with the artist's Winter (Windsor Castle, Collection of
Her Majesty the Queen), as was first noted by Bur chard
(1913, pp. 59-60). The drawing's relationship to the lat-
ter two paintings arises solely out of the presence of the
same wagon, whereas in the Antwerp Prodigal Son the
stable to its right is also included. Furthermore, the con-
text in which the wagon is situated in the drawing is
closer to that of the Antwerp painting than to those of
the other two pictures. Despite its relationship to these
paintings, the drawing appears to be an independent
work, in this respect different from the Two Studies of Wa-
gons (Berlin, Kupferstichkabinett, inv. 3237 ; Held 1959,
pi. 142; 1986, pi. 118). The presence of the man thresh-
ing, who is unrelated to figures in any of Rubens' paint-
ings, clearly supports this interpretation. By contrast the
Berlin drawing represents two individual studies rather
than a full composition and was in all likelihood made in
preparation for a version of the Windsor Winter known
through a print by P. Clouwet (Adler 1982, fig. 68), a
point already noted by Burchard and d'Hulst (1963, vol.
i, p. 167). The Museum's drawing has been dated by
Held and others to 1615 -1617, which would accord with
the usual dating of the Prodigal Son, Landscape with a
Country Wagon, and Winter to around 1618-1620 (Held
1959 , p. 144; 1986, p. 113).
This drawing of a man threshing is also of great in-
terest in terms of its technique. The chalk strokes have
been handled with considerable variation and range from
the stronger and more precise forms of the wagon, ac-
cented in pen and ink, to the light, almost impressionistic
and rapid strokes employed for the stable and the hay. It
is also among the most coloristically subtle of Rubens'
drawings.95 Korean Man
Black chalk, touches of red chalk in face; H: 38.4 cm
(15'/a in.); W: 23.5 cm (9V4in.)
83.06.38 4 (SEE PLATE n)
MARKS AND INSCRIPTIONS: (Recto) at bottom right,
collection marks of Jonathan Richardson, Sr. (L. 2184),
Jonathan Richardson, Jr. (L. 2170); (verso) collection
mark of Baron Adalbert von Lanna (L. 2773).
PROVENANCE: Jonathan Richardson, Sr., London (sale,
Cock, London, January 29, 1747, lot 41); Jonathan Rich-
ardson, Jr., London; R. Willett; Baron Adalbert von
Lanna, Prague (sale, Gutekunst, Stuttgart, May 7, 1910 ,lot 476); Christopher Head; inherited by Mrs. Head, later
Lady Du Cane; by descent (sale, Christie's, London, No-
vember 29, 1983, lot 135).
EXHIBITIONS: Drawings by Old Masters, Royal Academy
of Arts, London, 1953, no. 281 (catalogue by K. T Par-
ker and J. Byam Shaw). Flemish Art 1300-1700, Royal
Academy of Arts, London, December 1953-March
1954 , no. 522 (catalogue of drawings by K. T. Parker and
J. Byam Shaw).
BIBLIOGRAPHY: W. Baillie, Catalogue of Prints Engraved
by Captain William Baillie after Pictures and Drawings in
Various Collections (London, 1792); C. G. Voorhelm
Schneevoogt, Catalogue des estampes gravees d'apres P. P.
Rubens (Haarlem, 1873), no. 278; M. Rooses, L'oeuvrede
P.P. Rubens (Antwerp, 1892), vol. 5, p. 277, no. 1531;
C. S. Wortley, "Rubens' Drawings of Chinese Cos-
tume," Old Master Drawings 9 (June 1934-March 1935),
pp. 40-47; L. Burchard and R.-A. d'Hulst, Tekeningen
van P. P. Rubens, exh. cat., Rubenshuis, Antwerp, 1956,
p. 67, under no. 66; J. S. Held, Rubens: Selected Drawings
(London, 1959), vol. i, pp. 137-138, under no. 105;
L. Burchard and R.-A. d'Hulst, Rubens Drawings (Brus-PETER PAUL RUBENS (Flemish, 1577-1640). The Miracles of Saint
Francis Xavier (detail). Oil on canvas. H: 535 cm (17 Vz ft);
W: 395 cm (13 ft). Vienna, Kunsthistorisches Museum 311.
Photo courtesy Kunsthistorisches Museum.210 FLEMISH SCHOOL • RUBENS