannten "Coif". Durch diese Vergleiche kann unser Gemälde als ein Werk aus dem nahem Umfeld von Rubens und wohl als Produkt seiner Werkstatt beschrieben werden. Ein Aufkleber auf der Rückseite des zugehörigen Rahmens mit dem Aufdruck "Dep. W-R. M. 153" (oder 156) weist darauf hin, dass sich das Gemälde zu einem nicht bekanntem Zeitpunkt als Depositum (d. h. als Leihgabe) im Kölner Wallraf-Richartz-Museum befunden hat. Wir danken Prof. Hans Vlieghe (Antwerpen) und Dr. Nico Van Hout (Antwerpen) für ihre Hilfe bei der Bestimmung des Gemäldes sowie Dr. Roland Krischel (Köln) für seine Hinweise zur Provenienzgeschichte. This painting shows the head and shoulders of an old lady, smiling cheerfully, depicted in three-quarter view looking to the right. The sketchy execution leads one to believe that it could be a head study from life. The painting can be related to other works from Rubens and his circle from around 1630/1640. Our head study was used for the depiction of Elisabeth in the 1635 dated painting from Rubens 'Holy Family and Elisabeth and John the Baptist' (Wallraf-Richartz-Museum, Köln, Inv. 1038). The study also forms the starting point for Elisabeth in the painting 'Maria's Visit to Elisabeth' (Galleria Borghese, Rome), a signed and dated work by Marten Mendeken from 1638, a painter who had close connections to Rubens in the 1630s. Furthermore, the head study shows a great anatomical similarity to the 'Head Study of an Old Lady', looking left (Alte Pinakothek, Munich, Inv. No. 333), also produced in the 1630s, but of a much thicker execution. In both studies the woman is wearing the same black, tongue-shaped headdress, a so-called 'Coif'. With these similarities, our painting could be seen to be from within close proximity to Rubens and possibly a product of his workshop. A sticker on the reverse of the frame printed with 'Dep. W-R. M. 153' (or 156) suggests that the painting was at one point, now unknown, deposited (i.e. on loan) to the Wallraf-Richartz-Museum in Cologne. We would like to thank Prof. Hans Vlieghe (Antwerp), Dr. Nico Van Hout (Antwerp) and Dr. Roland Krischel (Köln) for their assistance.

Peter Paul Rubens (Siegen 1577–1640 Antwerp) The Discovery of the Young Erichthonius by the Daughters of Cecrops (Ovid, Met. II, 553–563), wax seal of the Colas de Marolles family on the reverse, oil on panel, 37.4 x 50.2 cm, framed Provenance: Colas de Marolles Family; Probably Auction van Schorrel, Antwerp, 1774; Dr. Victor Bloch Collection, Vienna (as Peter Paul Rubens); XVIII Auction, Gilhofer & Ranschburg, Lucerne, 30.11.1934, lot 40; Auction H. W. Lange, Berlin, 18./19.11.1938, lot 180; Part of a private West German collection since the late 1930s; Auction Lempertz, Cologne, 18.11.2006, lot 1133 (as Peter Paul Rubens). Literature: A. Seilern, Flemish Paintings and Drawings at 56 Prince’’’’s Gate, London 1955, pp. 41–43, under cat. no. 22; J. Pigler, Barockthemen, Vol. II, Berlin 1956, p. 77; J. p. Held, The Oil Sketches of Peter Paul Rubens, Vol. I, Princeton 1980, pp. 318–319, under cat. no. 231 (as Peter Paul Rubens and possibly the first version); M. Jaffé, Rubens, Catalogo Completo, Milano 1989, p. 208, under cat. no. 319 (as old copy after the bozzetto, formerly Collection Seilern, in the Courtauld Institute, London); J. Kräftner, in: Peter Paul Rubens - The Masterpieces from the Viennese Collections, Vienna 2004, p. 131, under cat. no. 29; Corpus Rubenianum Ludwig Burchard, Vol. XI (publication in 2012). Certificate: M. J. Friedländer (as Peter Paul Rubens); G. Glück (as Peter Paul Rubens); R. Eigenberger (1931), as “undoubtedly an autograph study by Peter Paul Rubens” (these certificates are no longer available but have been sighted in the literature); Prof. Dr. Justus Müller-Hofstede, Bonn (as Peter Paul Rubens). Hans Vlieghe examined the painting in the original in 2006. He believes it to be an authentic work by Peter Paul Rubens and regards it as being of equal quality to the version in London. Dendrochronological examination of the wooden panel in 2006 by Prof. Peter Klein, Hamburg (oak felled between 1610 and 1619). These freely executed sketches, depicting an event from Ovid’’’’s Metamorphoses, provide a first impression of Peter Paul Rubens’’’’ artistic aplomb, compositional versatility and spontaneity. Ovid narrates the myth of Erichthonius, later king of Athens and son of the god Hephaestus. His father had tried to rape the virginal goddess Athena. However, she succeeded in fleeing and his seed fell upon the earth where it was taken up by the earth goddess Gaia who then bore a son, Erichthonius. Gaia entrusted her son to Athena, who handed over the child in a closed box to Cecrops’’’’ three daughters, Pandrosus, Herse and Aglaurus, forbidding them to open the box. The sisters ignored the goddess’’’’ command and, horrified, found Erichthonius with his legs of snakes in the open box. Later, as king of Athens, he is said to have founded the Pan-Athenian games. He was finally killed by the god Poseidon and raised to the heavens to become the constellation of the Charioteer (Auriga). The subject of the discovery of the boy Erichthonius is one of the rarer topoi of Baroque iconography and, according to J. Kräftner, demonstrates “Rubens’’’’s comprehensive humanistic education and particularly his knowledge of the writers of antiquity, many of whose works were to be found in the large library of his Antwerp house...”. Privy Councillor Friedländer notes in his certificate for this painting, “... is an extremely lively and ingenious sketch by Rubens for a painting in the Lichtenstein Gallery in Vienna”. In his certificate dated 1931, Robert Eigenberger, director of the Gemäldegalerie at the Akademie der Bildenden Künste in Vienna, judged decisively that “the.....sketch with the composition ‘The Daughters of Cecrops and the Young Erichthonius’’’’ of which there is a life-size painting in the princely Lichtenstein Gallery in Vienna, and a second version in Belvoir Castle although not one I have seen in the original, I am convinced that this is undoubtedly an autograph study by P. P. Rubens. Even should a second or third autograph sketch by the master on the same subject be determined, this would not change my conclusion, for the signature of the brush in the present study could never be justifiably assigned to any of the master’’’’s associates in the workshop...”. And finally, the Rubens expert Gustav Glück, “Obviously the Master’’’’s first thoughts regarding the painting in the Lichtenstein gallery. Perhaps identical with the sketch auctioned by van Schorel in Antwerp 1774...”. In addition to Friedländer, Glück and Eigenberger, Julius S. Held argued a similar position. He regarded the present sketch as more lively and detailed although he had not seen it in the original and so was compelled, with reservations, to recognise the Courtauld-Version as the first version. He explained in 1980 that, “This sketch (the present version) of Cecrops’’’’s daughters was accompanied by certificates from M. J. Friedländer and Gustav Glück, both very positive in attributing the picture to Rubens. Count Seilern states in his catalogue that he has never seen that picture and it is also unknown to me, except for the reproduction in the catalogues of the sales of which the 1938 one is the better. The sketch of the former Bloch collection was clearly a work of considerable quality and in some details appears to have been more precise...”. Several details are unmistakably weaker in the Courtauld version. The completed painting differs from both sketches in several details. For instance, here Rubens positioned the little Amor between the three sisters. He gazes at Herse, the most beautiful of the sisters, who later had a relationship with the God Hermes; he is present in the form of a stone arch in the park. The face of the servant, only hinted at in the sketch, became an old nursemaid in the painting, indicating that the fruit of Herse’’’’s relationship will be to give birth to Kephalos (associated with a further narrative from the Metamorphoses connected to the tale of the Erichthonius boy). Julius S. Held wrote in 1980 of the fascination of Rubens’’’’s oil studies, “The oil sketches particularly appeal to the modern beholder. They are admired because of the delightful spontaneity of their execution, the economy of the colours, the sense they convey of a boundless and yet marvellously controlled imagination, and the ability of the artist to condense, within the confines of very small surfaces, compositions which in their final form very often covered entire walls...”. The dendrochronological examination of the panel by Prof. Peter Klein, Hamburg (photocopy available) indicates that the tree used in the panel was probably processed during the years between 1610 and 1619. Assuming that the wood was stored for a period of at least two years, we can assume that the panel was painted between 1613 and 1619. Dr. Hans Vlieghe, formerly of the Rubenianum, Antwerp, also examined the painting in the original. He believes it to be qualitatively equal to the picture in the Courtauld Institute, London, and has no doubts regarding its authenticity.