Siegen 1577 - 1640 Antwerp, And attributed to workshop
Saint Anne the Third, venerated by Saints of the House of Habsburg
Oil on hardwood panel (4 mm), laminated on softwood
46 x 33 cm, unframed
Compare the painting of the same name in the Kunsthistorisches Museum in Vienna, Gemäldegalerie, inventory no. 9108
Provenance: Private collection, Slovakia
Oil painting on a hardwood panel (approx. 4mm). This is laminated on a softwood panel. In the middle, an old, retouched panel crack, see UV photo in the illustrations. The painting appears to be in very good condition, including the original glazes and white heightening. The surface is covered by a thick, old and heavily yellowed varnish. Over the years, this has developed a checkerboard-like craquelure, which has preserved the bozzetto well. The painting itself should not show any major cracks or traces of improper cleaning.
This previously unknown oil study is a sensational rediscovery on the art market, which, in our opinion, can be attributed to the famous Flemish painter Peter Paul Rubens (1577-1640) and his studio. The painting is a previously unknown addition to Rubens' oeuvre. It depicts the Adoration of the Magi by the saints of the House of Habsburg.
The Annunciation is a specific type of devotional painting that shows three central figures: Saint Anne, the Virgin Mary, and the Christ Child. This trio represents Jesus' maternal lineage and was extremely popular in Northern European art.
In this work, the Virgin Mary and the Christ Child occupy a central position at the top of the central axis, surrounded by Mary's mother, St. Anne, and, slightly to her left, her father, St. Joachim. To their right is St. John the Evangelist, dressed in red and holding a chalice. Below him appear various saints, including a bishop and female saints such as St. Catherine, who can be recognized by her wheel. In the foreground, and closest to the viewers, two ruling couples are depicted in an attitude of reverence, some kneeling. An emperor of the House of Habsburg prominently presents his sword and his orb. Next to them, Saint Christopher can be seen, while two other male saints appear above them, one of whom is wearing a papal tiara. The scene unfolds in a circular formation in the middle of a cloudscape, which, in its abstraction, is reminiscent of a Sacra Conversazione and builds a bridge between the heavenly and earthly realms.
Comparing this oil sketch with the version in the Kunsthistorisches Museum (Gemäldegalerie inventory no. 9108) in Vienna, several differences in the execution stand out, with the former being of significantly higher quality: the figures' contours are drawn in a softer style, giving the work a gentler, more intimate touch. Furthermore, Rubens' characteristic use of white highlights can be seen, which give the painting vibrancy and texture, especially in the folds of the drapery. The faces are depicted in a naturalistic and lifelike manner, giving each figure an almost tangible presence. The pink highlights in the incarnate parts, which are also so typical of Rubens, are also an indication of the master's hand and his workshop.
The subject matter is of great relevance to the House of Habsburg, as it shows saints and rulers who are of particular importance to the dynasty, thus emphasizing the family's divine favor and historical significance. Here, the Habsburg rulers fit seamlessly into the group of Christian martyrs and saints in their worship. Rubens and his studio probably chose this composition to demonstrate both the dynastic and sacred origins of the ruling house, thus combining religious veneration with a visual manifestation of Habsburg sovereignty. This depiction of Anna Selbdritt thus served not only as a religious image, but also as a symbol of dynastic legitimacy and sacred protection.
