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.
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
Studies of a sleeping female nude (recto)
Maker
1577-1640
Title
Date of Production
Medium
Dimensions
Width: 34.9 cm
Accession Number
Mode of Acquisition
Credit
Copyright
Location
Keywords
Provenance
Exhibition History
Collection, The Courtauld Gallery, London, 06/10/1988-08/01/1989
17th Century Art in Europe, Royal Academy of Arts, London, 03/01/1938-12/03/1938
Literature
part I, pp. 249-50 under no. 358
to be discussed in forthcoming Volume III
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, no. 90 (recto) and p. 473 under no. 92
II, figs. 315 (recto), 316 (verso)
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
I, no. 20a (verso) and pp. 281-82 under no. 20
II, figs. 209 (verso), 210 (recto), 214 (detail of inscription on verso)
entry authors: Elizabeth McGrath and Gregory Martin ...More
Belkin, Kristin Lohse, Rubens: copies and adaptations from Renaissance and later artists. (1), German and Netherlandish artists (CRLB), London 2009
p. 222 under no. 112 (verso only)
in file for PG.322
Rubens - A Master in the Making, National Gallery, London, 2005-2006
p. 182 under no. 83 (verso only)
fig. 63 on p. 182 (verso only)
in file
Peter Paul Rubens: the drawings, Metropolitan Museum of Art, New York, 15 January - 3 April 2005 New York, New Haven, London 2005
p. 25 (verso)
Esso presents Rubens & the Italian Renaissance, Austalian National Gallery, Canberra, 1992
p. 100 under no. 25 (verso only)
in file
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 38
and pp. 19, 34 under no. 39
ill. on p. 33 (recto)
dated c. 1628-30; in file
Held, Julius S., Rubens: selected drawings, Oxford 1986 (2nd ed.)
nos. 183 and 184, and p. 31
pls. 178-79
Peter Paul Rubens 1577-1640. Austellung zur 400. Widerkehr seines Geburtstages, Klaus Demus (ed.), Kunsthistorisches Museum, Vienna, 1977
p. 106 under no. 42
entry author: Karl Schütz
Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 61
grudgingly accepts date c. 1626; in file
Burchard, Ludwig and R.A. d'Hulst, Rubens drawings, Brussels 1963
no. 197 on pp. 316-17
ill. (recto and verso reversed)
indicate date c. 1626, and reverse the recto and verso; in file
Held, Julius S., Rubens: selected drawings, London 1959
no. 55 and pp. 28, 76
pls. 56 (verso) and 57 (recto)
c. 1628-30 (recto), c. 1628-29 (verso); in file except for images and p. 28
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
App. B, p. 226, no. 16
Seilern, Count Antoine, Flemish paintings & drawings at 56 Princes Gate, London SW 7, London 1955; I
no. 61
pls. CXVII (recto), CXVIII (verso)
dated 1630-31 (recto and verso); in file
Simon, Kurt Erich, 'Rubens' Satyrn und die ruhende Diana' in 'Jahrbuch der preussischen Kunstsammlungen', 1942; LXIII
p. 113
17th Century Art in Europe, Royal Academy of Arts, London, 1938
cat. no. 606
Christie's, London, Sale Catalogue of Old Master drawings (H. Oppenheimer Collection), 10-14 Jul. 1936
p. 150 under lot 307
entry author: K.T. Parker
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. 194, no. 3
pl. LXXXV
Delacre, Maurice, Le dessin dans l'oeuvre de Van Dyck, Brussels 1934
pp. 171-73, 228-29, 233
fig. 83
Parker, K.T., Vasari Society, Second series, 1932; XIII
no. 9
dated c. 1625 ...Less
Inscriptions
Collector's mark: Recto: lower left corner, blindstamped: Sir Thomas Lawrence (L.2445).
Inscription: Recto: lower left corner, graphite:a circle with a line through it [a paraph? looks similar though not a match to L.3580, for example]. Verso: upper centre edge, brown ink: "No 18"; upper centre edge, red chalk, artist's hand, unclear: "de man[?] swart / bonte rinders [or vlinders?]".
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.
____________________________
