DOI Artikel:
Krzyżagórska-Pisarek, Katarzyna: Corpus Rubenianum versus Rembrandt Research Project: two approaches to a "Catalogue raisonné"
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.34225#0049
CORPUS RUBENIANUM КЕЯЗЖ REMBRANDT RESEARCH PROJECT...
43
7. Rubens, Xow^or; ан<7 Du/;7oA, !609-16J0, oii on panel.
London, The Nationa! Gaiiery. Photo: The Nationai Gailery
work has a number of probiems not mentioned by the CRLB cataiogue. First of aii, it differs in some
aspects firom the three extant contemporary witnesses. In the engraved copy by Jacob Matham (Fig. 8),
dated 1611 or 1613, dedicated to Rockox and probably executed from the painting in his house, Samson's
foot and the old woman's back are entirely contained in the picture, unlike the work in the NG. Yet the
London panel was not cut in size, as witnessed by the dimensions in the Liechtenstein inventories. If it
were larger, it would not have fitted above the Rockox's fireplace, where it was originally hanging, and
which has still survived in Antwerp. More importantly, there are only three soldiers at the door instead
of tive as in the London painting. The same discrepancies can be seen in the miniature copy in the
"Kunstkamer" (art cabinet) by Frans Francken II, Rc^^MC/ m /Z?c o/ RMrgowow/ćT TüocÆov ог 7У?с
Tu've possibly executed w л;Ум c. 1630, oil on panel, Alte Pinakothek, Munich (Fig. 9). There are
three soldiers at the door, and Samson's foot is complete as well as the old procuress's back. One of the
additional soldiers in the London panel has curly hair, no helmet, and is looking straight at the observer.
This might be the self-portrait of the person who painted it.
We also have a carefully executed preparatory oil sketch on panel (possibly <7 ?Tuo?<7o) also rediscovered
in the 1930s in York (by strange coincidence a preparatory drawing was also rediscovered by Burchard in
1926), now in the Cincinnati Art Museum, Cincinnati, Ohio (Fig. 10). The woć/o/Zo also shows only three
soldiers at the door, but part of the foot and back of the woman are missing because the panel has lost two
strips of wood to the left and the right after the sale in 1966 at Christie's in London. This last fact was
not mentioned in the catalogue, where only the reduced panel is illustrated. When these additional strips
were in place the composition agreed with Matham's engraving and the Francken's miniature copy, not
the NG picture. J. Held wrote in GzV ^Ce/cAe^ o/ 7Y/cr Рсм/ 1980: T consider it likely that
the sketch has lost small sections on either side (at the right, the toes of Samson are missing, which is an
Towrôt 'Samsona i Daiiii' do AntwerpiL Rnroł. XV/1 (29) 2008, pp. 228-234; 'Samson i Dalila" Rubensa.
Problematyka atrybucji a polityka wystawiennicza muzeôw', RocrmTr 7/Atorô XXXV, 2010, pp. 189-211.
43
7. Rubens, Xow^or; ан<7 Du/;7oA, !609-16J0, oii on panel.
London, The Nationa! Gaiiery. Photo: The Nationai Gailery
work has a number of probiems not mentioned by the CRLB cataiogue. First of aii, it differs in some
aspects firom the three extant contemporary witnesses. In the engraved copy by Jacob Matham (Fig. 8),
dated 1611 or 1613, dedicated to Rockox and probably executed from the painting in his house, Samson's
foot and the old woman's back are entirely contained in the picture, unlike the work in the NG. Yet the
London panel was not cut in size, as witnessed by the dimensions in the Liechtenstein inventories. If it
were larger, it would not have fitted above the Rockox's fireplace, where it was originally hanging, and
which has still survived in Antwerp. More importantly, there are only three soldiers at the door instead
of tive as in the London painting. The same discrepancies can be seen in the miniature copy in the
"Kunstkamer" (art cabinet) by Frans Francken II, Rc^^MC/ m /Z?c o/ RMrgowow/ćT TüocÆov ог 7У?с
Tu've possibly executed w л;Ум c. 1630, oil on panel, Alte Pinakothek, Munich (Fig. 9). There are
three soldiers at the door, and Samson's foot is complete as well as the old procuress's back. One of the
additional soldiers in the London panel has curly hair, no helmet, and is looking straight at the observer.
This might be the self-portrait of the person who painted it.
We also have a carefully executed preparatory oil sketch on panel (possibly <7 ?Tuo?<7o) also rediscovered
in the 1930s in York (by strange coincidence a preparatory drawing was also rediscovered by Burchard in
1926), now in the Cincinnati Art Museum, Cincinnati, Ohio (Fig. 10). The woć/o/Zo also shows only three
soldiers at the door, but part of the foot and back of the woman are missing because the panel has lost two
strips of wood to the left and the right after the sale in 1966 at Christie's in London. This last fact was
not mentioned in the catalogue, where only the reduced panel is illustrated. When these additional strips
were in place the composition agreed with Matham's engraving and the Francken's miniature copy, not
the NG picture. J. Held wrote in GzV ^Ce/cAe^ o/ 7Y/cr Рсм/ 1980: T consider it likely that
the sketch has lost small sections on either side (at the right, the toes of Samson are missing, which is an
Towrôt 'Samsona i Daiiii' do AntwerpiL Rnroł. XV/1 (29) 2008, pp. 228-234; 'Samson i Dalila" Rubensa.
Problematyka atrybucji a polityka wystawiennicza muzeôw', RocrmTr 7/Atorô XXXV, 2010, pp. 189-211.