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Studies for the Presentation in the Temple (recto)
Maker
(artist)
1577-1640
1577-1640
Title
Studies for the Presentation in the Temple (recto)
Date of Production
(verso) 1601-2
Medium
pen and brown ink, brown wash (recto), black chalk and brown wash (verso), on laid paper
Dimensions
Height: 24.2 cm
Width: 23.7 cm
Width: 23.7 cm
Accession Number
D.1978.PG.56
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
presentations (communicative events)
Provenance
Pieter Langerhuizen Lzn, Crailoo (1839-1918), L.2095 (but not sold in his estate sale of drawings at Frederik Muller & Cie, Amsterdam, 29 April - 1 May 1919); Victor Koch, Hampstead (1867-1959); purchased from him by Count Antoine Seilern, London (1901-1978), 1937; Princes Gate Bequest 1978
See Brief description for information on Victor Koch.
See Brief description for information on Victor Koch.
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 - A Closer Look, Courtauld Institute Galleries, London, 18/01/1987-26/04/1987 ...More
Rubens tentoonstelling, Goudstikker, Amsterdam, 05/08/1933-01/10/1933 ...Less
Rubens - Paintings, Drawings and Prints in the Princes Gate
Collection, The Courtauld Gallery, London, 06/10/1988-08/01/1989
Rubens - A Closer Look, Courtauld Institute Galleries, London, 18/01/1987-26/04/1987 ...More
Rubens tentoonstelling, Goudstikker, Amsterdam, 05/08/1933-01/10/1933 ...Less
Literature
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. 257 (recto) and on pp. 113-117
part II, figs. 360 (recto), 360a (verso), 361b (reconstruction of recto)
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, no. 114 (verso) and pp. 163-65 under nos. 115 and 116
part II, fig. 163 (verso, reconstructed)
Devisscher, Hans and Hans Vlieghe, The Life of Christ before the Passion: the Youth of Christ, CRLB V (1), 2 vols., Turnhout and London, 2014
I, p. 236 under no. 49
II, fig. 177 (recto) ...More
Kopecky, Veronika, ‘Die Beischriften des Peter Paul Rubens. Überlegungen zu handschriftlichen Vermerken auf Zeichnungen’, PhD diss., University of Hamburg, 2012
I, p. 127 note 445
Peter Paul Rubens: the drawings, Metropolitan Museum of Art, New York, 15 January - 3 April 2005 New York, New Haven, London 2005
pp. 25 and 130-32 under no. 30
fig. 16 on p. 24 (verso, reconstructed), fig. 72 on p. 130 (recto, reconstructed)
in file
Peter Paul Rubens, K.A. Schröder and H. Widauer (eds.), exh. cat., Graphische Sammlung Albertina, Vienna, 2004
pp. 198-201 under no. 24
figs. 3 (recto, reconstructed), 4 (verso, reconstructed)
in footnote 4 is given erroneous accession number PG 60
Peter Paul Rubens - A Touch of Brilliance, The Courtauld Gallery, London, 2003-2004
cat. no. 1
pl. 1
in file
Judson, J.R., Rubens. The Passion of Christ, CRLB VI, Turnhout 2000
no. 20e and under nos. 20f, 20g, 44b, 45b (verso), no. 45a and p. 39 note 80, and under nos. 20e, 44b, 45, 45b, 45d (recto)
figs. 69 (verso), 153 (recto)
McGrath, Elizabeth, Subjects from History, CRLB XIII (1), 2 vols., London, 1997
II, p. 327 (verso)
I, fig. 225 (verso)
vol. 1 is text and illustrations, vol. II is catalogue and index
Weppelmann, Stefan, Rubens. Die Altarbilder fùr Santa Croce in Gerusalemme in Rome, Münster, 1998
pp. 96-97
fig. 15 (verso, reconstructed with sheets from Bayonne and the MET)
Logan, Anne-Marie, Flemish drawings in the age of Rubens: selected drawings from American collections, Wellesley, Mass, Seatle and London 1993
pp. 186-87 under no. 43
figs. XIIb (recto, reconstructed) and XIII (verso, reconstructed)
in file
d'Hulst, R.A., De Kruisoprichting van Pieter Paul Rubens, Brussels 1992
fig. 64 on p. 83 (verso)
not explicitly discussed in the text
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 31
and pp. 19, 23 under no. 27, 27 under no. 30, 38 under no. 41
p. 27 (recto)
dated 1611
Rubens - A Closer Look, Courtauld Institute Gallery, London, 1987
unpag.
Held, Julius S., Rubens: selected drawings, Oxford 1986 (2nd ed.)
no. 72 and pp. 28-29, 52, 54, 70 under no. 14, 97-98 under no. 71
fig. 8 (verso, reconstructed), pl. 73 (recto, reconstructed)
dated verso 1601-02 and recto 1611; in file
Bauer, Linda Freeman, On the origins of the oil sketch: form and function in cinquecento preparatory techniques, PhD diss., New York University, 1975, published Ann Arbor, 1983
p. 179 (verso)
fig. 94 (verso, reconstructed)
Braham, Helen, The Princes Gate Collection [all Princes Gate works, the exhibited drawings listed separately as Selection A and Selection B], London, 1981
p. 44 under no. 65 and p. 140
Held, Julius S., The oil sketches of Peter Paul Rubens: a critical catalogue, Princeton 1980
vol. I, pp. 445-46 under no. 320, pp. 489, 492-93 under nos. 357 and 358
in file
P.P. Rubens : Paintings - oilsketches - drawings, Royal Museum of Fine Arts, Antwerp, 29 June - 30 September 1977
p. 309
in file
Jaffé, Michael, Rubens and Italy, Oxford 1977
p. 57 (recto, referred to as pl. 188), p. 59 (verso, referred to as pl. 189)
pl. 188 (recto, reconstructed with drawing from the MET) and pl.189 (verso, reconstructed with drawings from Bayonne and the MET)
Renger, Konrad, 'Planänderungen in Rubensstichen' in 'Zeitschrift für Kunstgeschichte', 1974 - pp. 1-32; 37
pp. 13-14
fig. 11 on p. 15 (recto)
in file
Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 56
reconfirms dating from 1955; 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. 69 and note 30 (verso only)
Müller-Hofstede, Justus, ‘Aspekte der Entwurfszeichnung bei Rubens‘ in Stil und Uberlieferung. Akten des 21 Internationalen Kongress fur Kunstgeschichte in Bonn 1964, Berlin, 1967, pp. 114-25
p. 120 note 27 (verso)
Müller Hofstede, Justus, Review of Burchard and d'Hulst in 'Master Drawings', 1966; IV, 4
p. 445 under nos. 55, 60 and 61
Jaffé, Michael, 'Rubens as a draughtsman' in 'Burlington Magazine', 1965; CVII
p. 380 under no. 60
Burchard, Ludwig and R.A. d'Hulst, Rubens drawings, Brussels 1963
no. 60 and p. 96 under no. 55, p. 105 under no. 61
in file
Müller Hofstede, Justus, Review of Held, 'Selected Drawings' in 'Kunstchronik', May 1962; XV
p. 130
Held, Julius S., Rubens: selected drawings, London 1959
no. 28 and pp. 24, 65-66, 104-05 under no. 27, 126 under no. 70
fig. 49 (verso), fig. 50 (recto)
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
p. 17 under no. 11
Tekeningen van P.P. Rubens, Rubenshuis, Antwerp, 1956
p. 48 under no. 34
Logan and Belkin erroneously say is p. 47 under no. 34
Seilern, Count Antoine, Flemish paintings & drawings at 56 Princes Gate, London SW 7, London 1955; I
no. 56
pls. CIX (recto), CX (verso)
verso dated c. 1601-02 and recto before September 1612; in file
Benesch, Otto, 'Beiträge zum Werk des Rubens' in Alte und neue Kunst, Vienna, 1954, pp. 8-19
pp. 8-9
Evers, Hans Gerhard, Rubens und sein Werk: neue Forschungen, Brussels 1943
pp. 102-03, 137
fig. 10 (verso)
Evers, Hans Gerhard, Peter Paul Rubens, Munich 1942
p. 489 note 110
Rubens tentoonstelling, Goudstikker, Amsterdam, 1933
cat. no. 71
ill.
Glück, Gustav, Rubens, Van Dyck und ihr Kreis, Vienna, 1933
p. 382
author: Burchard mentions drawing as in the collection of Victor Koch ...Less
part I, no. 257 (recto) and on pp. 113-117
part II, figs. 360 (recto), 360a (verso), 361b (reconstruction of recto)
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, no. 114 (verso) and pp. 163-65 under nos. 115 and 116
part II, fig. 163 (verso, reconstructed)
Devisscher, Hans and Hans Vlieghe, The Life of Christ before the Passion: the Youth of Christ, CRLB V (1), 2 vols., Turnhout and London, 2014
I, p. 236 under no. 49
II, fig. 177 (recto) ...More
Kopecky, Veronika, ‘Die Beischriften des Peter Paul Rubens. Überlegungen zu handschriftlichen Vermerken auf Zeichnungen’, PhD diss., University of Hamburg, 2012
I, p. 127 note 445
Peter Paul Rubens: the drawings, Metropolitan Museum of Art, New York, 15 January - 3 April 2005 New York, New Haven, London 2005
pp. 25 and 130-32 under no. 30
fig. 16 on p. 24 (verso, reconstructed), fig. 72 on p. 130 (recto, reconstructed)
in file
Peter Paul Rubens, K.A. Schröder and H. Widauer (eds.), exh. cat., Graphische Sammlung Albertina, Vienna, 2004
pp. 198-201 under no. 24
figs. 3 (recto, reconstructed), 4 (verso, reconstructed)
in footnote 4 is given erroneous accession number PG 60
Peter Paul Rubens - A Touch of Brilliance, The Courtauld Gallery, London, 2003-2004
cat. no. 1
pl. 1
in file
Judson, J.R., Rubens. The Passion of Christ, CRLB VI, Turnhout 2000
no. 20e and under nos. 20f, 20g, 44b, 45b (verso), no. 45a and p. 39 note 80, and under nos. 20e, 44b, 45, 45b, 45d (recto)
figs. 69 (verso), 153 (recto)
McGrath, Elizabeth, Subjects from History, CRLB XIII (1), 2 vols., London, 1997
II, p. 327 (verso)
I, fig. 225 (verso)
vol. 1 is text and illustrations, vol. II is catalogue and index
Weppelmann, Stefan, Rubens. Die Altarbilder fùr Santa Croce in Gerusalemme in Rome, Münster, 1998
pp. 96-97
fig. 15 (verso, reconstructed with sheets from Bayonne and the MET)
Logan, Anne-Marie, Flemish drawings in the age of Rubens: selected drawings from American collections, Wellesley, Mass, Seatle and London 1993
pp. 186-87 under no. 43
figs. XIIb (recto, reconstructed) and XIII (verso, reconstructed)
in file
d'Hulst, R.A., De Kruisoprichting van Pieter Paul Rubens, Brussels 1992
fig. 64 on p. 83 (verso)
not explicitly discussed in the text
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 31
and pp. 19, 23 under no. 27, 27 under no. 30, 38 under no. 41
p. 27 (recto)
dated 1611
Rubens - A Closer Look, Courtauld Institute Gallery, London, 1987
unpag.
Held, Julius S., Rubens: selected drawings, Oxford 1986 (2nd ed.)
no. 72 and pp. 28-29, 52, 54, 70 under no. 14, 97-98 under no. 71
fig. 8 (verso, reconstructed), pl. 73 (recto, reconstructed)
dated verso 1601-02 and recto 1611; in file
Bauer, Linda Freeman, On the origins of the oil sketch: form and function in cinquecento preparatory techniques, PhD diss., New York University, 1975, published Ann Arbor, 1983
p. 179 (verso)
fig. 94 (verso, reconstructed)
Braham, Helen, The Princes Gate Collection [all Princes Gate works, the exhibited drawings listed separately as Selection A and Selection B], London, 1981
p. 44 under no. 65 and p. 140
Held, Julius S., The oil sketches of Peter Paul Rubens: a critical catalogue, Princeton 1980
vol. I, pp. 445-46 under no. 320, pp. 489, 492-93 under nos. 357 and 358
in file
P.P. Rubens : Paintings - oilsketches - drawings, Royal Museum of Fine Arts, Antwerp, 29 June - 30 September 1977
p. 309
in file
Jaffé, Michael, Rubens and Italy, Oxford 1977
p. 57 (recto, referred to as pl. 188), p. 59 (verso, referred to as pl. 189)
pl. 188 (recto, reconstructed with drawing from the MET) and pl.189 (verso, reconstructed with drawings from Bayonne and the MET)
Renger, Konrad, 'Planänderungen in Rubensstichen' in 'Zeitschrift für Kunstgeschichte', 1974 - pp. 1-32; 37
pp. 13-14
fig. 11 on p. 15 (recto)
in file
Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 56
reconfirms dating from 1955; 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. 69 and note 30 (verso only)
Müller-Hofstede, Justus, ‘Aspekte der Entwurfszeichnung bei Rubens‘ in Stil und Uberlieferung. Akten des 21 Internationalen Kongress fur Kunstgeschichte in Bonn 1964, Berlin, 1967, pp. 114-25
p. 120 note 27 (verso)
Müller Hofstede, Justus, Review of Burchard and d'Hulst in 'Master Drawings', 1966; IV, 4
p. 445 under nos. 55, 60 and 61
Jaffé, Michael, 'Rubens as a draughtsman' in 'Burlington Magazine', 1965; CVII
p. 380 under no. 60
Burchard, Ludwig and R.A. d'Hulst, Rubens drawings, Brussels 1963
no. 60 and p. 96 under no. 55, p. 105 under no. 61
in file
Müller Hofstede, Justus, Review of Held, 'Selected Drawings' in 'Kunstchronik', May 1962; XV
p. 130
Held, Julius S., Rubens: selected drawings, London 1959
no. 28 and pp. 24, 65-66, 104-05 under no. 27, 126 under no. 70
fig. 49 (verso), fig. 50 (recto)
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
p. 17 under no. 11
Tekeningen van P.P. Rubens, Rubenshuis, Antwerp, 1956
p. 48 under no. 34
Logan and Belkin erroneously say is p. 47 under no. 34
Seilern, Count Antoine, Flemish paintings & drawings at 56 Princes Gate, London SW 7, London 1955; I
no. 56
pls. CIX (recto), CX (verso)
verso dated c. 1601-02 and recto before September 1612; in file
Benesch, Otto, 'Beiträge zum Werk des Rubens' in Alte und neue Kunst, Vienna, 1954, pp. 8-19
pp. 8-9
Evers, Hans Gerhard, Rubens und sein Werk: neue Forschungen, Brussels 1943
pp. 102-03, 137
fig. 10 (verso)
Evers, Hans Gerhard, Peter Paul Rubens, Munich 1942
p. 489 note 110
Rubens tentoonstelling, Goudstikker, Amsterdam, 1933
cat. no. 71
ill.
Glück, Gustav, Rubens, Van Dyck und ihr Kreis, Vienna, 1933
p. 382
author: Burchard mentions drawing as in the collection of Victor Koch ...Less
Inscriptions
Watermark: Watermark: Recto, left centre: Posthorn (per Peter Bower, this form of posthorn parallel to the chain lines indicates an early form of the mark; comparisons with Briquet and Piccard suggest this paper was old when Rubens worked on it, possibly dating back to around 1500).
Inscription: none.
Collector's mark: Verso: lower right corner, stamped in blue: Pieter Langerhuizen Lzn (L.2095).
Inscription: none.
Collector's mark: Verso: lower right corner, stamped in blue: Pieter Langerhuizen Lzn (L.2095).
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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