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Saint Amandus and Saint Walpurga
Maker
Copy after
(artist)
1577-1640
(artist)
1577-1640
Title
Saint Amandus and Saint Walpurga
Date of Production
c. 1610
Medium
pen and brown ink on laid paper, the upper right corner made up
Dimensions
Height: 24.4 cm
Width: 14.8 cm
Width: 14.8 cm
Accession Number
D.1978.PG.54
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
Provenance
Sidney Herbert, Earl of Pembroke (1853-1913); Victor Koch, Hampstead (1867-1959); purchased from him by Count Antoine Seilern, London (1901-1978), 1937; Princes Gate Bequest 1978
Exhibition History
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
Rubens tentoonstelling, Goudstikker, Amsterdam, 05/08/1933-01/10/1933
Rubens - Paintings, Drawings and Prints in the Princes Gate
Collection, The Courtauld Gallery, London, 06/10/1988-08/01/1989
Rubens tentoonstelling, Goudstikker, Amsterdam, 05/08/1933-01/10/1933
Literature
White, Christopher, ‘Exhibition Reviews. Rubens oil-sketches and drawings London’, Burlington Magazine, 145, 1208, Nov. 2003, pp. 806-08
p. 806
as having been long questions as Rubens
Peter Paul Rubens - A Touch of Brilliance, The Courtauld Gallery, London, 2003-2004
cat. no. 45
pl. 45
as Rubens
White, Christopher, ‘Review. Rubens. The Passion of Christ. Corpus Rubenianum Ludwig Burchard. Part VI by J. Richard Judson,’ Master Drawings, XL, 2002, pp. 170-72
p. 172
not by Rubens ...More
Judson, J.R., Rubens. The Passion of Christ, CRLB VI, Turnhout 2000
no. 21b
fig. 86
doubtfully by Rubens
Beresford, Richard, Dulwich Picture Gallery: Complete Illustrated Catalogue, London, 1998
p. 206 under no. 40
by Rubens
d'Hulst, R.A., De Kruisoprichting van Pieter Paul Rubens, Brussels 1992
fig. 52 on p. 75
not explicitly discussed in the text
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 29
and Forward and pp. 19, 28 under no. 31, 52 under no. 58
ill. on p. 25
Logan, Anne-Marie, ‘Review. Rubens. Paintings, Drawings, and Prints in the Princes Gate Collection [Exhibition Catalogue] by Helen Braham’, Master Drawings, XXIX, 1991, pp. 314-15
p. 314
not by Rubens
Logan, Anne-Marie, ‘Review. The Oil Sketches of Peter Paul Rubens, a Critical Catalogue by Julius S. Held’, Master Drawings, XXI, 1983, pp. 412-17
p. 415
copy after Rubens
Braham, Helen, The Princes Gate Collection [all Princes Gate works, the exhibited drawings listed separately as Selection A and Selection B], London, 1981
p. 140
listed in Appendix III as by Rubens
Held, Julius S., The oil sketches of Peter Paul Rubens: a critical catalogue, Princeton 1980
p. 482 under nos. 350A and B
Murray, Peter, Dulwich Picture Gallery, London 1980
p. 112 under nos. 40, 40a
Jaffé, Michael, 'Rubens and Bruegel' in 'Pieter Bruegel und seine Welt', Berlin 1979
p. 40
fig. 15
certainly by Rubens
Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 54
Martin, John Rupert, Rubens: the Antwerp altarpieces, London and New York 1969
p. 43
Müller Hofstede, Justus, 'Eine Kreidestudie von Rubens für den Kreuzaufrichtungsaltar' in 'Pantheon', January 1967 - pp. 35-43
p. 35, notes 4-5 on pp. 40-41
Jaffé, Michael, 'Rubens as a collector of drawings: Part III' in 'Master Drawings', 1966 - pp. 127-48; IV, 2
p. 134
fig. 2
Jaffé, Michael, 'Rubens as a draughtsman' in 'Burlington Magazine', 1965; CVII
p. 380 under no. 59
Burchard, Ludwig and R.A. d'Hulst, Rubens drawings, Brussels 1963
no. 59
Seilern, Count Antoine, Flemish paintings & drawings at 56 Princes Gate, London SW 7, London 1955; I
no. 54
pl. CVI
Olieverfschetsen van Rubens, Museum Boymans-Van Beuningen, Rotterdam, 1953
p. 41 under nos. 8-9
Grossmann, F., 'Rubens et Van Dyck à la Dulwich Gallery' in 'Les Arts Plastiques', 1948; 1-2
p. 50
Some pictures from the Dulwich Gallery, National Gallery, London, 1947
under no. 45
Rubens tentoonstelling, Goudstikker, Amsterdam, 1933
cat. no. 85
ill.
Norris, Christopher, 'The Rubens exhibition at Amsterdam' in 'Burlington Magazine', 1933; LXIII
p. 230
ill. ...Less
p. 806
as having been long questions as Rubens
Peter Paul Rubens - A Touch of Brilliance, The Courtauld Gallery, London, 2003-2004
cat. no. 45
pl. 45
as Rubens
White, Christopher, ‘Review. Rubens. The Passion of Christ. Corpus Rubenianum Ludwig Burchard. Part VI by J. Richard Judson,’ Master Drawings, XL, 2002, pp. 170-72
p. 172
not by Rubens ...More
Judson, J.R., Rubens. The Passion of Christ, CRLB VI, Turnhout 2000
no. 21b
fig. 86
doubtfully by Rubens
Beresford, Richard, Dulwich Picture Gallery: Complete Illustrated Catalogue, London, 1998
p. 206 under no. 40
by Rubens
d'Hulst, R.A., De Kruisoprichting van Pieter Paul Rubens, Brussels 1992
fig. 52 on p. 75
not explicitly discussed in the text
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 29
and Forward and pp. 19, 28 under no. 31, 52 under no. 58
ill. on p. 25
Logan, Anne-Marie, ‘Review. Rubens. Paintings, Drawings, and Prints in the Princes Gate Collection [Exhibition Catalogue] by Helen Braham’, Master Drawings, XXIX, 1991, pp. 314-15
p. 314
not by Rubens
Logan, Anne-Marie, ‘Review. The Oil Sketches of Peter Paul Rubens, a Critical Catalogue by Julius S. Held’, Master Drawings, XXI, 1983, pp. 412-17
p. 415
copy after Rubens
Braham, Helen, The Princes Gate Collection [all Princes Gate works, the exhibited drawings listed separately as Selection A and Selection B], London, 1981
p. 140
listed in Appendix III as by Rubens
Held, Julius S., The oil sketches of Peter Paul Rubens: a critical catalogue, Princeton 1980
p. 482 under nos. 350A and B
Murray, Peter, Dulwich Picture Gallery, London 1980
p. 112 under nos. 40, 40a
Jaffé, Michael, 'Rubens and Bruegel' in 'Pieter Bruegel und seine Welt', Berlin 1979
p. 40
fig. 15
certainly by Rubens
Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 54
Martin, John Rupert, Rubens: the Antwerp altarpieces, London and New York 1969
p. 43
Müller Hofstede, Justus, 'Eine Kreidestudie von Rubens für den Kreuzaufrichtungsaltar' in 'Pantheon', January 1967 - pp. 35-43
p. 35, notes 4-5 on pp. 40-41
Jaffé, Michael, 'Rubens as a collector of drawings: Part III' in 'Master Drawings', 1966 - pp. 127-48; IV, 2
p. 134
fig. 2
Jaffé, Michael, 'Rubens as a draughtsman' in 'Burlington Magazine', 1965; CVII
p. 380 under no. 59
Burchard, Ludwig and R.A. d'Hulst, Rubens drawings, Brussels 1963
no. 59
Seilern, Count Antoine, Flemish paintings & drawings at 56 Princes Gate, London SW 7, London 1955; I
no. 54
pl. CVI
Olieverfschetsen van Rubens, Museum Boymans-Van Beuningen, Rotterdam, 1953
p. 41 under nos. 8-9
Grossmann, F., 'Rubens et Van Dyck à la Dulwich Gallery' in 'Les Arts Plastiques', 1948; 1-2
p. 50
Some pictures from the Dulwich Gallery, National Gallery, London, 1947
under no. 45
Rubens tentoonstelling, Goudstikker, Amsterdam, 1933
cat. no. 85
ill.
Norris, Christopher, 'The Rubens exhibition at Amsterdam' in 'Burlington Magazine', 1933; LXIII
p. 230
ill. ...Less
Inscriptions
Watermark: none.
Inscription: Recto: lower left, brown ink: “P.P. RúbEns .F.”. Verso, all but the last in Rubens’s hand (according to Seilern, Burchard and d'Hulst, Judson and Braham, but doubted by Christopher White when compared to drawings eg. of Abraham, Isaac and Jacob and King David playing his Harp in the Louvre, inv. 20.222 and 20.221), in two different inks, transcribed and partially translated in Braham 1988: vertically along right edge, to left of a drawing of a cube: “Campani liber de circulis / nunc editus a Cardano / [sy]cophanta een achterelixxen bedrieger / enen heer t[e]liemnants fame benempt” [‘sycophanta’, a deceitful impostor who deprives a gentleman of his reputation]; to right of the drawing of a cube: “Cubitus vel cubitum velut ellenboge. Item een maet /van onderhalven. Voir't tvierendeel van dese menschen langer / Cubus eenen terlinck. Item eelck dingen, dat vier hoecken heefft. / Aequinoctium den tijt als dach ende nacht even lang” [‘cubitus’ or alternatively ‘cubitum’, elbow. Also a measure ...[?] Further a quarter of these people longer (?), ‘Cubus’ a die. Also everything which has four corners. ‘Aequinoctium’, the time when day and night are equal]; vertically, along centre: "σγμμετρια id est commensuratio" [Latin commentary on the Greek word ‘symmetria’, that is, equality in measurement.]; inscribed in a different ink, horizontally, upper left in another hand, of which the characters appear superficially to be Greek but cannot be deciphered as such, and has been rubbed in an attempt to erase
Collector's mark: none.
Inscription: Recto: lower left, brown ink: “P.P. RúbEns .F.”. Verso, all but the last in Rubens’s hand (according to Seilern, Burchard and d'Hulst, Judson and Braham, but doubted by Christopher White when compared to drawings eg. of Abraham, Isaac and Jacob and King David playing his Harp in the Louvre, inv. 20.222 and 20.221), in two different inks, transcribed and partially translated in Braham 1988: vertically along right edge, to left of a drawing of a cube: “Campani liber de circulis / nunc editus a Cardano / [sy]cophanta een achterelixxen bedrieger / enen heer t[e]liemnants fame benempt” [‘sycophanta’, a deceitful impostor who deprives a gentleman of his reputation]; to right of the drawing of a cube: “Cubitus vel cubitum velut ellenboge. Item een maet /van onderhalven. Voir't tvierendeel van dese menschen langer / Cubus eenen terlinck. Item eelck dingen, dat vier hoecken heefft. / Aequinoctium den tijt als dach ende nacht even lang” [‘cubitus’ or alternatively ‘cubitum’, elbow. Also a measure ...[?] Further a quarter of these people longer (?), ‘Cubus’ a die. Also everything which has four corners. ‘Aequinoctium’, the time when day and night are equal]; vertically, along centre: "σγμμετρια id est commensuratio" [Latin commentary on the Greek word ‘symmetria’, that is, equality in measurement.]; inscribed in a different ink, horizontally, upper left in another hand, of which the characters appear superficially to be Greek but cannot be deciphered as such, and has been rubbed in an attempt to erase
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.
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