There was an issue while attempting to download the image. Please try again later. If the problem persists, kindly contact us at gallery.collectionsonline@courtauld.ac.uk for further assistance.
You are permitted to reuse this image under a CC
BY-NC 4.0 Creative Commons Attribution-NonCommercial 4.0 International.
This license requires that users give appropriate credit. You are permitted to distribute, remix, adapt, and build upon the material in any medium or format, for non-commercial purposes only.
BY: Credit must be given to the creator.
NC:Only non-commercial use of the work is permitted.
Non-commercial means not primarily intended for or directed towards commercial advantage or monetary compensation.
Copyright status:'No Known Copyright Restrictions'
Can I share this work? Yes
Can I remix this work? Yes
Do I need to credit The Courtauld? Yes
Please follow this format to credit the work:
Creator, title, date, The Courtauld, London (Samuel Courtauld Trust)
[unless otherwise specified in the object record].
Image courtesy The Courtauld.
Can I use this work commercially? No, unless it is used in an academic project or publication with a print run of less than 3000 copies.
PLEASE SHARE WITH US HOW YOU PLAN TO USE THIS IMAGE
Please select an option:
LICENSING A HIGH-RESOLUTION IMAGE
For information about obtaining a license and a higher-resolution image for use not listed above please visit The Courtauld Copyright Policy
Head of the Farnese Hercules (recto)
Studies of the head and profile of the Farnese Hercules seen from a lower viewpoint (verso)
Maker
(artist)
1577-1640
1577-1640
Title
Head of the Farnese Hercules (recto)
Studies of the head and profile of the Farnese Hercules seen from a lower viewpoint (verso)
Studies of the head and profile of the Farnese Hercules seen from a lower viewpoint (verso)
Date of Production
(circa) 1608 - 1610
Medium
black and white chalk (recto and verso) on grey laid paper
Dimensions
Height: 36.6 cm
Width: 24.5 cm
Width: 24.5 cm
Accession Number
D.1978.PG.53
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
In the 1540s the classical fragments of a statue of Hercules were excavated in Rome. Restored and reassembled in the Palazzo Farnese, the monumental sculpture soon attracted artists and came to represent an ideal of physical strength and power. Rubens studied the work in detail during his stay in Italy between 1601 and 1608. The position from which the mighty head is observed suggests that this drawing may have been made from one of the many plaster casts or marble copies which soon came to exist.
Provenance
private collection, Ireland; Leo Franklyn, London (1889-1972); acquired from him by Alfred Scharf, London (1900-1965), 1951; purchased from him by Count Antoine Seilern, London (1901-1978), 21 December 1951 (£550); Princes Gate Bequest 1978
Exhibition History
Rubens: Picturing Antiquity, Getty Villa, Los Angeles, 10/11/2021-24/01/2022
Mantegna to Matisse - Master Drawings from The Courtauld Gallery, The Frick Collection, New York, 02/10/2012-27/01/2013
Mantegna to Matisse - Master Drawings from The Courtauld Gallery, The Courtauld Gallery, London, 14/06/2012-09/09/2012 ...More
Rubens - A Master in the Making, National Gallery, London, 26/10/2005-15/01/2006
Master Drawings from the Courtauld Collections, Courtauld Institute Galleries, London, 16/10/1991-19/01/1992
Rubens - Paintings, Drawings and Prints in the Princes Gate
Collection, The Courtauld Gallery, London, 06/10/1988-08/01/1989 ...Less
Mantegna to Matisse - Master Drawings from The Courtauld Gallery, The Frick Collection, New York, 02/10/2012-27/01/2013
Mantegna to Matisse - Master Drawings from The Courtauld Gallery, The Courtauld Gallery, London, 14/06/2012-09/09/2012 ...More
Rubens - A Master in the Making, National Gallery, London, 26/10/2005-15/01/2006
Master Drawings from the Courtauld Collections, Courtauld Institute Galleries, London, 16/10/1991-19/01/1992
Rubens - Paintings, Drawings and Prints in the Princes Gate
Collection, The Courtauld Gallery, London, 06/10/1988-08/01/1989 ...Less
Literature
Haskell, Francis and Nicholas Penny, Taste and the Antique: The Lure of Classical Sculpture, 1500-1900, rev. and amplified ed. by Adriano Aymonino and Eloisa Dodero, 3 vols., Brepols, Turnhout, 2024
vol. I, p. 346 note 14
The note references a series of other references, which include our drawing.
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 Two (1609-1620), 2 vols, Turnhout, 2023
part I, no. 230
part II, figs. 328 (recto), 329 (verso)
McGrath, Elizabeth, Bert Schepers, Nils Büttner, Gregory Martin, Jeremy Wood, Eveliina Juntunen, Gerlinde Gruber and Fiona Healy, Mythological Subjects. II. Hercules to Olympus, CRLB XI, 2 vols., London, 2022
I, pp. 102-03 under no. 55
II, fig. 71 (recto) ...More
Rubens: Picturing Antiquity, J. Paul Getty Museum, Los Angeles, 10 Nov. 2021- 24 Jan. 2022
cat. no. 18
pp. 32-33
ill. on p. 104
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
part I, p. 124 note 3
says will be discussed in forthcoming volume II of this catalogue
Lusheck, Catherine, Rubens and the Eloquence of Drawing, London, 2017
p. 203
fig. 4.18 (recto)
McGrath, Elizabeth, Gregory Martin, Fiona Healey, Bert Schepers, Carl van de Velde and Karolien de Clippel, Mythological Subjects. I. Achilles to The Graces, CRLB XI, 2 vols., London and Turnhout, 2016
p. 146 note 38 under no. 7a
Mantegna to Matisse - Master Drawings from The Courtauld Gallery, Frick Collection, New York and Courtauld Gallery, London London 2012-2013
cat. no. 23
no. 23
ill. on pp. 124 (verso), 125 (recto)
dated c. 1608-10; in file
Rubens - A Master in the Making, National Gallery, London, 2005-2006
cat. no. 28
ill. on p. 93 (recto and verso)
dated c. 1602; in file
Sutherland Harris, Ann, Seventeenth-century art & architecture, London 2005
p. 148
fig. 2.7 on p. 149 (verso)
A House of Art: Rubens as Collector, Rubenshuis, Antwerp, 2004
p. 20
figs. 8 (recto) and 9 (verso) on p. 18
Judson, J.R., Rubens. The Passion of Christ, CRLB VI, Turnhout 2000
pp. 37 note 69, 93
Pirani, Federica, ‘L’Ercole Farnese tra studio dell’antico e citazione antiquariale: alcuni esempi’, in Paolo Moreno (ed.), Lisippo: l’arte e fortuna, Milan, 1995, pp. 416-39
p. 424
ill. on p. 424 (recto and verso)
van der Meulen, Marjorie, Rubens copies after the Antique (CRLB), 3 vols, London 1994
vol. I, pp. 55, 71; vol. II, no. 19 (recto), no. 20 (verso)
vol. III, figs 43 (recto) and 44 (verso)
d'Hulst, R.A., De Kruisoprichting van Pieter Paul Rubens, Brussels 1992
p. 86
ill. on p. 43 and fig. 68 on p. 86 (recto)
Master Drawings from the Courtauld Collections, Courtauld Institute Galleries, London, 1991
cat. no. 61
pp. 130, 191
ill. on pp. 131 (recto), 190 (verso)
dated 1606-08
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 27
and Forward and pp. 19, 20 under no. 23, 52 under no. 58, 53 under no. 59
ill. on p. 23 (recto)
dated 1606-08; partially in file
Christie's, London, Important Old Master Pictures, 8 July 1988
under lot 35
in file
Held, Julius S., Rubens: selected drawings, Oxford 1986 (2nd ed.)
p. 126 under no. 148
Muller, Jeffrey M., 'Rubens's theory and practice of imitation' in 'Art Bulletin', June 1982; LXIV, 2
p. 236
fig. 2 on p. 237 (recto)
in file
Jaffé, Michael, Rubens and Italy, Oxford 1977
pp. 37, 61, 80-81
pls 279-280 (recto and verso reversed)
partially in file but need figs. to ascertain which works he is referring to
Peter Paul Rubens 1577-1640. Katalog 1 Rubens in Italien: Gemälde, Ölskizzen, Zeichnungen; Triumph der Eucharistie: Wandteppiche aus dem Kölner Dom, Wallraf Richartz Museum, Cologne, 1977
p. 240
Peter Paul Rubens: kritischer Katalog der Zeichnungen: Originale, Umkreis, Kopien, Staatliche Museen Preussischer Kulturbesitz, Berlin 1977, 1977
p. 24 under no. 2
in file
Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 53
in file
Müller Hofstede, J., 'Zur Kopfstudie im Werk von Rubens' in 'Wallraf-Richartz Jahrbuch', 1968; XXX
pp. 239, 252 notes 80, 81
fig. 171 (recto)
Jaffé, Michael, 'Rubens as a collector of drawings: Part III' in 'Master Drawings', 1966 - pp. 127-48; IV, 2
p. 127
in file
Müller Hofstede, Justus, 'Beiträge zum zeichnerischen Werk von Rubens' in 'Wallraf Richartz Jahrbuch', 1965; XXVII
p. 293
in file
Fubini, Giorgio and Julius S. Held, 'Padre Resta's Rubens drawings after ancient sculpture' in 'Master Drawings', 1964; II, 2
p. 134
in file
Miesel, Victor H., 'Rubens study drawings after Ancient sculpture' in 'Gazette des Beaux-Arts', 1963; LXI
pp. 321, 326 note 18
Held, Julius S., Rubens: selected drawings, London 1959
vol. I, p. 114 under no. 48
in file
Miesel, V.H., Rubens and Ancient Art, PhD thesis, University of Michigan 1959
p. 50 note 58
Drawings & oil sketches by P. P. Rubens, from American collections, Fogg Art Museum, Harvard, January - 14 February 1956; Pierpont Morgan Library, New York, 20 March - 28 April 1956, 1956
pp. 24-25 under no. 24
Norris, Christopher, 'Review: Count Seilern's Flemish paintings and drawings' in 'Burlington Magazine', Dec. 1955 - pp. 396-98, 403; 97, 633
p. 398
Seilern, Count Antoine, Flemish paintings & drawings at 56 Princes Gate, London SW 7, London 1955; I
no. 53
pls. CIV (recto), CV (verso)
dated 1606-06; in file
Olieverfschetsen van Rubens, Museum Boymans-Van Beuningen, Rotterdam, 1953
p. 40 under no. 7 ...Less
vol. I, p. 346 note 14
The note references a series of other references, which include our drawing.
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 Two (1609-1620), 2 vols, Turnhout, 2023
part I, no. 230
part II, figs. 328 (recto), 329 (verso)
McGrath, Elizabeth, Bert Schepers, Nils Büttner, Gregory Martin, Jeremy Wood, Eveliina Juntunen, Gerlinde Gruber and Fiona Healy, Mythological Subjects. II. Hercules to Olympus, CRLB XI, 2 vols., London, 2022
I, pp. 102-03 under no. 55
II, fig. 71 (recto) ...More
Rubens: Picturing Antiquity, J. Paul Getty Museum, Los Angeles, 10 Nov. 2021- 24 Jan. 2022
cat. no. 18
pp. 32-33
ill. on p. 104
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
part I, p. 124 note 3
says will be discussed in forthcoming volume II of this catalogue
Lusheck, Catherine, Rubens and the Eloquence of Drawing, London, 2017
p. 203
fig. 4.18 (recto)
McGrath, Elizabeth, Gregory Martin, Fiona Healey, Bert Schepers, Carl van de Velde and Karolien de Clippel, Mythological Subjects. I. Achilles to The Graces, CRLB XI, 2 vols., London and Turnhout, 2016
p. 146 note 38 under no. 7a
Mantegna to Matisse - Master Drawings from The Courtauld Gallery, Frick Collection, New York and Courtauld Gallery, London London 2012-2013
cat. no. 23
no. 23
ill. on pp. 124 (verso), 125 (recto)
dated c. 1608-10; in file
Rubens - A Master in the Making, National Gallery, London, 2005-2006
cat. no. 28
ill. on p. 93 (recto and verso)
dated c. 1602; in file
Sutherland Harris, Ann, Seventeenth-century art & architecture, London 2005
p. 148
fig. 2.7 on p. 149 (verso)
A House of Art: Rubens as Collector, Rubenshuis, Antwerp, 2004
p. 20
figs. 8 (recto) and 9 (verso) on p. 18
Judson, J.R., Rubens. The Passion of Christ, CRLB VI, Turnhout 2000
pp. 37 note 69, 93
Pirani, Federica, ‘L’Ercole Farnese tra studio dell’antico e citazione antiquariale: alcuni esempi’, in Paolo Moreno (ed.), Lisippo: l’arte e fortuna, Milan, 1995, pp. 416-39
p. 424
ill. on p. 424 (recto and verso)
van der Meulen, Marjorie, Rubens copies after the Antique (CRLB), 3 vols, London 1994
vol. I, pp. 55, 71; vol. II, no. 19 (recto), no. 20 (verso)
vol. III, figs 43 (recto) and 44 (verso)
d'Hulst, R.A., De Kruisoprichting van Pieter Paul Rubens, Brussels 1992
p. 86
ill. on p. 43 and fig. 68 on p. 86 (recto)
Master Drawings from the Courtauld Collections, Courtauld Institute Galleries, London, 1991
cat. no. 61
pp. 130, 191
ill. on pp. 131 (recto), 190 (verso)
dated 1606-08
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 27
and Forward and pp. 19, 20 under no. 23, 52 under no. 58, 53 under no. 59
ill. on p. 23 (recto)
dated 1606-08; partially in file
Christie's, London, Important Old Master Pictures, 8 July 1988
under lot 35
in file
Held, Julius S., Rubens: selected drawings, Oxford 1986 (2nd ed.)
p. 126 under no. 148
Muller, Jeffrey M., 'Rubens's theory and practice of imitation' in 'Art Bulletin', June 1982; LXIV, 2
p. 236
fig. 2 on p. 237 (recto)
in file
Jaffé, Michael, Rubens and Italy, Oxford 1977
pp. 37, 61, 80-81
pls 279-280 (recto and verso reversed)
partially in file but need figs. to ascertain which works he is referring to
Peter Paul Rubens 1577-1640. Katalog 1 Rubens in Italien: Gemälde, Ölskizzen, Zeichnungen; Triumph der Eucharistie: Wandteppiche aus dem Kölner Dom, Wallraf Richartz Museum, Cologne, 1977
p. 240
Peter Paul Rubens: kritischer Katalog der Zeichnungen: Originale, Umkreis, Kopien, Staatliche Museen Preussischer Kulturbesitz, Berlin 1977, 1977
p. 24 under no. 2
in file
Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 53
in file
Müller Hofstede, J., 'Zur Kopfstudie im Werk von Rubens' in 'Wallraf-Richartz Jahrbuch', 1968; XXX
pp. 239, 252 notes 80, 81
fig. 171 (recto)
Jaffé, Michael, 'Rubens as a collector of drawings: Part III' in 'Master Drawings', 1966 - pp. 127-48; IV, 2
p. 127
in file
Müller Hofstede, Justus, 'Beiträge zum zeichnerischen Werk von Rubens' in 'Wallraf Richartz Jahrbuch', 1965; XXVII
p. 293
in file
Fubini, Giorgio and Julius S. Held, 'Padre Resta's Rubens drawings after ancient sculpture' in 'Master Drawings', 1964; II, 2
p. 134
in file
Miesel, Victor H., 'Rubens study drawings after Ancient sculpture' in 'Gazette des Beaux-Arts', 1963; LXI
pp. 321, 326 note 18
Held, Julius S., Rubens: selected drawings, London 1959
vol. I, p. 114 under no. 48
in file
Miesel, V.H., Rubens and Ancient Art, PhD thesis, University of Michigan 1959
p. 50 note 58
Drawings & oil sketches by P. P. Rubens, from American collections, Fogg Art Museum, Harvard, January - 14 February 1956; Pierpont Morgan Library, New York, 20 March - 28 April 1956, 1956
pp. 24-25 under no. 24
Norris, Christopher, 'Review: Count Seilern's Flemish paintings and drawings' in 'Burlington Magazine', Dec. 1955 - pp. 396-98, 403; 97, 633
p. 398
Seilern, Count Antoine, Flemish paintings & drawings at 56 Princes Gate, London SW 7, London 1955; I
no. 53
pls. CIV (recto), CV (verso)
dated 1606-06; in file
Olieverfschetsen van Rubens, Museum Boymans-Van Beuningen, Rotterdam, 1953
p. 40 under no. 7 ...Less
Inscriptions
Watermark: Watermark: centre: circle containing a monogram "4" with a cross, below is a monogram "JM" (see tracing in file, same monograms but in a cartouche rather than circle is Briquet 9827 - Ardennes 1593, see also Briquet 5335 - Luxembourg 1587; per Peter Bower, possibly of Swiss origin).
Inscription: Recto: lower centre, brown ink: "AVDÿck". Mount (now removed, cut down, and discovered in archive files, now in object file): graphite: “P.P. Rubens” and “1454 a”; blue ink on a label: “674”.
Collector's mark: none.
Inscription: Recto: lower centre, brown ink: "AVDÿck". Mount (now removed, cut down, and discovered in archive files, now in object file): graphite: “P.P. Rubens” and “1454 a”; blue ink on a label: “674”.
Collector's mark: none.
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.
____________________________
