copperplate / cream paper; 63.3 x 45.1 cm, plate 62.8 x 44.7 cm; under composition left: P. P. Rubens pinxit./ Iacob Neeffs sculpsit.; middle: ECCE MATER TVA Ioan.19.; on the right: Gillis Hendricx / excud. Antverpiæ; on the reverse, on the right side of the card, a pen inscription: Collectio Augustinus Arnold, and in the corner a stamp with a bound monogram; above it in pencil: No. 9. and at the lower edge the number: 870.
probably an 18th century print
very good condition, on the reverse of the engraving a trace of folding is visible.
LITERATURE:
- Hollstein's Dutch and Flemish Etchings, Engravings and Woodcuts, ca. 1450-1700, vol. XIV, Amsterdam 1956, p.137 ( other dimensions of the engraving); Rubens' works in Dutch graphics of the 17th century from the Graphic Collections of the Library of the Polish Academy of Sciences in Cracow, Łódź 1976, p.50, cat.93; J. Richard Judson, Corpus Rubenianum Ludwig Burchard, Part VI, Passion of Christ, Harvey Miller Publishers 2000, p.133, n°34; https://www.britishmuseum.org/collection/object/P_R-3-77 (accessed 28.02.2025)
The composition features a compilation of three iconographic motifs of the Crucifixion: St. Mary Magdalene under the cross, Mary and St. John, and a group of soldiers. The inscription under the composition refers to Christ's words to Mary and St. John: "Behold your mother" (John 19:27). Jacob Neefs worked in Antwerp and was a pupil of Ignatius C. Marinus, and probably worked with P.P. Rubens in the late 1730s.
