Peasant carrying a jar (recto)
Maker
(artist)
1576-1639
Formerly attributed to
(artist)
1525-1569
1576-1639
Formerly attributed to
(artist)
1525-1569
Title
Peasant carrying a jar (recto)
Date of Production
1603-1609
Medium
black chalk, pen and brown ink, with brown ink framing lines (recto), black chalk (verso), on laid paper [examined under microscope, no graphite visible]
Dimensions
Height: 15.5 cm
Width: 8.1 cm
Width: 8.1 cm
Accession Number
D.1978.PG.319
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
Label Text
This half-length figure study of a Prague citizen is one of the so-called ‘naer het leaven’ (‘after the life’) drawings once attributed to Pieter Bruegel the Elder but now thought to be the work of Roelandt Savery. A group of around eighty of these drawings was removed from Bruegel’s oeuvre around 1970 when scholars recognised that the models were dressed in seventeenth-century garb from Prague. Watermarks in the paper further confirm the sheets’ later dating.
Provenance
Nathan Chaikin (Switzerland), by June 1959; purchased from him via Colnaghi (London) by Count Antoine Seilern, London (1901-1978), 7 December 1963 (£3,300); Princes Gate Bequest 1978
Exhibition History
Drawings Gallery Display - Bruegel / Not Bruegel, The Courtauld Gallery, London, 16/01/2016-17/04/2016
Summer Showcase - Unfinished, The Courtauld Gallery, London, 18/06/2015-20/09/2015
Summer Showcase - Unfinished, The Courtauld Gallery, London, 18/06/2015-20/09/2015
Literature
Spicer-Durham, Joaneath, The drawings of Roelandt Savery, PhD thesis, Yale University 1979
no. C 174 F 172 (recto) on p. 604 and C 175 (verso) on p. 605
Seilern, Count Antoine, Flemish paintings and drawings at 56 Princes Gate, London SW7. Addenda, London 1969; IV
no. 319
pl. XXXIII (recto), fig. 58 (verso)
in file
Münz, Ludwig, Bruegel: the drawings, London 1961
App.5 (recto) and App. 6 (verso) on p. 240
App.5 (recto), App.6 (verso) ...More
de Tolnay, Charles, 'Remarques sur quelques dessins de Bruegel l'ancien et sur un dessin de Bosch récemment réapparus' in 'Bulletin Musées Royaux des Beaux-Arts de Belgique', Sept. 1960 - pp. 3-28; 1/2
pp. 18ff
figs. 12, 13 ...Less
no. C 174 F 172 (recto) on p. 604 and C 175 (verso) on p. 605
Seilern, Count Antoine, Flemish paintings and drawings at 56 Princes Gate, London SW7. Addenda, London 1969; IV
no. 319
pl. XXXIII (recto), fig. 58 (verso)
in file
Münz, Ludwig, Bruegel: the drawings, London 1961
App.5 (recto) and App. 6 (verso) on p. 240
App.5 (recto), App.6 (verso) ...More
de Tolnay, Charles, 'Remarques sur quelques dessins de Bruegel l'ancien et sur un dessin de Bosch récemment réapparus' in 'Bulletin Musées Royaux des Beaux-Arts de Belgique', Sept. 1960 - pp. 3-28; 1/2
pp. 18ff
figs. 12, 13 ...Less
Inscriptions
Watermark: Watermark: Recto, lower right corner: part of an eagle's wing and talons (Peter Bower had no further information on this mark, but the paper is the same as PG.318. See Spicer, 'Naer het Leven' in 'Master Drawings', 1970, pp. 6-8 for eagle watermarks often found quartered on naer het leven sheets now given to Savery).
Inscription: Recto: from top to bottom on right side of sheet, all in brown ink, artist's hand, (colour) descriptions: "omber mus" [umber-coloured hat]; "bruinocker / rock" [brown ochre garment]; "gel wit bai" [yellow white baize]; "rot tas" [red bag]; "swartte p[urpere]" [black purple?]; "naer het leuen" [from the life].
Collector's mark: none. Seilern 1969 notes that on the verso of the original mount, now removed and missing, there was a collector's mark that he had been unable to identify.
Inscription: Recto: from top to bottom on right side of sheet, all in brown ink, artist's hand, (colour) descriptions: "omber mus" [umber-coloured hat]; "bruinocker / rock" [brown ochre garment]; "gel wit bai" [yellow white baize]; "rot tas" [red bag]; "swartte p[urpere]" [black purple?]; "naer het leuen" [from the life].
Collector's mark: none. Seilern 1969 notes that on the verso of the original mount, now removed and missing, there was a collector's mark that he had been unable to identify.
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