About This Artwork

Peter Paul Rubens
Flemish, 1577–1640

The Adoration of the Eucharist, c. 1626

Oil on panel
12 1/2 x 12 1/2 in. (31.5 x 32 cm)

Mr. and Mrs. Martin A. Ryerson Collection, 1937.1012

Exhibition, Publication and Ownership Histories

Exhibition History

Antwerp, Royal Museum of Fine Arts, P. P. Rubens, Paintings - Oiksketches - Drawings, 29 June - 30 September, 1977, no. 70.

Boston, Museum of Fine Arts, The Age of Rubens, September 22, 1993 - January 2, 1994 and Toledo, Ohio, Toledo Museum of Art January 20, 1994 -April 24, 1994, no. 20.

New York, Metropolitan Museum of Art, Tapestry in the Baroque: Threads of Splendor, October 17, 2007 – January 6, 2008 and Madrid, Palacio Real, March 6 – June 1, 2008, no. 22.

Publication History

W. R. Valentiner, “Rubens’ Paintings in America,” Art Quarterly 9 (1946), p. 167.

Jan-Albert Goris and Julius S. Held, Rubens in America (New York, 1947), pp. 34-35, no. 57.

Erik Larsen, P. P. Rubens with a Complete Catalogue of his Works in America (Antwerp), 1952, p. 218, no.74.

H. Gerson and J.W. Goodison, The Fitzwilliam Museum, Cambridge. Catalogue of Paintings, vol. 1, Dutch and Flemish (Cambridge, 1960), pp. 106-107.

Art Institute of Chicago, Paintings in the Art Institute of Chicago, A Catalogue of the Picture Collection (Chicago, 1961), pp. 407-408.

Julius S. Held, “Rubens’ Triumph of the Eucharist and the Modello in Louisville,” Bulletin of the J. B. Speed Art Museum 26, 3 (1968), pp. 12-18, fig. 10.

Justus Müller Hofstede, “Neue Ölskizzen von Rubens,” Städel-Jahrbuch, N.F. 2 (1969), pp. 202, 234-35.

Paulina and Juan José Junquera, “Descalzas Reales: Serie de tapices, La Apoteosis de la Eucaristia,” Reales Sitios, 6, 22 (1969), pp. 22-23, 31, ill. p. 29.

Julius S. Held, “Rubens’s Glynde Sketch and the Installation of the Whitehall Ceiling” Burlington Magazine 112 (1970), p. 277.

Charles Scribner III, “Sacred Architecture: Rubens’s Eucharist Tapestries,” Art Bulletin 57 (1975), pp. 519-20, 525, fig. 4.

Frans Baudouin, Peter Paul Rubens, trans. Elsie Callander (New York, 1977), p. 314, pl. 81.

Nora de Poorter, Corpus Rubenianum Ludwig Burchard, Part II, The Eucharist Series (London and Philadelphia, 1978), pp. 41-42, 50, 84-88, 90-92, 101-105, 176, 189, 223, 258-262, no. 1-5a, fig. 95.

John D. Morse, Old Master Paintings in North America (New York, 1979), p. 242.

Julius S. Held, The Oil Sketches of Peter Paul Rubens. A Critical Catalogue (Princeton, N. J., 1980), pp. 140-142, 159-162, 199, no. 111, pls. 12, 114.

Charles Scribner, review of Nora de Poorter, Corpus Rubenianum Ludwig Burchard II. The Eucharist Series in Burlington Magazine 122 (1980), p. 772.

Elizabeth McGrath, “Celebrating the Eucharist: The Eucharist Series (Corpus Rubenianum) by Nora de Poorter,” Art History 4 (1981), pp. 475-76.

Charles Scribner III, The Triumph of the Eucharist. Tapestries Designed by Rubens (Ann Arbor, Michigan, 1982), pp. 22, 93-100, 116-17, 121, 198, 206-207, 208-209, fig. 31.

Julius S. Held, “New Oil Sketches by Peter Paul Rubens,” Burlington Magazine 129 (1987), p. 583.

Peter C. Sutton, “Rubens’s ‘Sacrifice of the Old Covenant’ from the Coolidge Collection,” Journal of the Museum of Fine Arts, Boston 1 (1989), pp. 8, 21 n. 23, fig. 3.

Michael Jaffé, Rubens. Catalogo complete (Milan, 1989), p. 294, no. 852, ill.

Hans Devisscher, Peter Paul Rubens: Aanbidding der koningen. Palet serie (Bloemendaal, 1992), pp. 96, fig. 53.

Guy C. Bauman and Walter A. Liedtke, Flemish Paintings in American. A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America (Antwerp, 1992), p. 359, no. 388, ill.

Peter C. Sutton, The William Appleton Coolidge Collection, Boston, 1995, pp. 48-49, 52, fig. 1.

Ana García Sanz, "Nuevas aproximaciones a la serie El Triunfo de la Eucaristía," in El arte en la Corte de los Archiduques Alberto de Austria e Isabel Clara Eugenia: Un Reino Imaginado, exh. cat., Madrid, Palacio Real, 1999, p. 112 ill.

Nadeije Laneyric-Dagen, Rubens (Paris, 2003), p. 209, fig. 107.

Peter C. Sutton, in Drawn by the Brush: Oil Sketches by Peter Paul Rubens, exh. cat., Greenwich, Connecticut, Bruce Museum of Arts and Science, 2004, pp. 30-31, 158-59, 163-64, Introduction, fig. 17, fig. 1 under no. 18.

Arthur K. Wheelock, Jr., National Gallery of Art, Systematic Catalogue, Flemish Paintings of the Seventeenth Century, Washington, D.C., 2005, p. 191, fig. 1.

Thomas P. Campbell, “Stately Splendor, Woven Frescoes, Luxury Furnishings: Tapestry in Context, 1600-1660” in Tapestry in the Baroque: Threads of Splendor, exh. cat., New York, Metropolitan Museum of Art, 2007, p. 113.

Lucia Meoni, “Tapestry Production in Florence: The Medici Tapestry Works, 1587-1747” in Tapestry in the Baroque: Threads of Splendor, exh. cat., New York, Metropolitan Museum of Art, 2007, p. 267.

Susan Merriam, Seventeenth-Century Flemish Garland Paintings: Still Life, Vision, and the Devotional Image, Farnham, Surrey and Burlington, Vermont, 2012, p. 136, fig. 5.4.

Ownership History

Probably in the collection of the artist, Antwerp, until his death in 1640 and then included in a large lot of oil sketches in his estate sale, 1642 [Jeffrey M. Muller, “Oil-Sketches in Rubens’s Collection,” Burlington Magazine 117 (1975), pp. 374-75, and Held 1980, p. 11, argue that the oil sketches were disposed of in this way]. Probably Jean van Lancker, Antwerp; his estate sale, Antwerp, 23 May, 1769 and following days, lot 72, “Une belle Esquisse, un Sanctuaire au milieu de 4 petites pieces jointes ensemble, Rubens, B[ois], 13 x 12. Canon Pierre André Joseph Knyff, Antwerp (died 1784), his estate sale, Antwerp, J. Grange, 18 July 1785 and following days, lot 74, “Un Autel enrichi d’ornemens & de colonnes, sur lequel est, représentée l’Adoration de l’Eucharistie: à droite, on voit le Pape à genoux, qui offre de l’encens; il est accompagné de Diàcres, de Prêtres & de beaucoup d’autres figures; à gauches sont l’Empereur, un Roi, des Princes, & plusieurs autres personnes, qui adorent le Saint Sacrement, au-dessus duquel on apperçoit un grand nombre d’Anges qui jouent des instrumens. Dans cette belle esquisse bien terminée et bien coloriée, l’on remarque beaucoup de finesse & de vérité. 11 ½ x 11 3/4 . B[ois]”, to Giraud, according to annotated catalogue in the RKD, The Hague]. Dowdeswell Galleries, London, by 1914, when sold to Martin A. Ryerson [an invoice from Dowdeswell to Ryerson is dated June 23, 1914]; Martin A. Ryerson, Chicago, from 1914; died 1932; his widow, Carrie Hutchinson Ryerson, Chicago, until her death in 1937; bequeathed to the Art Institute, 1937




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