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God the Father supported by angels (after Pordenone)
Maker
(artist)
1577-1640
After
(artist)
born 1483 or 1484, died 1539 (Life dates)
1577-1640
After
(artist)
born 1483 or 1484, died 1539 (Life dates)
Title
God the Father supported by angels (after Pordenone)
Date of Production
1600-1603
Medium
black and red chalk, watercolour, touches of bodycolour on laid paper, laid down on a two-ply sheet which had originally been used for architectural drawings (visible with transmitted light)
Dimensions
Height: 34.7 cm
Width: 45.3 cm
Width: 45.3 cm
Accession Number
D.1978.PG.50
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 early drawing by Rubens is copied from a fresco painted in 1520 by Pordenone on the dome of the Malchiostro Chapel in the Cathedral at Treviso. Air is shown as the natural element through which God the Father moves, surrounded and supported by putti. In the original fresco, God appeared at the highest point of the concave, hemispherical ceiling, and looked down onto an altarpiece by Titian of the Annunciation.
Provenance
Pierre Crozat, Paris (1661-1740), L.3612 (at lower right); his estate sale, Mariette (Paris), 10 April - 13 May 1741, lot 810 (as 1 of 10 by or retouched by Rubens); purchased there by Hecquet on behalf of Pierre-Jean Mariette, Paris (1694-1774), L.2097 (33 livres 1 sol for the lot); his estate sale, Basan (Paris), 15 November 1775 - 30 January 1776, lot 465 (as Pordenone); purchased there by Charles-Philippe Campion, Abbé de Tersan (1736-1819) for 20 livres (including the 2 previous lots); Count Moriz von Fries, Vienna (1777-1826), L.2903; Sir Thomas Lawrence, London (1769-1830), L.2445 [in the Lawrence Inventory, fol. 82, Case 4, Drawer 1, no. 20]; ceded by his executors to Samuel Woodburn (London), 1835; Woodburn estate sale, Christie’s (London), 4 - 8 June 1860, lot 923 (as Rubens); purchased there by Sir Thomas Phillips (1792-1872); by descent to his grandson, Thomas Fitzroy Fenwick (1856-1938); purchased from the Fenwick estate by Count Antoine Seilern, London (1901-1978), 1946; Princes Gate Bequest 1978
Bernadette Py (2015, p. 396) supposed that this was part of lot 669 in Crozat's sale, six drawings by Pordenone, even though she accounted for all six drawings and our drawing and one other by Pordenone were extra sheets that appeared in Mariette's own estate sale, so she supposed they came from the same lot in Crozat's sale (which was bought by De Nierts). Lot 810 lists drawings by or retouched by Rubens after the antique, one of whom is listed as Pordenone, and that lot was purchased by Mariette. However, Mariette sold the drawing as by Pordenone and not Rubens, so lot 669 is still a possibility. Rosenberg and Choueiry 2022 went with lot 810.
Bernadette Py (2015, p. 396) supposed that this was part of lot 669 in Crozat's sale, six drawings by Pordenone, even though she accounted for all six drawings and our drawing and one other by Pordenone were extra sheets that appeared in Mariette's own estate sale, so she supposed they came from the same lot in Crozat's sale (which was bought by De Nierts). Lot 810 lists drawings by or retouched by Rubens after the antique, one of whom is listed as Pordenone, and that lot was purchased by Mariette. However, Mariette sold the drawing as by Pordenone and not Rubens, so lot 669 is still a possibility. Rosenberg and Choueiry 2022 went with lot 810.
Exhibition History
Rubens. The Power of Transformation, Kunsthistoriches Museum, Vienna, 17/10/2017-21/01/2018; Stadel Museum, Frankfurt, 08/02/2018-03/06/2018
Peter Paul Rubens - A Touch of Brilliance, The Courtauld Gallery, London, 20/09/2003-08/02/2004
Rubens - Paintings, Drawings and Prints in the Princes Gate
Collection, The Courtauld Gallery, London, 06/10/1988-08/01/1989 ...More
Mantegna to Cezanne - Master Drawings from the Courtauld, British Museum, London, 24/02/1983-19/06/1983
17th Century Art in Europe, Royal Academy of Arts, London, 03/01/1938-12/03/1938 ...Less
Peter Paul Rubens - A Touch of Brilliance, The Courtauld Gallery, London, 20/09/2003-08/02/2004
Rubens - Paintings, Drawings and Prints in the Princes Gate
Collection, The Courtauld Gallery, London, 06/10/1988-08/01/1989 ...More
Mantegna to Cezanne - Master Drawings from the Courtauld, British Museum, London, 24/02/1983-19/06/1983
17th Century Art in Europe, Royal Academy of Arts, London, 03/01/1938-12/03/1938 ...Less
Literature
Rosenberg, Pierre et Choueiry, Marie-Liesse, Les dessins de la collection Mariette. Ecoles flamande, hollandaise et allemande, 2 vols., Paris 2022
vol. I, no. N 416 on p. 299
vol. I, ill. on p. 299
Logan, Anne-Marie in association with Kristin Lohse Belkin, Anne-Marie Logan in association with Kristin Lohse Belkin, The Drawings of Peter Paul Rubens. A Critical Catalogue, Volume One (1590-1608), 2 vols, Turnhout, 2021
vol. I, no. 29
vol. II, fig. 73
Rubens. The Power of Transformation, Kunsthistoriches Museum, Vienna, 2017-18
cat. no. 19
ill. on p. 148
in file ...More
Bernaerts, Antwerp, Old Master Paintings & Works of Art, 2 - 4 May 2016
under 'Rubens, A Horse and Turbened Rider in various poses defending himself from the enemy'
ill.
entry author: Anne-Marie Logan; in file
Py, Bernadette, Les dessins italiens de Pierre Crozat (1665-1740). L'oeil de Mariette, http://mini-site.louvre.fr/trimestriel/2015/Catalogue_Crozat
p. 396
L'Europe de Rubens, Musée du Louvre-Lens 2013
p. 187
fig. 18 on p. 186
Wood, Jeremy, Rubens: copies and adaptations from Renaissance and later masters. Italian artists. II. Titian and North Italian art (CRLB), London 2010
I, no. 143 and p. 329 under no. 144
II, fig. 159
dated c. 1600
Wood, Jeremy, Rubens: copies and adaptations from Renaissance and later artists. Italian artists. I Raphael and his school (CRLB), London 2010
I, pp. 65-66
erroneously says it is no. 144 in Wood, Copies and Adaptations. II. Titian and North Italian Art but it is no. 143
Wood, Jeremy, 'Rubens' italienische Kopien. Ein chronologischer Abriss' in 'Rubens im Wettstreit mit Alten Meistern: Vorbild und Neuerfindung', Ostfildern 2009
p. 60
Vander Auwera, Joost, Sabine van Sprang and Inga Rossi-Schrimpf, Rubens, a genius at work: the works of Peter Paul Rubens in the Royal Museums of Fine Arts of Belgium reconsidered, Tielt 2007
p. 164 under no. 45
fig. 2
entry authors: N. Peeters and H. Dubois
White, Christopher, The later Flemish pictures in the Collection of Her Majesty the Queen, London 2007
p. 176 under no. 57
Peter Paul Rubens: the drawings, Metropolitan Museum of Art, New York, 15 January - 3 April 2005 New York, New Haven, London 2005
pp. 7, 21
fig. 4 on p. 6
partially in file
'Rubens als Zeichner' in 'Peter Paul Rubens', Albertina, Vienna, 15 September - 5 December 2004 Vienna 2004
pp. 26-27, 56
fig. 5
essay author: Anne-Marie Logan
Peter Paul Rubens - A Touch of Brilliance, The Courtauld Gallery, London, 2003-2004
cat. no. 8
pl. 8 on p. 64
in file
Cohen, Charles E., Art of Giovanni Antonio da Pordenone: between dialect and language, Cambridge 1996
vol. II, p. 573 under no. 32
Esso presents Rubens & the Italian Renaissance, Austalian National Gallery, Canberra, 1992
p. 94
in file
Vershavskaya, Maria, Xenija Yegorova, Peter Paul Rubens: paintings from Soviet museums, Leningrad 1989
p. 38 under nos. 4-7
ill.
in file
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 23
and pp. 19, 28 under no. 31
ill. on p. 20
as Rubens after Pordenone; dated 1600-03; in file
Furlan, Caterina, Il Pordenone, Milan 1988
p. 97 under no. 23
Schlink, Wilhelm and Martin Sperlich (eds.), Forma et subtilitas. Festschrift für Wolfgang Schōne zum 75.Geburtstag, Berlin and New York, 1986
pp. 190-92
entry author: Warnke
Held, Julius S., Rubens: selected drawings, Oxford 1986 (2nd ed.)
p. 61 note 3, p. 76 under no. 26, p. 103 under no. 84
Freedberg, David, Rubens: the life of Christ after the Passion (CRLB), London 1984
pp. 141, 150 under no. 37, p. 192 under no. 46, p. 194
in file
Mantegna to Cezanne: Master Drawings from the Courtauld, British Museum, London, 1983
no. 56 on p. 47
ill. on p. 62
Downes, Kerry, Rubens, London 1980
p. 68
Held, Julius S., The oil sketches of Peter Paul Rubens: a critical catalogue, Princeton 1980
vol. I, p. 511 under no. 375
in file
Judson, J. Richard and Carl van de Velde, Rubens: Book illustrations and title-pages (CRLB), London 1978
vol. I, p. 144 under no. 27
in file
Logan, Anne-Marie S. and Egbert Haverkamp-Begemann, 'Dessins de Rubens', Revue de l'art, 42, 1978, p. 89-99
p. 93
Rubens, ses maîtres, ses éléves: dessins du Musée du Louvre, Arlette Sérullaz (ed.), Cabinet des Dessins, Musée du Louvre, 10 February - 15 May 1978
p. 93 under no. 94
in file
Bernhard, Marianne, Rubens Handzeichnungen, Munich 1977
ill. on p. 158
in file; dated c. 1600-08, after Pordenone
Jaffé, Michael, Rubens and Italy, Oxford 1977
pp. 39-40
Die Rubenszeichnungen der Albertina: zum 400. Geburtstag, Albertina, Vienna, 1977
p. 18 under no. 8
in file
Varshavskaya, Maria, Rubens’ paintings in the Hermitage Museum, Leningrad, 1975
p. 65 under no. 3
ill.
Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 50
in file
Müller Hofstede, Justus, 'Rubens in Rom 1601 - 1602: die Altargemälde für Sta. Croce in Gerusalemme' in 'Jahrbuch der Berliner Museen', 1970 - pp. 61-110; N.F. XII
p. 63 note 8, p. 103 note 136
Musée du Louvre, Le Cabinet d'un grand amateur, P.-J. Mariette, 1694-1774: dessins du XVe siècle au XVIIIe siècle, Paris 1967
p. 123 under no. 195
entry author: A. Calvet
Burchard, Ludwig and R.A. d'Hulst, Rubens drawings, Brussels 1963
vol. I, no. 24
vol. II, fig. 24
in file; as copied by Rubens at Treviso during early years, 1602
Held, Julius S., Rubens: selected drawings, London 1959
I, p. 65 note 2, p. 127 under no. 71
Popham, A.E., 'Sir Thomas Phillipps as a Patron of Artists and a Collector of Pictures and Drawings' in 'The Formation of the Phillipps Library from 1841-1872 (Phillipps Studies, IV), Cambridge 1956
pp. 224, 226, no. 14
Norris, Christopher, and Popham, A.E., 'Review: Count Seilern's Flemish Paintings and Drawings: The Drawings' in 'Burlington Magazine', December 1955 - pp. 396-98, 403; XCVII
p. 398
fig. 37
after Pordenone's cupola fresco
Seilern, Count Antoine, Flemish paintings & drawings at 56 Princes Gate, London SW 7, London 1955; I
no. 50
pl. CI
as Rubens after Pordenone, dated c. 1602-03
Lugt, Frits, Musée du Louvre: Inventaire général des dessins des écoles du Nord, Paris 1949
II, p. 25 under no. 1065
Fiocco, G., Giovanni Antonio Pordenone, Padua 1943
pp. 46, 48 note 3
as Rubens after Pordenone
Popham, A.E., 'Review of Seventeenth-Century Art in Europe at Burlington House: the drawings', Burlington Magazine, 72, 418, January 1938, pp. 13-20
pp. 19-20
17th Century Art in Europe, Royal Academy of Arts, London, 1938
cat. no. 594
p. 192
Popham, A.E., Catalogue of drawings in the collection formed by Sir Thomas Phillipps, now in the possession of his grandson T. FitzRoy Phillipps Fenwick of Thirlestaine House Cheltenham, London 1935
p. 193, Rubens no. 1
pl. LXXXIII
as Rubens after Pordenone
Popham, A.E., 'Notes on Drawings: Peter Paul Rubens' in 'Old Master Drawings', December 1933; VIII
p. 43
pl. 46
as Rubens after Pordenone
Christie's, Catalogue of the valuable and important collection of drawings by the old masters, formerly in the collection of the late Sir Thomas Lawrence, and more recently the property of the distinguished connoisseur Samuel Woodburn deceased, London 1860
no. 923
as Rubens
Basan, Pierre François, Catalogue raisonné des différens objets de curiosités dans les sciences et arts, qui composoient le cabinet de feu mr. Mariette, Paris 1775
no. 465
as by Pordenone
Mariette, Pierre-Jean, Description sommaire des desseins des grands maistres d'Italie, des Pays-Bas et de France, du cabinet de feu M. Crozat, Paris 1741
p. 92 under no. 810 ...Less
vol. I, no. N 416 on p. 299
vol. I, ill. on p. 299
Logan, Anne-Marie in association with Kristin Lohse Belkin, Anne-Marie Logan in association with Kristin Lohse Belkin, The Drawings of Peter Paul Rubens. A Critical Catalogue, Volume One (1590-1608), 2 vols, Turnhout, 2021
vol. I, no. 29
vol. II, fig. 73
Rubens. The Power of Transformation, Kunsthistoriches Museum, Vienna, 2017-18
cat. no. 19
ill. on p. 148
in file ...More
Bernaerts, Antwerp, Old Master Paintings & Works of Art, 2 - 4 May 2016
under 'Rubens, A Horse and Turbened Rider in various poses defending himself from the enemy'
ill.
entry author: Anne-Marie Logan; in file
Py, Bernadette, Les dessins italiens de Pierre Crozat (1665-1740). L'oeil de Mariette, http://mini-site.louvre.fr/trimestriel/2015/Catalogue_Crozat
p. 396
L'Europe de Rubens, Musée du Louvre-Lens 2013
p. 187
fig. 18 on p. 186
Wood, Jeremy, Rubens: copies and adaptations from Renaissance and later masters. Italian artists. II. Titian and North Italian art (CRLB), London 2010
I, no. 143 and p. 329 under no. 144
II, fig. 159
dated c. 1600
Wood, Jeremy, Rubens: copies and adaptations from Renaissance and later artists. Italian artists. I Raphael and his school (CRLB), London 2010
I, pp. 65-66
erroneously says it is no. 144 in Wood, Copies and Adaptations. II. Titian and North Italian Art but it is no. 143
Wood, Jeremy, 'Rubens' italienische Kopien. Ein chronologischer Abriss' in 'Rubens im Wettstreit mit Alten Meistern: Vorbild und Neuerfindung', Ostfildern 2009
p. 60
Vander Auwera, Joost, Sabine van Sprang and Inga Rossi-Schrimpf, Rubens, a genius at work: the works of Peter Paul Rubens in the Royal Museums of Fine Arts of Belgium reconsidered, Tielt 2007
p. 164 under no. 45
fig. 2
entry authors: N. Peeters and H. Dubois
White, Christopher, The later Flemish pictures in the Collection of Her Majesty the Queen, London 2007
p. 176 under no. 57
Peter Paul Rubens: the drawings, Metropolitan Museum of Art, New York, 15 January - 3 April 2005 New York, New Haven, London 2005
pp. 7, 21
fig. 4 on p. 6
partially in file
'Rubens als Zeichner' in 'Peter Paul Rubens', Albertina, Vienna, 15 September - 5 December 2004 Vienna 2004
pp. 26-27, 56
fig. 5
essay author: Anne-Marie Logan
Peter Paul Rubens - A Touch of Brilliance, The Courtauld Gallery, London, 2003-2004
cat. no. 8
pl. 8 on p. 64
in file
Cohen, Charles E., Art of Giovanni Antonio da Pordenone: between dialect and language, Cambridge 1996
vol. II, p. 573 under no. 32
Esso presents Rubens & the Italian Renaissance, Austalian National Gallery, Canberra, 1992
p. 94
in file
Vershavskaya, Maria, Xenija Yegorova, Peter Paul Rubens: paintings from Soviet museums, Leningrad 1989
p. 38 under nos. 4-7
ill.
in file
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 23
and pp. 19, 28 under no. 31
ill. on p. 20
as Rubens after Pordenone; dated 1600-03; in file
Furlan, Caterina, Il Pordenone, Milan 1988
p. 97 under no. 23
Schlink, Wilhelm and Martin Sperlich (eds.), Forma et subtilitas. Festschrift für Wolfgang Schōne zum 75.Geburtstag, Berlin and New York, 1986
pp. 190-92
entry author: Warnke
Held, Julius S., Rubens: selected drawings, Oxford 1986 (2nd ed.)
p. 61 note 3, p. 76 under no. 26, p. 103 under no. 84
Freedberg, David, Rubens: the life of Christ after the Passion (CRLB), London 1984
pp. 141, 150 under no. 37, p. 192 under no. 46, p. 194
in file
Mantegna to Cezanne: Master Drawings from the Courtauld, British Museum, London, 1983
no. 56 on p. 47
ill. on p. 62
Downes, Kerry, Rubens, London 1980
p. 68
Held, Julius S., The oil sketches of Peter Paul Rubens: a critical catalogue, Princeton 1980
vol. I, p. 511 under no. 375
in file
Judson, J. Richard and Carl van de Velde, Rubens: Book illustrations and title-pages (CRLB), London 1978
vol. I, p. 144 under no. 27
in file
Logan, Anne-Marie S. and Egbert Haverkamp-Begemann, 'Dessins de Rubens', Revue de l'art, 42, 1978, p. 89-99
p. 93
Rubens, ses maîtres, ses éléves: dessins du Musée du Louvre, Arlette Sérullaz (ed.), Cabinet des Dessins, Musée du Louvre, 10 February - 15 May 1978
p. 93 under no. 94
in file
Bernhard, Marianne, Rubens Handzeichnungen, Munich 1977
ill. on p. 158
in file; dated c. 1600-08, after Pordenone
Jaffé, Michael, Rubens and Italy, Oxford 1977
pp. 39-40
Die Rubenszeichnungen der Albertina: zum 400. Geburtstag, Albertina, Vienna, 1977
p. 18 under no. 8
in file
Varshavskaya, Maria, Rubens’ paintings in the Hermitage Museum, Leningrad, 1975
p. 65 under no. 3
ill.
Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 50
in file
Müller Hofstede, Justus, 'Rubens in Rom 1601 - 1602: die Altargemälde für Sta. Croce in Gerusalemme' in 'Jahrbuch der Berliner Museen', 1970 - pp. 61-110; N.F. XII
p. 63 note 8, p. 103 note 136
Musée du Louvre, Le Cabinet d'un grand amateur, P.-J. Mariette, 1694-1774: dessins du XVe siècle au XVIIIe siècle, Paris 1967
p. 123 under no. 195
entry author: A. Calvet
Burchard, Ludwig and R.A. d'Hulst, Rubens drawings, Brussels 1963
vol. I, no. 24
vol. II, fig. 24
in file; as copied by Rubens at Treviso during early years, 1602
Held, Julius S., Rubens: selected drawings, London 1959
I, p. 65 note 2, p. 127 under no. 71
Popham, A.E., 'Sir Thomas Phillipps as a Patron of Artists and a Collector of Pictures and Drawings' in 'The Formation of the Phillipps Library from 1841-1872 (Phillipps Studies, IV), Cambridge 1956
pp. 224, 226, no. 14
Norris, Christopher, and Popham, A.E., 'Review: Count Seilern's Flemish Paintings and Drawings: The Drawings' in 'Burlington Magazine', December 1955 - pp. 396-98, 403; XCVII
p. 398
fig. 37
after Pordenone's cupola fresco
Seilern, Count Antoine, Flemish paintings & drawings at 56 Princes Gate, London SW 7, London 1955; I
no. 50
pl. CI
as Rubens after Pordenone, dated c. 1602-03
Lugt, Frits, Musée du Louvre: Inventaire général des dessins des écoles du Nord, Paris 1949
II, p. 25 under no. 1065
Fiocco, G., Giovanni Antonio Pordenone, Padua 1943
pp. 46, 48 note 3
as Rubens after Pordenone
Popham, A.E., 'Review of Seventeenth-Century Art in Europe at Burlington House: the drawings', Burlington Magazine, 72, 418, January 1938, pp. 13-20
pp. 19-20
17th Century Art in Europe, Royal Academy of Arts, London, 1938
cat. no. 594
p. 192
Popham, A.E., Catalogue of drawings in the collection formed by Sir Thomas Phillipps, now in the possession of his grandson T. FitzRoy Phillipps Fenwick of Thirlestaine House Cheltenham, London 1935
p. 193, Rubens no. 1
pl. LXXXIII
as Rubens after Pordenone
Popham, A.E., 'Notes on Drawings: Peter Paul Rubens' in 'Old Master Drawings', December 1933; VIII
p. 43
pl. 46
as Rubens after Pordenone
Christie's, Catalogue of the valuable and important collection of drawings by the old masters, formerly in the collection of the late Sir Thomas Lawrence, and more recently the property of the distinguished connoisseur Samuel Woodburn deceased, London 1860
no. 923
as Rubens
Basan, Pierre François, Catalogue raisonné des différens objets de curiosités dans les sciences et arts, qui composoient le cabinet de feu mr. Mariette, Paris 1775
no. 465
as by Pordenone
Mariette, Pierre-Jean, Description sommaire des desseins des grands maistres d'Italie, des Pays-Bas et de France, du cabinet de feu M. Crozat, Paris 1741
p. 92 under no. 810 ...Less
Inscriptions
Watermark: Watermarks: none visible in the drawing sheet though difficult to see due to backing sheet. Support (historic, visible in raking light): Verso, left centre: grapes on a crowned shield; Countermark: Verso, right centre: three lines of lettering in lozenges (Peter Bower unable to read further, but said lettering in lozenges is typical of French watermarking practice. This fits with the French inscriptions found on the recto of this backing sheet).
Collector's mark: Recto: lower left corner, blindstamped: Count Moriz von Fries (L.2903); lower left corner, blindstamped: Sir Thomas Lawrence (L.2445); lower right corner, stamped in black ink: Pierre-Jean Mariette (L.2097); lower right corner, written in brown ink: Pierre Crozat (L.3612).
Inscription: Recto: lower right corner, brown ink, Crozat number (L.3612): "109". Extensive ink inscriptions on the recto of the backing sheet, visible via transmitted light, not fully legible but in French describing sections of the architectural plans.
Collector's mark: Recto: lower left corner, blindstamped: Count Moriz von Fries (L.2903); lower left corner, blindstamped: Sir Thomas Lawrence (L.2445); lower right corner, stamped in black ink: Pierre-Jean Mariette (L.2097); lower right corner, written in brown ink: Pierre Crozat (L.3612).
Inscription: Recto: lower right corner, brown ink, Crozat number (L.3612): "109". Extensive ink inscriptions on the recto of the backing sheet, visible via transmitted light, not fully legible but in French describing sections of the architectural plans.
Information on this object may be incomplete and will be updated as research progresses. We are particularly committed to addressing any discriminatory or offensive language and ideas that might be present in our records. To help improve this record, and to enquire about images of The Courtauld Gallery Collection, please email gallery.collectionsonline@courtauld.ac.uk. Find out more about using and licensing our images.
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