RKD STUDIES

Ludolf BAKHUIZEN

... a kunstkamer (art room) in Amsterdam Town Hall, of which he became one of the first directors. This room displayed not only contemporary paintings for sale but also such things as terracotta models by Artus Quellinus I (1609–68) for the sculptural decoration of the Town Hall, to serve as models for artists. The room was also used as a kind of drawing academy. Bakhuizen did not make his first etchings until 1701, for the series D’Y Stroom en Zeegezichten (Views of the River IJ and the Sea), which glorifies Amsterdam – as did many of his works.4 His career stretched over half a century, and his last known work is dated 1707.Joseph Mallord William Turner (1775–1851) seems to have been inspired by Bakhuizen’s ‘pre-romantic’ paintings, of which some were present and appreciated in Great Britain at the beginning of the 19th century: John Smith in the sixth volume of his œuvre catalogues of Dutch and Flemish painters (1835) discusses 155 of Bakhuizen’s works....

... (Nov. 5, 2019; Ludolf Backhuyzen); Van der Veen 2019a, iii, pp. 907–11 (Ludolf Backhuysen); RKDartists&, no. 3414: (Nov. 20, 2019; Ludolf Bakhuizen)....

... erosion and drifting. Three small kaags (ketches or boats designed to carry cargo on inland waterways) approach the coast as well.18 On the shore men pull on a rope to drag the ship’s stern about. The church in the background on the right has a long nave with a tall choir and a tall, slender tower, features most like those of the Reformed church in Zandvoort on the west coast of the Dutch provinces (Related works, nos 4a, 4b; [3].19 It has not been possible to identify the other church in the far distance on the left of the picture, or to ascertain whether DPG327 depicts an existing landscape or, more likely, a scene composed of different elements, not necessarily on one location.20 The lively figures are, as always, by the master himself. One year earlier, in 1695, Bakhuizen had painted a Christ in the Storm on the Sea of Galilee, now in Indianapolis (Related works, no. 1) [4]. It shows that with very small changes a sea piece can become a history painting. It also shows by contrast that the ships in DPG327 are not in any real danger, contrary to what has been said several times.Turner’s Calais Pier, exhibited at the Royal Academy in 1803 (Related works, no. 3) [5], seems to be inspired in atmosphere, style and content by DPG327, or a similar painting by Bakhuizen. The fact that Ruskin, always defending Turner, chose DPG327 to formulate his criticism of Dutch painters in the first edition of his Modern Painters (1843) might indicate that he also saw the relationship between Bakhuizen and Turner.21...

1.2 Noel Desenfans, Sir Francis Bourgeois and the Polish King

... russia and Austria, and the King abdicated, dying in exile three years later. As a consequence Desenfans was left with the pictures that had been meant for Warsaw. The Russian tsar, having succeeded Stanislaus August as the ruler of much of Poland, could arguably be viewed as having taken responsibility for the late King’s considerable debts, so Desenfans tried to persuade the next two tsars to buy the collection, via the British Ambassador in St Petersburg, but without success.23The Polish connection had brought both men honours: Desenfans had been made Consul-General of Poland, while Bourgeois received a Polish knighthood, which was ratified by King George III (1738–1820): hence Sir Francis Bourgeois [4]. In 1791 he was appointed painter to the King of Poland, and in 1794 landscape painter to George III. Notwithstanding those honours Bourgeois cannot really be considered a good painter.24...

... e but to Bourgeois. From then on Bourgeois effectively took over responsibility for the pictures, and – more collector than dealer – within seven years he was to more than double the size of the collection.37 At first he and Desenfans considered leaving the pictures to the British Museum, but this was thought to be too aristocratic.38 Desenfans died in 1807. Three years later, in 1810, Bourgeois hatched a plan to open their house and its collections to the public as a gallery, but the owner of the land in Charlotte Street refused.39 Bourgeois himself died after a horse-riding accident in 1811. All 369 pictures40 were bequeathed to what is now Dulwich College, probably because the school already had a gallery housing the pictures of Alleyn and Cartwright, but also with an awareness of the benefits of being beyond the reach of London smog.41 This college is now a famous public school occupying a grand Victorian building near the Gallery. At the time, however, it was a small school in the south of London, for some time also called Alleyn’s College of God’s Gift, after Edward Alleyn who founded it in 1619.42 Bourgeois also left a sum of money to have the existing building adapted by the famous architect Sir John Soane (1752–1837), a friend of theirs. Soane, however, recognized that a new gallery would be necessary, for which neither Bourgeois’ legacy nor the College’s contribution was sufficient, even though Soane waived his fee;43 Margaret Desenfans stepped in to close the funding gap.44 The three benefactors are buried in the mausoleum in the middle of Dulwich Picture Gallery. Soane’s building, the first purpose-built public art gallery of Great Britain, was opened to the public in 1817. Members of the Royal Academy had access to the pictures for study purposes from 1815.45...

... lery with portraits of important people since George III came to the throne, an overview of the works of all kinds by contemporary British artists, and a gallery with antiquities and Old Masters.48 The Trustees of the British Museum were not pleased that they had not been consulted before publication of the plan. It took another 25 years for the National Gallery, 57 years for the National Portrait Gallery, and 98 years for the Tate Gallery ...

... house of John Julius Angerstein (1735–1823), whose collection of 38 pictures had been acquired by Parliament to form the basis of a National Gallery, it had about one-tenth of the number of pictures then at Dulwich....

Adam PIJNACKER

... n projects for wealthy middle-class patrons, for instance for the Herengracht mansion of Cornelis Backer in Amsterdam, but also for the Brandenburg court’s hunting lodge in Lenzen (1654–5).LITERATUREBol 1973, pp. 258–61; Sutton 1984a, pp. 113, 394; Harwood 1988; Harwood 1994; Harwood 1996b; Schatborn 2001, pp. 178–83, 212; Harwood 2002, p. 165; Veldman 2018a; Van der Veen 2019d; Ecartico, no. 6157: http://www.vondel.humanities.uva.nl/ecartico/persons/6157 (April 10, 2017); RKDartists&, no. 65168: https://rkd.nl/en/explore/artists/65168 (April 10, 2017)....

... istinctly above lily leaves, lower right: APijnacker (AP in ligature)...

... ‘Formerly attributed to Adam Pynaker’); Denning 1859, no. 150 (Pynacker; ‘Some however have attributed it to Simon Van Der Does (1653–1717))’; Sparkes 1876, p. 130, no. 150;4 Richter & Sparkes 1880, p. 115, no. 150; Richter & Sparkes 1892 and 1905, p. 48, no. 183; Cook 1914, p. 117, no. 183; HdG, ix, 1926, pp. 539–40, no. 74; Cook 1926, p. 110; Cat. 1953, p. 32; Paintings 1954, pp. 10, [60]; Reiss 1975, p. 176, under no. 133 (Cuyp; ill.); Wright 1976, p. 160; Blankert 1978/1965, p. 186, under no. 106; Murray 1980a, p. 98; Murray 1980b, p. 22; Harwood 1985, p. 486 (col. pl. 2); Harwood 1988, p. 61, no. 32 (fig. VIII; c. 1653); Belsey 1991 (fig.); Harwood 1996b, p. 755; Be...

... orks, no. 1) [4]. The dog also appears in Pijnacker’s Landscape with Huntsmen of c. 1658 at Attingham Park (Related works, no. 2a) [5]. Pijnacker probably prepared his motifs by making drawings and oil sketches, such as one in the Fodor Collection (Related works, no. 2b). There is a tradition of debate about the authorship of the figures: starting with the 1813 inventory, they were thought to be by Nicolaes Berchem (1621/2–83), which seems unlikely; other candidates have included Abraham Hondius (1630/32–91) and Johannes Lingelbach (1622–74). Denning in 1858 assigned them to Pijnacker, and in the end modern connoisseurship has agreed with him.Hofstede de Groot suggested that the Dulwich picture may have been in the collection of Cornelis (or Kornelis) Backer ( Schepen, Raadt en Bewindhebber der Oost-Indische Maatschappy, te Amsterdam), who was an important man in the city government of Amsterdam and a governor of the Dutch East India Company. It is quite possible that it formed part of the decorative scheme of his house at Herengracht 548 in Amsterdam, completed in 1665.28 In that case DPG86 would have one of the earliest provenances for a Pijnacker painting. Other works by him thought to have been owned by Backer are the pendants Landscape with Waterfall and Hilly Landscape at Evening now in Rotterdam (Related works, nos 2c, 2d): these are however much larger. It has also been suggested that the picture is referred to in a poem on the decoration of that house by Pieter Verhoek, brother of Gijsbert Verhoek, who was one of Pijnacker’s pupils. Houbraken subsequently included the poem in his brief account of Pijnacker’s life. In part, it runs:I imagine that I am already walking through the joyful wildernessOf luxuriant herbs, and listening to the rustle of leaves.All that delights the eye smiles charmingly at us here.PYNAKKER’s artful brush thus challenges tapestries,Which hang paralyzed, stiff and hard, in short their colours worn out;Just as this man’s existence causes bitter envy to fade.Here can Heer Backer, when the trees are devoid of leavesAnd the barren field is overwhelmed with dunesOf drifting snow, contemplate these leafy crowns,The green of the foliage, a Summer for the eye.Here, worn out by cares of state, he can unstringHis bow, reveling in their contemplation.29Laurie Harwood has doubted the association of DPG86 with the poem, which seems to describe a summer scene, while hunting is an autumnal activity;30 and moreover it seems too small to decorate a room.31 Despite these incongruities, it seems quite possible that DPG86 was part of the decoration of Backer’s in Amsterdam. In any case the poem gives an indication of the expectations of Pijnacker’s audience: a picture of an ideal Italian landscape, serving as an aid to relaxation for the busy official or merchant.Pijnacker was one of the Dutch Italianates who inspired later British artists, including Thomas Gainsborough (1727–88; Related works, no. 3a) [6] and John Crome (1768–1821; Related works, no. 3b). In 1949 Thomas Agnew and Sons valued DPG86 at £3,000 (the cheapest of the sixteen Dulwich paintings then assessed was an Adriaen van de Velde at £100, and the most expensive Rembrandt’s Girl at a Window at £33,000)....

Jan THOMAS (van Yperen)

... ish painter and printmaker...

... ter the service of Archduke Leopold Wilhelm (1614–62) and the Emperor Leopold I (1640–1705), who reigned 1658–1705. Thomas remained in Vienna for the rest of his life, painting portraits as well as pictures with secular and religious subjects in a rather official, courtly style. He also produced a number of prints....

... o/persons/7374 (April 8, 2017); RKDartists&, no. 77186: https://rkd.nl/en/explore/artists/77186 (Dec. 1, 2019)....

... on of the paint film itself is reasonable: the paint has been flattened due to lining, but there is no cupping. Some areas have suffered abrasion due to past overcleaning, for example the flesh and the white drapery. Fairly widespread retouching was carried out during the recent restoration, particularly in the figures, due to the disruptive nature of the wear and cracks. Previous recorded treatment: mid-19th century, lined and re-stretched on new stretcher; 2005, cleaned and retouched, N. Ryder.RELATED WORKS1a) Jan Thomas, The Sleeping Diana, panel, 34.5 x 49.5 cm. Louvre, Paris, M.I. 973 [1].101b) Jan Thomas, Venus and Adonis as Lovers (formerly Cephalus and Procris), panel, 41 x 68.8 cm. Present whereabouts unknown (Bonhams, 5 Dec. 2007, lot 9, with previous provenance) [2].111c) Jan Thomas, St Sebastian, panel, 83 x 61 cm. Musée des Beaux-Arts, Angers, 366 [3].121d) Jan Thomas, Bacchus and Ariadne, canvas, 111 x 94 cm. Musée des Beaux-Arts, Bordeaux, Bx E 264.131e) Jan Thomas, A Landscape with Shepherds and Shepherdesses resting beneath a Tree, canvas, 52.7 x 68 cm. Present whereabouts unknown (Bonhams, 9 Dec. 2009, lot 39).141f) Jan Thomas, St Sebastian succoured by St Irene, oil on paper, mounted as a drawing, 27.7 x 38.8 cm. Ashmolean Museum, Oxford, WA1863.287.151g) Jan Thomas, Judith and Holofernes, signed and dated J...

... ng of animal skins and unusual boots with ornamental hare heads – similar to those of an Antique statue (Related works, no. 8) [8] – suggesting that the painting was intended to illustrate some Arcadian tale. There are some light provocative elements, such as the pole in the hand of the woman (as in Rubens’s painting in Munich), the phallic spout of the vessel, and the pipes of the bagpipe behind the man.In Classical literature two figures like these are often called Coridon and Silvia.28 The theme was quite popular in 16th- and 17th-century art: there are prints by Hendrick Goltzius (1558–1617), Jacob Matham (1571–1631) and Crispijn de Passe I (1564–1637), which might have influenced both Rubens and his pupils, including the artist of DPG123. In the Northern Netherlands the theme was often treated by the Utrecht School, in both paintings and prints. Silvia is often called a courtesan, which would explain the phallic elements in DPG123.29Mrs Jameson noted that a similar picture appeared in the posthumous inventory of Rubens’s collection, but that was probably the painting by Rubens now in Munich, once in the collection of Frederik Hendrik, Prince of Orange (1584–1647).30In the 19th century William Holman Hunt (1827–1910) showed that the Pre-Raphaelites were inspired not only by Italian paintings made before the time of Raphael (1483–1520) but also, sometimes, by 17th-century Flemish ones, as Cook had already noted in 1914 (Related works, no. 7) [7]....

Daniel SEGHERS and Erasmus QUELLINUS II

... er versions the central image and garlands are part of the same work. In Seghers’ pictures the central image was usually painted by another artist – in all at least twenty-four, including Thomas Willeboirts Bosschaert (1613/14–54), Gonzales Coques (1614/18–84) and Domenichino.4 Erasmus Quellinus II (see below) was a favourite co-worker, collaborating on at least twenty-eight paintings, as here; Cornelis Schut I (1597–1655) was involved in forty-four.5Seghers’ work was highly sought out across Europe. He was in correspondence with many literary figures, most notably Constantijn Huygens I (1596–1687) in The Hague. He was mentioned as a possible participant in the decoration of the Oranjezaal in Huis ten Bosch, but that did not happen. Seghers had a significant influence on Dutch and Flemish flower painters and also on the Spanish still life painter Bartolomé Pérez (1634–93/8)....

... Dyck (1599–1641) and Italian masters, and sculptures by his brother Artus and François Du Quesnoy (1597–1643), the Flemish sculptor living in Rome, who had influenced Artus while he was there.LITERATUREKieckens 1886; Hairs 1964; Couvreur 1967; Vlieghe 1967; De Bruyn 1980; Haberland 1996b; Vlieghe 1996c; Merriam 2011, pp. 107–23; Saur, xcvii, 2018, p. 264 (T. van der Molen; Quellinus); Saur, cii, 2019, p. 493 (U. B. Wegener; Seghers); RKDartists&, no. 65222: https://rkd.nl/en/explore/artists/65222 (Quellinus) and no. 71799: https://rkd.nl/en/explore/artists/71799 (Seghers) (both Dec. 8, 2019)....

... is JESV; and centre, on the grisaille: E.Q....

... ate: his work is generally of much higher quality.11 De Bruyn suggests a date of c. 1655–60 for DPG322, which seems reasonable. A similar collaboration between Seghers and Quellinus was sold in Vienna in 1994 (Related works, no. 1) [3].DPG322 is an example of a particular genre of 17th-century Flemish flower painting, the ‘religious still life’.12 Such pictures usually consist of a central religious subject, often depicted as sculpture, surrounded by a garland of flowers and fruit. The resulting images are thus both devotional and decorative, and they were meant to intensify the viewer’s religious experience when looking at art. They are explicit Counter-Reformation statements, combining a veneration of the Madonna with ‘stone’ reliefs and swags of flowers.In addition to roses the flowers here include alcea (hollyhock), narcissus (jonquil), leucojum, and blue and white scilla. As several canvases with flowers and cartouches have been discovered without the central image it is thought that Seghers worked on the paintings first. Until recently the cartouche here was thought to contain a Virgin and Child with St Anne, which, according to the inventory drawn up by Seghers of his own work, could have been painted for Anna Maria Mechelmans.13 However, when compared with other scenes of the Virgin and Child with St Anne the figure on the left does not look like a St Anne. She is usually depicted in a family setting – for instance holding the Christ Child on her lap (Related works, no. 1) [3] or playing with the Child (Related works, no. 2) [4] – whereas here there seems to be a devotional distance between the two. Rather than St Anne the hooded figure looks like a monk (or nun?) with hands clasped in devotion. No such subject can be found in the list of Seghers’ works – or is it hidden under the description ‘with a bas-relief by Seigneur Quellinus’?14...

David Teniers II DPG57

... istercian Abbey of St Bernard...

... th Brick-Kiln, black chalk, 206 × 318 mm. Musée des Beaux-Arts et d’Archéologie, Besançon, 151 (photo RKD) [1].1662) David Teniers II, The Bleaching Ground, signed DAVID TENIERS F, canvas, 85 × 120.5 cm. The Barber Institute of Fine Arts, Birmingham, 47.1 [2].1673) David Teniers II, The Bleaching Ground, signed D. TENIERS. F., panel, 48.5 × 70.5 cm. Gemäldegalerie Alte Meister, Dresden, 1067.1684) David Teniers II, Landscape with Fishermen, signed D. TENIERS F., c. 1645–50, panel, 40.3 × 63.5 cm. Gemäldegalerie, Staatliche Museen, Berlin, 866G.1695) David Teniers II (?), A Lime-Kiln with Figures, signed D.TENIERS F, c. 1635, canvas, 58.5 × 88 cm. English Heritage, The Wellington Collection, Apsley House, WM.1583-1948.1706) David Teniers II (?), The Sand Quarry, panel, 26 × 35 cm. National Trust, Petworth House, 486156.171Copies7a) Hendrik Aarnout Myin, signed and dated H. Myin 1781, panel, 44 × 66.5 cm. Present whereabouts unknown (J. Leger & Son, London, 1935; unknown auction, Brussels, 11 March 1929, lot 73; photos RKD).1727b) (without the church) Panel, 26.8 × 42.4 cm. Present whereabouts unknown (Kees Hermsen collection, New York; Galerie Internationale, The Hague, c. 1930; photos RKD).1737c) (church partly visible) Canvas, 63 × 87 cm. Present whereabouts unknown (Dr van Vollenhoven sale, Mensing & Fils, Amsterdam, 15 April 1932, lot 965; photo RKD).1747d) John Wilson. Present whereabouts unknown (Charles Richson sale, Sotheby’s, 29 March 1832 (Lugt 12930), lot 44 (‘John Wilson – The Brick Kiln; from the original by Teniers’), bt Gritten, £6.10.175Lent to the RA to be copied in 1887....

... h a lime-kiln (Related works, no. 5) – although it is questionable whether this is really by Teniers – and one with a sand quarry (Related works, no. 6). Especially in the latter we see typical Teniers men, with their wheelbarrow set aside, talking during a pause: not much work is being done. A similar composition with working people, mostly women, is The Bleaching Ground, with what may be a Cistercian church in the background (Related works, no. 2) [2]; there is also a smaller version of this composition, without a church (Related works, no. 3). A further example of harmony between labourers and the countryside is Landscape with Fishermen (Related works, no. 4)....

Peter Paul Rubens DPG19

... anel, 37 x 29.4 cm. Present whereabouts unknown (Saul P. Steinberg collection).33511) Peter Paul Rubens, The Vision of Aeneas, 1630s, panel, 47 x 32 cm. National Museum Cardiff, NMW A 34.336Men in armour by other artists12a) Guido Reni, Vision of St Maurice, c. 1619, canvas, 242 x 143 cm. Santa Maria dei Laghi, Avigliana.33712b.I) Agostino (and Annibale?) Carracci, Romulus dedicates to Jupiter Feretrius the Trophies of the defeated King Acron (part of Romulus and Remus, History of Rome series), fresco. Palazzo Magnani, Bologna.33812b.II) Print after 12b.I: Louis de Châtillon after Annibale Carracci and Carlo Bononi, Romulus dedicates to Jupiter Feretrius the Trophies of the defeated King Acron, 1659, etching and engraving on beige paper, 447 x 440 mm (image). Teylers Museum, Haarlem, KG 14527.339Antique sources13a) Antique cameo, Gemma Tiberiana (The Apotheosis of Germanicus), five-layered sardonyx, 31 x 26.5 cm. Cabinet des Médailles, Bibliothèque Nationale de France, Paris.34013b) Peter Paul Rubens, Gemma Tiberiana (The Apotheosis of Germanicus), pen and brown ink, washed, heightened with white, 327 x 270 mm. Stedelijk Prentenkabinet, Antwerp, 109.34113c) Peter Paul Rubens, The ‘Apotheosis of Germanicus’: copy after an Antique cameo (the ‘Gemma Tiberiana’), canvas, 100 x 82.6 cm. Ashmolean Museum, Oxford, 3522.34213d) Engraving of Antique coins illustrating the history of Romulus, from Hubert Goltzius, Fastos Magistratuum, Bruges 1566 (also in Hubert Goltzius, Opera, Antwerp 1645, i, pl. 1) [10].343Burgonets14a.I) Burgonet of the Emperor Charles V, Augsburg, c. 1530, embossed, etched, chased, and gold-damascened steel, fabric and leather, h 19 cm, w 25 cm, d 34 cm, weight 1,705 gr. Real Armeria, Patrimonio Nacional, Madrid, A.59.34414a.II) Circle of Filippo Negroli (c. 1510–79), Parade Burgonet, low-, medium-carbon steel and copper alloy, embossed, weight 1,800 gr. The Wallace Collection, London, A106.34514b.I) Assistant of Rubens ?after Filippo Negroli, retouched by Rubens, A Parade Burgonet in the Shape of a Dolphin, inscribed in Italian, black chalk, retouched in pen and ink, 275 x 300 mm. Bibliothèque Nationale de France, Paris, MS Dupuy 667, fol. 159r [11]. 34614b.II) Michel François Demasso after Rubens after Filippo Negroli, A Parade Burgonet, engraving in Jacob Spon, Miscellanea eruditae antiquitates.34714c) Peter Paul Rubens, Portrait of a Man in Armour, probably as Mars, panel, 82.6 x 66.1 cm. Present whereabouts unknown (Rafael Valls 2012, pp. 119–23, no. 51).34814d.I) Tapestry cartoon: Jacques Jordaens, Bust of a helmeted Warrior, c. 1660, watercolour and black chalk on grey paper, 509 x 470 mm. Musée des Beaux-Arts et d'Archéologie, Besançon, D.2609.34914d.II) Matthys Roelants et al. after Jacques Jordaens, Charlemagne, the Conqueror of Italy, presented with a Crown and Keys, tapestry, c. 500 x 300 cm. Prince de Ligne collection, Château d’Antoing.350Comparable enlargement of a sketch15a) Sketch for 15b: Peter Paul Rubens, The Rape of Ganymede, c. 1636–40, panel, 33.5 x 24.5 cm. Present whereabouts unknown (Sotheby’s, 5 Dec. 2007, lot 18).35115b) Peter Paul Rubens, The Rape of Ganymede, c. 1636–40 (part of the Torre de la Parada series), canvas, 181 x 87 cm. Prado, Madrid, 1679.352Stylistically comparable sketches16a) Modello: Peter Paul Rubens, St Teresa intercedes for Souls in Purgatory, c. 1630–33, panel, 44.8 x 37.1 cm. Museum Wuyts van Campen-Baron Caroly, Lier, 41.35316b) Modello: Peter Paul Rubens, Constantine investing his Son Crispus with Command of the Fleet (318?), 1622, panel, 37.6 x 30 cm. Private collection, Sydney.354...

... hole suit of armour disposed in proper form; then he himself, girding his clothes about him, and crowning his head with a laurel garland, his hair gracefully flowing, carried the trophy resting erect upon his right shoulder, and so marched on, singing songs of triumph, and his whole army following after, the citizens all receiving him with acclamations of joy and wonder. The procession of this day was the origin and model of all after triumphs.365McGrath paid particular attention to the textual sources of the Romulus carrying the Trophy of Acron scene, and concurs with Held that the scene largely derives from Plutarch, noting that Rubens follows him in showing Romulus carrying the spolia opima or trophy on foot and in depicting the ferculum as a wooden pole on which the armour was hung.366 She noted, however, that Rubens took the setting of the scene on a slope and under a tree not from Plutarch’s sketchy account but from Livy (Ab urbe condita, I.x), who described Romulus ascending the Capitol:He [Romulus] routed their army and put it to flight, followed in pursuit of it when routed, cut down their king in battle and stripped him of his armour, and, having slain the enemy's leader, took the city at the first assault. Then, having led back his victorious army, being a man both distinguished for his achievements, and one equally skilful at putting them in the most favourable light, he ascended the Capitol, carrying suspended on a portable frame, cleverly contrived for that purpose, the spoils of the enemy's general, whom he had slain: there, having laid them down at the foot of an oak held sacred by the shepherds, at the same time that he presented the offering, he marked out the boundaries for a temple of Jupiter, and bestowed a surname on the god. ‘Jupiter Feretrius,’ said he, ‘I, King Romulus, victorious over my foes, offer to thee these royal arms, and dedicate to thee a temple within those quarters, which I have just now marked out in my mind, to be a resting-place for the spolia opima, which posterity, following my example, shall bring hither on slaying the kings or generals of the enemy.’367A picture with Mars and Rhea Silvia, the parents of Romulus and Remus, a scene that belongs to an earlier phase of the Romulus story, was related to the Romulus sketches, including DPG19. That picture however and the modello for it (Related works, nos 5a–b) must have been made earlier.368Held pointed out that one of Rubens’s pictorial sources may have been the reverse of an ancient coin reproduced in an engraving in the book Fasti Magistratuum et Triumphorum Romanorum ab Urbe Condita by Hubert Goltzius (1526–83), reprinted in 1645. This showed Romulus on foot holding the trophy in one hand and with the other holding a spear over his shoulder (Related works, no. 13d) [10]. However, more Antique men in armour were studied by Rubens, as is seen in his work after the Gemma Tiberiana (Related works, nos 13a–c). Rubens used such studies for compositions with stories from Antiquity, the Bible, or more recent history (Related works, nos 7–11).369 Later Romulus series were also known to Rubens, such as that in the Palazzo Magnani in Bologna, by one or more of the Carracci brothers (Related works, nos 12b.I–II), but the posture of Romulus in DPG19 looks more like a somewhat earlier St Maurice by Guido Reni (1575–1642; Related works, no. 12a) than like the Carracci Romulus.Rubens was interested in armour and even possessed a burgonet, which he thought to be Antique; he studied it in at least one drawing (Related works, no. 14b.I) [11] and used it again in a painting (Related works, no. 14c). In the Liechtenstein Collection in Vienna there is a modello for an entre-fenêtre, a narrow tapestry that hangs between two windows, which shows a picturesque accumulation of weapons (and a severed head). It is quite possible that in DPG19 Rubens depicted an existing burgonet, since some 16th-century ones have survived (Related works, nos 14a.I–II). Rubens’s helmeted warriors in turn inspired Jacques Jordaens I (1593–1678; Related works, nos 14d.I–II)....

Peter Paul Rubens DPG451

... is (with Cupid and the Three Graces)...

... isting of two oak panels, including an addition of c. 16 mm at the top edge (see Technical Notes)...

... hed up by Peter Paul Rubens, after 8d.II, Abel slain by Cain, c. 1608–10, red chalk, red ink, 213 x 207 mm. Fitzwilliam Museum, Cambridge, PD.43-1961.1568d.IV) Peter Paul Rubens and Frans Snijders, Prometheus bound, 1611/12–18, canvas, 242.6 x 209.6 cm. Philadelphia Museum of Art, Philadelphia, W1950–3–1, purchased with the W. P. Wilstach Fund, 1950.1579a) (copy after DPG451 (Adonis) and after a figure in 9b), Two reclining Youths, canvas, 47 x 68 cm. Private collection, South America.1589b) Peter Paul Rubens, The Defeat of Sennacherib, c. 1617, panel, 97.4 x 122.8 cm. Alte Pinakothek, Munich, 326.15910) Roman copy of a Pergamese original, Dead Amazon. Museo Archeologico Nazionale, Naples [5].160Head of Adonis11a) Peter Paul Rubens after an Antique coin, Alexander the Great as Jupiter Ammon, c. 1606, ink and bodycolour on card, 61 x 49 mm. Mrs Karl J. Reddy collection, Ephara, Pa.16111b) Peter Paul Rubens (?) after a print by Paulus Pontius I after Peter Paul Rubens, after an Antique cameo (sardonyx), Germanicus Caesar, 1613–40, brush in brown and grey, pen in brown, with white oil on paper; contre-épreuve of an engraving by Paulus Pontius I, 80 x 60 mm (oval). RPK, RM, Amsterdam, RP-T-1934-4.16211c) Peter Paul Rubens, Head of Alexander the Great, pen and brown ink over black chalk, washed, 59 x 50 mm. Pierpont Morgan Library, New York, III, 162 (second from below).16311d) Peter Paul Rubens, Head of a Hellenistic Ruler, pen and brown ink, 33 x 31 mm. Pierpont Morgan Library, New York, III, 162 (bottom centre).16411e) Peter Paul Rubens (?) and Jacob de Wit, Portrait of a Roman Emperor, probably Nero, red chalk, brush in red, 109 x 96 mm. RPK, RM, Amsterdam, RP-T-00-440 [6].165Crouching female figures12a) Roman copy after a Hellenistic bronze statue, attributed to Doidalses of Bithynia, Crouching Venus, marble, h. 78 cm. Uffizi, Florence, 188.16612b) Roman copy after a Hellenistic bronze statue, attributed to Doidalses of Bithynia, Crouching Venus (‘Lely’s Venus’), 125 cm. Royal Collection Trust, RCIN 69746, on loan to BM [7].16712c) Roman copy after a Hellenistic bronze statue, attributed to Doidalses of Bithynia, Crouching Venus, Louvre, Paris.16812d) Variation on the Crouching Venus by Doidalses of Bithynia, Roman, Crouching Venus with Turtle, marble, h. 128 cm. Prado, Madrid, 33E.16912e) Marcantonio Raimondi, Naked Venus crouching at her Bath, c. 1510–27, engraving, 223 x 146 mm. BM, London, H,2.68 [8].17012f) Peter Paul Rubens and Jan Brueghel I, Diana and her Nymphs setting out for the Hunt, c. 1620, panel, 57 x 98 cm. Musée de la Chasse et de la Nature, Paris, no. 68.3.1.17112g) Peter Paul Rubens, Study for Mary Magdalen, black chalk, heightened with white, 335 x 243 mm. BM, London, 1912,1214.5.17212h) Jan Collaert after Peter Paul Rubens, title page for H. Rosweyde, ’t Vaders Boeck, Antwerp 1617. Royal Library, Brussels, III 6035 C.173Boy with a goose13a) Roman copy of a Hellenistic type by Boethos, early 2nd century BCE, Boy standing with a Goose, marble. Museo Nazionale delle Terme, Rome.17413b) Rubens’s Cantoor (Willem Panneels) after Rubens, Three Studies of the Child embracing a Goose, inscribed dees drij kinnekens sijn goed van omtreck / ende hebbe dees oock gehaelt vant cantoor (these three children have a good silhouette; and I had fetched these too from the office), black, red and white chalk, pen and brown ink, 203 x 330 mm. SMK, Copenhagen, Rubens’s Cantoor, III, 23 [9].175Other artist14) Pieter Codde, Venus mourning Adonis, signed Pr. Codde, oil on panel, 31 x 32 cm. Hermitage, St Petersburg, 3150.176...

... ici, later Madama, in Rome (Related works, no. 10) [5]. The figures of Venus and the Grace holding the cloth above Adonis both derive from the Hellenistic sculpture of a Crouching Venus, rising from the water, attributed to Doidalses of Bithynia, widely known through Roman copies, with different positions of Venus’s arms (Related works, nos 12a–d).187 It is possible that Rubens saw the version then in the Gonzaga collection in Mantua, now in the British Royal Collection on loan to the British Museum, the so-called ‘Lely’s Venus’ (Related works, no. 12b) [7].188 In DPG451 the Doidalses Venus is seen from the right and the Grace is seen frontally, but Venus’s arms are more or less hanging down, unlike any of the Doidalses Venuses. This Antique Venus, also know from a print by Marcantonio Raimondi (c. 1480–1527/34; Related works, no. 12e) [8], was frequently used by Rubens, as already noted by Kieser in 1933.189 For the dogs Rubens (or was it Snijders?) could have looked at the Antique relief in the Spada Collection in Rome (Related works, no. 7e) [4]. The Cupid looks very much like the Antique sculpture of the Boy with a Goose, of which several copies exist and of which there is a study in Rubens’s Cantoor where the boy is seen from three sides (Related works, nos 13a, b) [9]. The profile of Adonis may be derived from an Antique coin, medal or cameo, rotated to 90 degrees (Related works, nos 11a–e) [6]. There is a parallel to the Grace to the right, with her hair hanging before her eyes, in the figure of a female hermit, St Eugenia, on a title page by Jan Collaert after a design by Rubens (Related works, no. 12h).The story of Venus and Adonis is to be found in Ovid, Metamorphoses (X.717–23). Rubens depicted several scenes from this story: Venus who tries to prevent Adonis from going hunting (as in Related works, no. 7b), Adonis killed by the boar (as in the late hunting scene formerly in Madrid; Related works, nos 6a, b), and the scene as in DPG451, where Venus is lamenting Adonis.190 This scene is probably based not so much on Ovid as on a later version by Bion, the Lament for Adonis. There we find a description of the lament of the nymphs and Charites or Graces.191 We see Adonis, killed by a boar while hunting, being mourned by his lover Venus, accompanied by nymphs and Graces and Cupid. Held in 1980 noted that in Bion the Erotes (Cupids) break their bows, arrows and quivers. That is not happening here – or is Cupid lifting his quiver off his back, to take out the arrows for destruction? In Bion Adonis is wounded by the boar in his thigh (as in DPG451) and in Ovid in his groin (as apparently in the Jerusalem picture). We don’t know why Rubens changed that detail, or whether it has any meaning.A sketch by the 17th-century Amsterdam artist Pieter Codde (1599–1678), now in the Hermitage, St Petersburg, of the Death of Adonis, has recently been associated with the composition of DPG451 and the picture in Jerusalem (Related works, no. 14).192...

Pieter SAENREDAM

... draftsman, print artist and appraiser...

... view of the interior of St Bavo in Haarlem, that was part of this gift, is now in Edinburgh.5His fame, and its development, is somewhat comparable to that of Johannes Vermeer (1632–75): both have small œuvres, so both were rare masters, waiting until the end of the 18th century to be rediscovered. But while Vermeer became one of the three celebrities of 17th-century Dutch painting (with Rembrandt (1606/7–69) and Frans Hals I (1582/83–1666), Saenredam became a painter for connoisseurs, par excellence the illustrator of the empty, unadorned, whitewashed Protestant churches of the northern Netherlands.LITERATURERuurs 1987; Schwartz & Bok 1990; Giltaij & Jansen 1991; Liedtke 1996; Van Thiel-Stroman 2006h; Ecartico, no. 6517: http://www.vondel.humanities.uva.nl/ecartico/persons/6517 (March 25, 2018); RKDartists&, no. 69237: https://rkd.nl/en/explore/artists/69237 (March 25, 2018)....

... isle of the Church of St Bavo, Haarlem...

... 559 it became the cathedral of the newly formed diocese of Haarlem. The south aisle was built between 1472 and 1481. The large arch at the left is the entrance to the baptistery, with an iron screen (still in situ, dated 1429). In 1566 much of the interior decoration fell victim to iconoclastic fury, and in 1578 the church was reserved for Protestant worship by the city authorities. The scene depicted, thought at present to be ‘the baptism of a child, a priest waiting’,20 would have been impossible in real life at that date. It might be explained by Saenredam’s interest in history, or perhaps by the wish of a Catholic client.21 The scene is however difficult to interpret. Elements in favour of a baptism are the light stole of the priest and the fact that he is standing in the baptistery. Against it are the absence of a godfather and godmother, necessary at a Catholic baptism (or is the man next to the priest the godfather?). The absence of the mother is not significant, since she was supposed to remain in bed nine days after giving birth. There is another possible explanation: a Catholic priest sometimes said prayers in a Protestant church, or delivered holy earth for a burial.22 The rather sober atmosphere and the dark cloth could suggest that this was a funeral service for a dead child rather than a baptism.23Until now is has not been possible to untangle the provenance because various versions of the composition are recorded in 18th- and 19th-century sales, without dimensions. The Glasgow version was recorded in Alkmaar and Amsterdam between 1776 and 1800.24 It was reproduced in an engraving by Noach van der Meer II (1741–1822) in J.-B. P. Le Brun’s Galerie des peintres flamands of 1792 or c. 1787 in Paris (Related works, no. 3) [2], which seems impossible, as the picture was in the collection of Jan Jansz. Gildemeester (1744–99) in Amsterdam between 1777 and 1800. This indicates that perhaps a third version existed. Proof that the source of the print was (a version of) the Glasgow painting and not that in Dulwich is the presence in it of the Haarlem coat of arms. Le Brun was a business partner of Desenfans, and in the light of the engraving it is tempting to suggest that DPG59 may also have come from him. Could he have been the owner of two versions?...

Peter Paul RUBENS

... ish painter, draughtsman, collector and diplomat...

... here was one for Santa Maria in Vallicella, the Chiesa Nuova, still present there (the first version is now in Grenoble; see under DPG40A–B). The saints on its wings are related to the ones on the outer wings of the later Antwerp altarpiece The Raising of the Cross. In Rome he studied Classical sculpture and the works of Raphael (1483–1520) and Michelangelo (1475–1564) in the Vatican and in churches and palaces. In 1603 he was sent by the Duke of Mantua to Spain on a diplomatic mission. In 1605–6 Rubens was in Genoa, where he made portraits for the local aristocracy [2]. His brother Philip, a scholar and antiquary, lived for a while in Rome, when Peter Paul was there as well [3]....

... ngly, in Amsterdam in 1817 after long deliberations in a meeting of the Royal Institute of Arts and Sciences Rubens was chosen above Rembrandt (1606/7–69) as a hero of whom a bust should be made for that Institute.27 He was considered to be the better history painter of the two. The Northern and Southern Netherlands were at the time (1815–30) one country, but at the meeting only members from Amsterdam were present. Rubens was later selected to become a symbol of the new Belgian state founded in 1830, after the Belgian Revolution in that year, and a statue was erected in 1840.There were pages about the life of Rubens in the usual collections of artists’ biographies in the 17th and 18th centuries. The first biography dedicated to Rubens was by J. F. M. Michel, published in 1771 in Brussels. It was followed by the first œuvre catalogue of his pictures in 1830. That was in the second volume of the nine published by the London art dealer John Smith, who discussed 1,368 paintings and three addenda; in the supplement of 1842, the ninth volume of the series, 418 more works were considered. A transcript of the inventory made after Rubens’s death was republished in Muller 1989 and Belkin & Healy 2004. Max Rooses in 1886–92 has 1,593 pictures, but they include pictures known only from archival and published sources. Jaffé in his œuvre catalogue of 1989 offers 1,403 pictures – all existing. Held published overviews of the drawings (1959) and the oil sketches (1980). Rubens’s letters were published in the original language by Rooses & Ruelens in six volumes (1887–1909) and in English by Magurn (1955).Volumes of the Corpus Rubenianum Ludwig Burchard began to be published in 1968, based on material left by that scholar, kept in the Rubenianum in Antwerp.28 Burchard wrote the entries for the Rubens and Van Dyck pictures for the Dulwich exhibition held at Leeds and then at the National Gallery in 1947–53 and for the Dulwich catalogue of 1953.Curiously, in the early 19th century Waagen (who also made a strange judgement about the Rembrandt pictures at Dulwich) only mentioned Hagar (that he took to be Magdalen) and the large landscape DPG132 (now Follower of Peter Paul Rubens). Passavant also singled out that landscape.29 Perhaps it looked better in the 19th century?Richter & Sparkes in their catalogue (1880) were over-cautious, and removed several DPG pictures from Rubens’s œuvre (DPG40A–B, DPG148 and DPG19). In this they were followed by 20th-century DPG cataloguers until Burchard, but Rubens scholars including Rooses, Glück, Oldenbourg and Grossmann never doubted those works. After Dr Hell’s restoration project in the 1940s–60s Jaffé, Müller Hofstede and other Rubens scholars gave them back to Rubens.Dulwich Picture Gallery is especially rich in modelli. They show that Rubens kept busy changing his compositions. Where a modello was followed slavishly one should be suspicious: Rubens seems never to have been satisfied. He would even rearrange the pieces of wood that formed the support for his sketches and paintings (see DPG264).30 Apparently in the 19th century the modelli were not considered to be suitable study material for young artists: at least they were not chosen by the Royal Academy schools to be copied.31 That happened only with two large pictures – the ‘Mother of Rubens’ (DPG290; since 1980 Cornelis de Vos; lent to the RA in 1846 and 1883) and Mars, Venus and Cupid (DPG285; lent in 1816, 1831, 1837, 1840, 1851, 1877). The latter is a somewhat surprising choice, since it was considered by some to be indecent, and it even made judicial history. Not until the 20th century was there interest in the more sketchy quality of DPG131 (as Hagar in the Wilderness, lent to the RA in 1902, 1922 and 1930).Sir George Scharf (1820–95), who became Secretary of the National Portrait Gallery in 1857 and later its Director, on one of his many tours around the British Isles sketched some of the portraits in the Dulwich Gallery. In 1859 he drew three paintings that were thought to be by Rubens – DPG285, DPG290 (since 1980 Cornelis de Vos) and DPG143, the portrait of Katherine Manners (?).LITERATURE (selective)Corpus Rubenianum Ludwig Burchard 1968– (for instance Martin 1968a; Vlieghe 1972–3; D’Hulst & Vandenven 1989; McGrath 1997; Judson 2000; Wood 2010a–b, 2011; McGrath 2016; Büttner 2018a, 2019); Martin 1970, pp. 105–233; Vlieghe 1977a; Held 1980; White 1987; Garff & De la Fuente Pedersen 1988; Jaffé 1989; Muller 1989; Sutton & Wieseman 1993; Kockelberg & Huvenne 1993; Vlieghe 1996f; Belkin & Healy 2004; Schröder & Widauer 2004; Sutton & Wieseman 2004; Rubens 2004; Kräftner, Seipel & Trnek 2005; Van der Stighelen 2006a; Vander Auwera, Van Sprang & Rossi-Schrimpf 2007; Martin 2011; Ducos 2013; Lammertse & Vergara 2018; Büttner 2018b; Ecartico, no. 6423: http://www.vondel.humanities.uva.nl/ecartico/persons/6423 (July 1, 2019); RKDartists&, no. 68737: https://rkd.nl/en/explore/artists/68737 (July 1, 2019).[...

... so the drawing on p. 188 (fig. 16) is by Jacob de Wit and the drawing on p. 189 (fig. 17) is by Christian Benjamin Müllerp. 192 (in the caption of Fig. 19) ‘Peter Paul Rubens’ = ‘Follower of Rubens, Jan Boeckhorst (?)’p. 199 (second column, first line) ‘Tellus’ = ‘Cupid in DPG295’p. 199 (second column) ‘Ara Pacis’ = ‘Ara Pacis Museum’....