La interpretación de las debilidades económicas regionales

Whereabouts unknown.

Pr o v e n a n c e: ? Duke of Leuchtenberg, St. Petersburg; E. and A. Silberman, Vienna, 1928; Goudstikker, sale, Amsterdam, November-December, 1929, lot 36.

C op ies: ( i ) Painting, whereabouts unknown; panel, 105 : 75.5 cm.; prov.: see under No. 19, C o p y; exh.: Vienna, 18 89, No. 17 1 (as T. van Thulden)-, (2) Painting, Onte- niente-Valencia, Museo la Ereta; canvas, 85 : 63 cm.

24. ST. PHILIP (Fig. 69) Oil on panel; 92.5 : 66.5 cm. Whereabouts unknown.

Pr o v e n a n c e: ? Duke of Leuchtenberg, St. Petersburg; E. and A. Silberman, Vienna, 1927-

C op ies: (1) Painting, whereabouts unknown; panel, 105 : 75.5 cm.; prov.: see under No. 19, C o p y; exh.: Vienna, 1889, No. 176 (as T. van Thulden)-, (2) Painting, Onte- niente-Valencia, Museo la Ereta, canvas, 85 : 63 cm.

Instead of a cross as in the Prado painting (No. 1 1 , Fig. 34), St. Philip is here seen holding a Staff.

25. ST. BARTHOLOMEW (Fig. 70)

Oil on panel; 92 : 67 cm. Whereabouts unknown.

Pr o v e n a n c e: ? Duke of Leuchtenberg, St. Petersburg; E. and A. Silberman, Vienna, 1927-28.

C op ies: ( i ) Painting, whereabouts unknown; panel, 10 5 : 7 5.5 cm.; prov.: see under No. 19, C o p y; exh.: Vienna, 1889, No. 166 (as attributed to Jordaens); (2) Painting, Onteniente-Valencia, Museo la Ereta; canvas, 85 : 63 cm.

Apart from slight differences in the folds of the garment, this is a fairly exaft copy of the original (No. 12, Fig. 38).

26. ST. THOMAS

Oil on panel; approximately 92.5 : 66.5 cm. Whereabouts unknown.

Pr o v e n a n c e: ? Duke of Leuchtenberg, St. Petersburg.

C op ies: ( i ) Painting, whereabouts unknown; panel, 105 : 75.5 cm.; prov.: see under No. 19, Co p y; exh.: Vienna, 1889, No. 172 (as Jordaens or De Crayer and Rubens)-, (2) Painting, Onteniente-Valencia, Museo la Ereta; canvas, 85 : 63 cm.

27. ST. MATTHEW (Fig. 71)

Oil on panel; 92.5 : 66.5 cm.

Pr o v e n a n c e: ? Duke o f Leuchtenberg, St. Petersburg; E. and A. Silberman, Vienna, 1927; E. & A. Silberman, New Vork, 1946.

Co p i e s: (i) Painting, whereabouts unknown; panel, 105 : 75.5 cm.; prov.: see under No. 19, Co p y; exh.: Vienna, 18 8 9, No. 167 (as attributed to Jordaens)-, (2) Painting, Onteniente-Valencia, Museo la Ereta; canvas, 85 : 63 cm.

Lit e r a t u r e: The A rt Quarterly, ix , 1946, p. 18 1, repr. (as St. Thomas).

The Saint is not shown here with his attribute, the halberd, as he is in the original (No. 14, Fig. 46). The position of his hands is also different from that in the Madrid painting.

28. ST. JAMES THE LESS (Fig. 72) Oil on panel; 92.5 : 67.5 cm.

Whereabouts unknown.

Pr o v e n a n c e: ? Duke of Leuchtenberg, St. Petersburg; E. and A. Silberman, Vienna, 1928; Goudstikker, sale, Amsterdam, November-December 1929, lot 35 (repr.; as St. Matthew)-, R. Dicop, Ucde (Brussels), 1960-61.

Co p i e s: ( i) Painting, whereabouts unknown; panel, 61.5 : 49.5 cm.; prov.: Baron Her­ mann von Nagel, Schloss Ittlingen (1964); (2) Painting, whereabouts unknown; panel, I05 : 75-5 cm.; prov.: see under No. 19, Co p y; exh.: Vienna, 1889, No. 174 (as D e Crayer) ; (3) Painting, Onteniente-Valencia, Museo la Ereta; canvas, 85 : 63 cm. The only noticeable difference between this and the original (No. 15, Fig. 50) is that the carpenter’s square carried by the ApoStle is longer.

29. ST. SIMON

Oil on panel; approximately 92.5 : 66.5 cm. Whereabouts unknown.

Pr o v e n a n c e: ? Duke o f Leuchtenberg, St. Petersburg.

Co p i e s: ( i) Painting, whereabouts unknown; panel, 105 : 75.5 cm.; prov.: see under No. 19, Co p y; exh.: Vienna, 2889, No. 178 (as D e Crayer)-, (2) Painting, Onteniente- Valencia, Museo la Ereta; canvas, 85 : 63 cm.

30. ST, MATTHIAS

Oil on panel; approximately 92.5 : 66.5 cm. Whereabouts unknown.

PROVENANCE: ? Duke o f Leuchtenberg, St. Petersburg.

Co p ie s: (i) Painting, whereabouts unknown; panel, 105 : 75.5 cm.; prov.: see under No. 19, Co p y; exh.: Vienna, 1889, No. 170 (as D e Crayer and Rubens)-, (2) Painting, Onteniente-Valencia, Museo la Ereta; canvas, 85 : 63 cm.

31. ST. PAUL

Oil on panel; approximately 92.5 : 66.5 cm. Whereabouts unknown.

Pr o v e n a n c e: ? Duke of Leuchtenberg, St. Petersburg.

Co p ie s: (i) Painting, ■whereabouts unknown; panel, 105 : 75.5 cm.; prov.: see under No. 19, Co p y; exh.: Vienna, 188g, No. 169 (as attributed to De Crayer); (2) Painting, Onteniente-Valencia, Museo la Ereta; canvas, 85 : 63 cm.; (3) Painting, Oslo, Nasjonal- galleriet; panel, 92.5 : 67 cm.; (4) Painting, whereabouts unknown; panel, 92.5 : 66 cm.; prov.: Egon Müller (Vienna, 1930); sale, London (Sotheby’s), 2 December 1964, lot 34; exh.: Drei Jahrhunderte Vlämische Kunft, Sezession, Vienna, 1930, No. 170 (repr.).

3246. SS. APOSTOLORUM ICONES

The following compositions form a series of fifteen full-length figures: thirteen

Apoüles (Nos. 34-46), Chriît as Salvator Mundi (No. 32) and The Holy Virgin as Regina Cceli (No. 33). Each figure Stands on a pedeStal with a

cartouche underneath, on which the name is inscribed. The series was published in the form of engravings by Cornelis Galle the Elder, entitled SS. ApoHolo­

rum leones a Pet. Paulo Rubenio delineatae. Apart from the title-page depict­

ing the instruments of the ApoStles’ martyrdom (Fig. 73), each engraving bears the “ address” P.P. Rubens pinxit and Corn. Galle excudit, while five of them— viz. Chri!t as Salvator Mundi (No. 32; Fig. 74), St. Peter (No. 34; Fig. 76),

St. John (No. 37; Fig. 79), St. James the Less (No. 42; Fig. 84) and St. Paul

(No. 46; Fig. 88)—also bear the indication S. a Bois wert sculpts it"]. One en­ graving, that of St. Andrew (No. 35; Fig. 77), is by Pieter Clouwet. As the latter did not become a master in the Guild of St. Luke at Antwerp until 1646, while Cornelis Galle died in 1650, the series muSt have been published between these two dates. Rubens’s designs, however, muSt clearly have been executed about 1615. Apart from the marked plasticity of the Style, certain figures such as Chriît as Salvator Mundi, St. Peter and St. Paul are literal repetitions from pictures painted by him by that time.

We may also refer to an item of 14 January 16 15 in the account-book of Balthasar I Moretus, indicating that he bought for n o guilders from his brother-in-law, the engraver and publisher Theodoor Galle, “les tableaux des apoStres avec noStre Seigneur, N ro Dame et St Jean, à l’imitation de Rubens”

(Rooses, I, p. 82, n. 3). These paintings were inherited by his nephew Baltha­

sar II Moretus: an inventory of his pictures, made up in 1658, includes “Chris­ tus, Maria en de 13 ApoStelen, in 15 Stucken copye nae Rubens” (“Christ, the Virgin and the thirteen ApoStles, in fifteen paintings copied from Rubens” ), valued at only 60 guilders (Bouchery-Van den Wijngaert, p. 42). Since the num­ ber of these copies is the same as that of the engravings published by Cornelis

Galle, and since the representations of Christ and the Virgin that accompanied the ApoStle series are expressly mentioned in Moretus’s accounts, it is raisonable to suppose that the copies which were in Theodoor Galle’s possession and the engravings published by his brother Cornelis were made from the same com­ positions by Rubens, The date of 14 January 16 15 would thus be a terminus

ante quem. One might go further and conjeôture that the copies in question

were the modelli, perhaps executed by Theodoor Galle himself, from which the engravings were later made. There would be nothing out of the ordinary in such a lapse of time between design and execution: for instance, the modelli designed before 1619 for the engravings of Rubens’s Miracles of St. Ignatius

Loyola and Miracles of St. Francis Xavier were engraved by Marinus van der

Goes as late as 1632-33.

In catalogues of Rubens prints the present series is wrongly extended to comprise twenty-three items, viz. representations of four angels and four evan­ gelists in addition to the fifteen already mentioned (Cf. R. Hecquet, Catalogue

des estampes gravées d’après Rubens, Paris, 17 51, p. 108, No. 3; F. Basan, Catalogue des estampes gravées d’après Rubens, Paris, 1767, p. 198, No. 3; V.S., p. 209, No. 1; and E. Dutuit, Manuel de l’amateur d’eïïampes, hi, Paris-

London, 1885, p. 229, No. 1) . The other eight engravings exist, but the address shows them to have been published by Gillis Hendrickx, which rules out a conneftion with the Galle series.

32. CHRIST AS SALVATOR MUNDI

Whereabouts unknown; presumably loB.

C o p ie s: ( 1 ) ? Painting, whereabouts unknown; prov.: purchased from Theodoor Galle by Balthasar I Moretus, 16 15 ; Balthasar II Moretus, 1658; lit.: Smith, Catalogue Raisonné, IX, p. 353, No. 1; Rooses, 1, p. 82, n. 3; Bouchery-Van den Wijngaert, pp. 42, 48; (2) Engraving by S. a Bolswert (Fig. 74; V S . , p. 209, under No. 1). ChriSt is seen in front view, holding a globe in his left hand and raising his right in blessing. This is a literal repetition of the figure of Christ on the outside of the left-hand panel of the Jan Michielsen triptych of 16 17 -18 (Le

ChriSî à la Paille), now in the Antwerp Museum (C. Eisler, Rubens’ Use of the Northern PaSt - the Michiels Triptych and its Sources, Bulletin des Musées Royaux des Beaux-Arts de Belgique, xvi, 1967, p. 56, fig. 5).