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Lot Essay
The prototype of this painting is the altarpiece in Rubens funerary chapel in the Sint-Jacobskerk, Antwerp. It was selected by Rubens himself a few days before his death in 1640, and the cost of constructing the chapel was borne by Rubens' estate. Apart from the years of the French occupation of the Netherlands (1794-1815), it has never left the chapel. The chapel was created between 1641 and 1645/50, by which time the altarpiece was very probably installed. The altarpiece is on panel and measures either 221 x 195, or 211 x 195 cm. With such a very specific gathering of Saints it seems unlikely that it was executed by Rubens 'on spec', rather it had probably been commissioned a few years before the artist's death and not yet delivered, hence its availability.
It is presumed that the making of the copy in the chapel would not have been permitted. Therefore the most acceptable dating of it would have been after the artist's death and before the installation of the prototype as the altarpiece. Maybe it was offered to the disappointed patron, who had commissioned the original. Several authorities, most recently Michael Jaffé, have described it as being contemporary with the prototype and the work of a pupil. There has been no speculation as to the identity of the copyist. One possible candidate is Jan Boeckhorst, who is known to have worked up Rubens' paintings after his death (H. Vlieghe, 'Jan Boeckhorst als Mitarbeiter', in the exhibition catalogue Jan Boeckhorst, Antwerp/Münster, 1990, pp. 75-81).
In the years between Cochin's description of the copy (op. cit., in which he relied on the printed list supplied by the owner) and Ratti's account in 1780, the legend had grown that it had some direct connection with Rubens' family. Indeed, in the first Walsh Porter sale, it was described as the 'Family of Rubens'; in the second sale of his collection it was said that Rubens had depicted himself in the character of St. George. Earlier speculation, even more embroidered, was last referred to by Jaffé.
So far as concerns family resemblances, for the head of the Infant Christ, Rubens may well have turned to a drawing he had made of his son Frans (b. 1633). The pose of St. Mary Magdalene is similar, but not the same, as that of Helena Fourment in Het Pelsken (Vienna, Kunsthistorisches Museum).
Both Paul Pontius' engraving after the Sint-Jacobskerk original, which was not made under Rubens' supervision, and Fragonard's copy of the present picture show a much greater height to the composition that allowed for the inclusion of the whole of St. George's flag.
It is presumed that the making of the copy in the chapel would not have been permitted. Therefore the most acceptable dating of it would have been after the artist's death and before the installation of the prototype as the altarpiece. Maybe it was offered to the disappointed patron, who had commissioned the original. Several authorities, most recently Michael Jaffé, have described it as being contemporary with the prototype and the work of a pupil. There has been no speculation as to the identity of the copyist. One possible candidate is Jan Boeckhorst, who is known to have worked up Rubens' paintings after his death (H. Vlieghe, 'Jan Boeckhorst als Mitarbeiter', in the exhibition catalogue Jan Boeckhorst, Antwerp/Münster, 1990, pp. 75-81).
In the years between Cochin's description of the copy (op. cit., in which he relied on the printed list supplied by the owner) and Ratti's account in 1780, the legend had grown that it had some direct connection with Rubens' family. Indeed, in the first Walsh Porter sale, it was described as the 'Family of Rubens'; in the second sale of his collection it was said that Rubens had depicted himself in the character of St. George. Earlier speculation, even more embroidered, was last referred to by Jaffé.
So far as concerns family resemblances, for the head of the Infant Christ, Rubens may well have turned to a drawing he had made of his son Frans (b. 1633). The pose of St. Mary Magdalene is similar, but not the same, as that of Helena Fourment in Het Pelsken (Vienna, Kunsthistorisches Museum).
Both Paul Pontius' engraving after the Sint-Jacobskerk original, which was not made under Rubens' supervision, and Fragonard's copy of the present picture show a much greater height to the composition that allowed for the inclusion of the whole of St. George's flag.