"Without Ceres and Bacchus Venus freezes"
Artist/Maker
Material / Technique
Dimensionsh x w: Mått 47 x 62 cm h x w x d: Ram 68 x 83 x 7 cm
Inventory numberNM 1720
Other titlesTitel (sv): Utan Ceres och Bacchus fryser Venus Titel (en): "Without Ceres and Bacchus Venus freezes"
DescriptionRes. Katalogtext: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 161: Technical notes: The painting’s support is an oak panel constructed of three horizontal, butt-joined, radial boards with a horizontal grain. Partial bevelling is present along the right, top and bottom edges on the verso. Saw marks are visible on the verso. The join has been repaired and reinforced with pieces of wood and fabric on the verso. The left and right edges covered with strips of fabric glued to the sides of the panel. Dendrochrono- logical examination has determined a felling date for the tree between c. 1612 and 1626. With a minimum of two years for seasoning of the wood, the panel would have been available for use by 1614 at the earliest. The wood originates from the region of Western Germany/the Netherlands. The verso of the panel bears the brand of the coat of arms of the City of Antwerp. The painting underwent conservation treatment in 1935, 1948 and 1977. Provenance: Coll. K. Kurck; Coll. von C. F. L. Friesendorff; Coll. O. Seippel Åkeshof by 1885; donated by Oscar Seippel’s heirs in 1911. Bibliography: Granberg 1885, pp. 13–14, no. 23 (as Jacob Jordaens); Granberg 1886, pp. 266–267, no. 453 (as Jacob Jordaens); NM Cat. 1958, p. 175; NM Cat. 1990, p. 318. The meaning of this picture derives from a popular maxim by the Roman playwright Terence: “Sine Cerere et Bacchus frigat Venus” that is: Without food and wine love freezes. During the Renaissance the motif developed into a very popular allegory of wine and love. Rubens’ composition depicts the naked Venus, a red fabric draped over one shoulder, turning away from a kneeling satyr offering her fruit. She is leading a cupid with her right hand. Behind this group two nymphs can be seen on the right, one draped in red, the other in blue with a basket of fruit on her shoulder. In the background on the left appears an old woman in a cave who is warming herself at a brazier. A young boy is puffing at the flames while a youth is engaged in some activity next to him. The Nationalmuseum’s painting is a copy of a composition by Rubens from 1622 that has been sawn in half. The left half depicting The woman with the Coalpan is now in the Gemäldegaleri in Dresden (Fig. 1).1 The right half of the original composition can be seen on a painting now in the Musée Royaux des Beaux- Arts in Brussels depicting Venus in the Forge of Vulcan .2 This painting is now considered to be the work of another artist. Other copies of Rubens’ now divided original composition can be seen at Sanssouci, Berlin, and in the Maurithuis, The Hague.3 GCB 1 Inv. no. 958, 116 x 92. 2 Inv. no. 382, 178 x 198. [End]
Motif categoryReligion/Mythology
Collection
TechniquePainting
Object category
Keyword