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Cain cursed by the Lord
Maker
(artist)
1499-1592
(artist)
1577-1640
Adriaen Thomasz Key (artist)
1544-1589
1499-1592
(artist)
1577-1640
Adriaen Thomasz Key (artist)
1544-1589
Title
Cain cursed by the Lord
Date of Production
1600 - 1608
Medium
red chalk and white bodycolour on laid paper, now laid down on Japanese tissue
Dimensions
Height: 27.3 cm
Width: 17.6 cm
Width: 17.6 cm
Accession Number
D.1978.PG.322
Mode of Acquisition
Count Antoine Seilern, bequest, 1978
Credit
The Courtauld, London (Samuel Courtauld Trust)
Copyright
Work in the public domain
Location
Not currently on display
Keywords
Notes
This drawing, which references the narrative of Cain and Abel in the Biblical book of Genesis, depicts Cain as he flees after killing his brother. It is the pendant to a sketch in the Fitzwilliam Museum, Cambridge, which portrays the slain figure of Abel. The drawing shows Cain gripping his head in remorse, turning terrified eyes towards heaven.
The drawing was executed in two stages, with the red chalk of the figure and tree completed first. The face and hair were later remodelled, and the undulating muscles of the torso and arms were enhanced with the application of white opaque watercolour.
The attribution of this work remains uncertain. It is generally agreed that the drawing relates to the figure of Cain in a painting by Michiel Coxcie (1499-1592), Cain cursed by the Lord (Prado Museum, Madrid). It is possible that this is a copy by Peter Paul Rubens after the painting, or that an original 16th century drawing by Coxcie was retouched by Rubens in the early 17th century. Retouching drawings was a common practice in this period as a way for artists to learn from the works of Old Masters, and Rubens is known to have retouched several drawings by other masters.
Most recently it has been posited that the drawing could derive instead from a copy of Coxcie’s painting by the Flemish artist Adriaen Thomasz Key (c. 1544-after 1589). In this painting Cain’s expression appears more anguished and more of his right hand is visible, features which are also found in the drawing.
Provenance
unknown collector (mid-17th century), L.2908; Prosper Henry Lankrink, London (1628-1692), L.2090; his sale, 22 February 1694 [according to 2009 Reynolds ex. cat.]; Sir Joshua Reynolds, London (1723-1792), L.2364; possibly Dame Marie-Jeanne-Josèph Claessens-Bartholeyns (1774-1858); W. Ivan Lake, British Vice-Consul in Spain; his sale, Christie's (London), 28 November 1927, lot 56 (wrongly described as ‘The Expulsion of Adam’ and bought in); his sale, Christie's (London), 7 July 1959, lot 96; purchased there by Colnaghi (London) on behalf of Count Antoine Seilern, London (1901-1978), 20 July 1959 (£777); Princes Gate Bequest 1978
Exhibition History
The Second Hand Re-worked: Art Then and Now, The Courtauld Gallery, London, 18/06/2015-19/07/2015
Michiel Coxcie - The Flemish Raphael, Museum Leuven, 31/10/2013-23/02/2014
Sir Joshua Reynolds - The Acquisition of Genius, Plymouth & Devon & England, 21/11/2009-21/02/2010 ...More
The Value of Art, The Courtauld Gallery, London, 24/06/1999-30/08/1999
Rubens - Paintings, Drawings and Prints in the Princes Gate
Collection, The Courtauld Gallery, London, 06/10/1988-08/01/1989 ...Less
Michiel Coxcie - The Flemish Raphael, Museum Leuven, 31/10/2013-23/02/2014
Sir Joshua Reynolds - The Acquisition of Genius, Plymouth & Devon & England, 21/11/2009-21/02/2010 ...More
The Value of Art, The Courtauld Gallery, London, 24/06/1999-30/08/1999
Rubens - Paintings, Drawings and Prints in the Princes Gate
Collection, The Courtauld Gallery, London, 06/10/1988-08/01/1989 ...Less
Literature
Michiel Coxcie (1499-1592) and the giants of his age, Museum Leuven, 2013-2014
cat. no. 33
ill. on p. 193
as Coxcie, retouched by Rubens
Kopecky, Veronika, ‘Die Beischriften des Peter Paul Rubens. Überlegungen zu handschriftlichen Vermerken auf Zeichnungen’, PhD diss., University of Hamburg, 2012
I, pp. 102-03, II, no. 68
II, ill.
Rubens im Wettstreit mit Alten Meistern. Vorbild und Neuerfindung, R. Baumstark et al. (eds.), Alte Pinakothek, Munich, 2009-10
p. 40
fig. 23
as Coxcie retouched by Rubens, in essay by Kristin Lohse Belkin, ‘Rubens’ Kopien nach deutschen und niederländische Alten Meistern‘, pp. 29-55 ...More
Belkin, Kristin Lohse, Rubens: copies and adaptations from Renaissance and later artists. (1), German and Netherlandish artists (CRLB), London 2009
no. 112
pl. 12 and fig. 314
as by an anonymous artist after Adriaen Thomasz. Key dated c. 1538-45, Rubens's retouching dated c. 1609; in file
Sir Joshua Reynolds: the acquisition of genius, Plymouth City Museum and Art Gallery, 2009
cat. no. 63
p. 137
ill. on p. 137
as Rubens after Key after Coxcie; in file
Jonckheere, Koenraad, Adriaen Thomasz. Key (c.1545-c.1589), Turnhout, 2007
p. 124 under no. A103
fig. 16 on p. 347
as a copy by Rubens after Key
Jonckheere, Konrad, 'Two drawings by Peter Paul Rubens after Adriaen Thomasz. Key' in 'Master Drawings', Summer 2006 - pp. 213-220; 44, 2
pp. 213-220
fig. 1 on p. 214
as Rubens after Key after Coxcie; in file
The Value of Art, Courtauld Gallery, London, 1999
unpag.
ill.
as Coxcie reworked by Rubens; in file
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 25
and pp. 19, 20-21 under no. 24
ill. on p. 21
as by Coxcie, reworked by Rubens, c. 1600-08; in file
Vlieghe, Arnout Balis et al., De Vlaamse schilderkunst in het Prado, Antwerp 1989
p. 101 under no. 26
entry author: Belkin, as Coxcie reworked by Rubens
Peter Paul Rubens 1577-1640. Katalog 1 Rubens in Italien: Gemälde, Ölskizzen, Zeichnungen; Triumph der Eucharistie: Wandteppiche aus dem Kölner Dom, Wallraf Richartz Museum, Cologne, 1977
p. 53
in file for PG.427
Logan, Anne-Marie, 'Review: Rubens exhibitions, 1977' in 'Master Drawings', Winter 1977 - pp. 403-17, 470-71; 15, 4
no. 125 on p. 409
as by unknown artist, retouched by Rubens; in file
Jaffé, Michael, Rubens and Italy, Oxford 1977
pp. 30, 49
by Rubens, c. 1600
Bernhard, Marianne, Rubens Handzeichnungen, Munich 1977
ill. on p. 189
as Rubens after Coxcie, dated c. 1608; no reference to the work within the text; photocopy in file
Seilern, Count Antoine, Flemish paintings and drawings at 56 Princes Gate, London SW7. Addenda, London 1969; IV
no. 322
pl. XXXVII
as Rubens c. 1606-08; in file
Müller Hofstede, Justus, Review of Burchard and d'Hulst in 'Master Drawings', 1966; IV, 4
no. 32 on pp. 441-42
as Rubens between 1598-1600; in file
Jaffé, Michael, 'Rubens as a collector of drawings: Part III' in 'Master Drawings', 1966 - pp. 127-48; IV, 2
p. 148 note 60
Müller Hofstede, Justus, 'Beiträge zum zeichnerischen Werk von Rubens' in 'Wallraf Richartz Jahrbuch', 1965; XXVII
pp. 264, 265 note 14, 268
copy by Rubens, c. 1598-1600; in file
Jaffé, Michael, 'Rubens as a draughtsman' in 'Burlington Magazine', 1965; CVII
p. 379
copy by Rubens
Burchard, Ludwig and R.A. d'Hulst, Rubens drawings, Brussels 1963
no. 32 on pp. 59-60
fig. 32
as Rubens after Coxcie, dated c. 1608; in file except for image
Christie's, London, Important Old Master drawings, 7 July 1959
lot 96
ill.
as Rubens ...Less
cat. no. 33
ill. on p. 193
as Coxcie, retouched by Rubens
Kopecky, Veronika, ‘Die Beischriften des Peter Paul Rubens. Überlegungen zu handschriftlichen Vermerken auf Zeichnungen’, PhD diss., University of Hamburg, 2012
I, pp. 102-03, II, no. 68
II, ill.
Rubens im Wettstreit mit Alten Meistern. Vorbild und Neuerfindung, R. Baumstark et al. (eds.), Alte Pinakothek, Munich, 2009-10
p. 40
fig. 23
as Coxcie retouched by Rubens, in essay by Kristin Lohse Belkin, ‘Rubens’ Kopien nach deutschen und niederländische Alten Meistern‘, pp. 29-55 ...More
Belkin, Kristin Lohse, Rubens: copies and adaptations from Renaissance and later artists. (1), German and Netherlandish artists (CRLB), London 2009
no. 112
pl. 12 and fig. 314
as by an anonymous artist after Adriaen Thomasz. Key dated c. 1538-45, Rubens's retouching dated c. 1609; in file
Sir Joshua Reynolds: the acquisition of genius, Plymouth City Museum and Art Gallery, 2009
cat. no. 63
p. 137
ill. on p. 137
as Rubens after Key after Coxcie; in file
Jonckheere, Koenraad, Adriaen Thomasz. Key (c.1545-c.1589), Turnhout, 2007
p. 124 under no. A103
fig. 16 on p. 347
as a copy by Rubens after Key
Jonckheere, Konrad, 'Two drawings by Peter Paul Rubens after Adriaen Thomasz. Key' in 'Master Drawings', Summer 2006 - pp. 213-220; 44, 2
pp. 213-220
fig. 1 on p. 214
as Rubens after Key after Coxcie; in file
The Value of Art, Courtauld Gallery, London, 1999
unpag.
ill.
as Coxcie reworked by Rubens; in file
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 25
and pp. 19, 20-21 under no. 24
ill. on p. 21
as by Coxcie, reworked by Rubens, c. 1600-08; in file
Vlieghe, Arnout Balis et al., De Vlaamse schilderkunst in het Prado, Antwerp 1989
p. 101 under no. 26
entry author: Belkin, as Coxcie reworked by Rubens
Peter Paul Rubens 1577-1640. Katalog 1 Rubens in Italien: Gemälde, Ölskizzen, Zeichnungen; Triumph der Eucharistie: Wandteppiche aus dem Kölner Dom, Wallraf Richartz Museum, Cologne, 1977
p. 53
in file for PG.427
Logan, Anne-Marie, 'Review: Rubens exhibitions, 1977' in 'Master Drawings', Winter 1977 - pp. 403-17, 470-71; 15, 4
no. 125 on p. 409
as by unknown artist, retouched by Rubens; in file
Jaffé, Michael, Rubens and Italy, Oxford 1977
pp. 30, 49
by Rubens, c. 1600
Bernhard, Marianne, Rubens Handzeichnungen, Munich 1977
ill. on p. 189
as Rubens after Coxcie, dated c. 1608; no reference to the work within the text; photocopy in file
Seilern, Count Antoine, Flemish paintings and drawings at 56 Princes Gate, London SW7. Addenda, London 1969; IV
no. 322
pl. XXXVII
as Rubens c. 1606-08; in file
Müller Hofstede, Justus, Review of Burchard and d'Hulst in 'Master Drawings', 1966; IV, 4
no. 32 on pp. 441-42
as Rubens between 1598-1600; in file
Jaffé, Michael, 'Rubens as a collector of drawings: Part III' in 'Master Drawings', 1966 - pp. 127-48; IV, 2
p. 148 note 60
Müller Hofstede, Justus, 'Beiträge zum zeichnerischen Werk von Rubens' in 'Wallraf Richartz Jahrbuch', 1965; XXVII
pp. 264, 265 note 14, 268
copy by Rubens, c. 1598-1600; in file
Jaffé, Michael, 'Rubens as a draughtsman' in 'Burlington Magazine', 1965; CVII
p. 379
copy by Rubens
Burchard, Ludwig and R.A. d'Hulst, Rubens drawings, Brussels 1963
no. 32 on pp. 59-60
fig. 32
as Rubens after Coxcie, dated c. 1608; in file except for image
Christie's, London, Important Old Master drawings, 7 July 1959
lot 96
ill.
as Rubens ...Less
Inscriptions
Watermark: Watermark: Recto, left of centre: unidentified coat-of-arms surmounted by a quatrefoil (Peter Bower was unable to identify, but said the wire profile suggests a Northern French origin. Braham 1988 pointed out the similarity to Briquet 9863, and indeed it is also similar to the following 9864-9872, paper used in France, the Netherlands and Belgium between 1531 and 1550).
Inscription: Recto: right centre edge, red chalk, artist’s hand, unclear, transcribed by J.G. van Gelder: “brifken d[…] / dry […] / […] van Ael / ende te sart[? Or bart or sam?]” [letter / three / from Al / and in]”; lower right corner, brown ink: “Rubens”. Verso (under Japanese tissue): upper left corner, brown ink, crossed through: “19”; below that, brown ink: “B / 35”. On the verso of the former mount (now removed and missing) was a printed death notice for Dame Marie-Jeanne-Josèph Claessens, widow of Dominique-Joseph Bartholeyns, dated 17 October 1858 (now in file).
Collector's mark: Recto: all stamped at lower right, in black: Prosper Henry Lankrink (L.2090); unidentified collector (L.2908); Sir Joshua Reynolds (L.2364).
Inscription: Recto: right centre edge, red chalk, artist’s hand, unclear, transcribed by J.G. van Gelder: “brifken d[…] / dry […] / […] van Ael / ende te sart[? Or bart or sam?]” [letter / three / from Al / and in]”; lower right corner, brown ink: “Rubens”. Verso (under Japanese tissue): upper left corner, brown ink, crossed through: “19”; below that, brown ink: “B / 35”. On the verso of the former mount (now removed and missing) was a printed death notice for Dame Marie-Jeanne-Josèph Claessens, widow of Dominique-Joseph Bartholeyns, dated 17 October 1858 (now in file).
Collector's mark: Recto: all stamped at lower right, in black: Prosper Henry Lankrink (L.2090); unidentified collector (L.2908); Sir Joshua Reynolds (L.2364).
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