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Study of blackthorn with bramble and other plants
Study of a wild cherry tree with brambles and weeds
Maker
(artist)
1577-1640
1577-1640
Title
Study of blackthorn with bramble and other plants
Study of a wild cherry tree with brambles and weeds
Study of a wild cherry tree with brambles and weeds
Date of Production
(circa) 1620
Medium
black, red, white and yellow chalk on laid paper, laid down on a historic mount with gold borders
Dimensions
Height: 54.4 cm
Width: 49.4 cm
Width: 49.4 cm
Accession Number
D.1978.PG.63
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
Jonathan Richardson, the elder, London (1665-1745), L.2184 and L.2983; Jan Van Rijmsdijk, England (around 1770), L.2167; Sir Thomas Lawrence, London (1769-1830), L.2445; ceded by his executors to Samuel Woodburn (London), 1835; Woodburn estate sale, Christie’s (London), 4 - 8 June 1860, lot 367 (as van Dyck); 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
Exhibition History
Making and meaning: Rubens's landscapes, National Gallery, London, 16/10/1996-19/01/1997
Rubens - Paintings, Drawings and Prints in the Princes Gate
Collection, The Courtauld Gallery, London, 06/10/1988-08/01/1989 ...More
The Princes Gate Collection - Drawings (Selection B), The Courtauld Gallery, London, 29/01/1982-25/07/1982
Rubens drawings and sketches, British Museum, London, 15/07/1977-30/10/1977
17th Century Art in Europe, Royal Academy of Arts, London, 03/01/1938-12/03/1938 ...Less
Rubens - Paintings, Drawings and Prints in the Princes Gate
Collection, The Courtauld Gallery, London, 06/10/1988-08/01/1989 ...More
The Princes Gate Collection - Drawings (Selection B), The Courtauld Gallery, London, 29/01/1982-25/07/1982
Rubens drawings and sketches, British Museum, London, 15/07/1977-30/10/1977
17th Century Art in Europe, Royal Academy of Arts, London, 03/01/1938-12/03/1938 ...Less
Literature
Davis, Lucy, Rubens: the two great landscapes, London and New York, 2020
pp. 39-40
fig. 2.9 on p. 38
Lusheck, Catherine H., ‘Leonardo’s brambles and their afterlife in Rubens’s studies of nature’ in Constance J. Moffatt and Sara Taglialagamba (eds.), Leonardo da Vinci: nature and architecture, Leiden, 2019, pp. 123-67
pp. 128, 152-55, 158-61, 164-65
fig. 6.3 on p. 127
in file
Lusheck, Catherine, Rubens and the Eloquence of Drawing, London, 2017
pp. xx, xxiv-xxv
plate 3 ...More
Kleinert, Corina, Peter Paul Rubens (1577-1640) and his landscapes: ideas on nature and art, Turnhout, 2014
p. 37
fig. 29 on p. 268
Logan, Anne-Marie, 'Rubens's drawings after Julius Held' in 'Oud Holland', 2007, Vol. 120, No. 3/4 (2007), pp. 160-180.
pp. 172, 177, note 77
Peter Paul Rubens: the drawings, Metropolitan Museum of Art, New York, 15 January - 3 April 2005 New York, New Haven, London 2005
pp. 31-32
Anne Marie Logan, Peter Paul Rubens as a draftsman
in file
Royalton-Kisch, Martin, The Light of Nature: Landscape Drawings and Watercolours by Van Dyck and his Contemporaries,The British Museum, London, 1999
p. 17
fig. 9
Making and meaning: Rubens's landscapes, National Gallery, London, 1996-97
cat. no. 27
pp. 88, 90, 124
fig. 85
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 37
and Forward and p. 19
ill. on p. 32
identified as blackthorn and dated c. 1620; in file
Rubens in Oxford, The Picture Gallery, Christ Church, Oxford and Colnaghi, London London 1988
p. 44 under no. 10
Farr, Dennis, 100 Masterpieces from the Courtauld Collections, London: Courtauld Institute Galleries, 1987
p. 142
ill. on p. 143
dated c. 1620; in file
Held, Julius S., Rubens: selected drawings, Oxford 1986 (2nd ed.)
p. 114 under no. 116
The Princes Gate Collection - Drawings (Selection B), The Courtauld Gallery, London, 1982
cat. no. 181
ill. on p. 129
in file
Adler, Wolfgang, Landscape and Hunting Scenes. I. Landscapes (CRLB), London 1982
no. 71 on p. 185 and p. 186 under no. 73
fig. 157
dated before 1620; in file
Vergara, Lisa, Rubens and the poetics of landscape, New Haven 1982
pp. 82-83, 127
fig. 56
Rubens drawings and sketches, British Museum, London, 15 July - 30 October 1977, 1977
cat. no. 198
in file
Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 63
in file
Martin, George, National Gallery Catalogues: the Flemish School c. 1600 - c. 1900, London 1970
pp. 140-41
in file
Held, Julius S., Rubens: selected drawings, London 1959
p. 145 under no. 131
in file
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. 15
van Regteren Altena, J.Q., 'Boekbespreking' in 'Oud Holland', 1955; LXX
pp. 176-77
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
Seilern, Count Antoine, Flemish paintings & drawings at 56 Princes Gate, London SW 7, London 1955; I
no. 63
pl. CXX
dated c. 1630-40; in file
Glück, Gustav, Die Landschaften des Peter Paul Rubens, Vienna 1945
p. 35
fig. 18
Glück, G., Die Landschappen van Peter Paul Rubens, Antwerp and Amsterdam 1940
p. 45
fig. 18
Popham, A.E., 'Review of Seventeenth-Century Art in Europe at Burlington House: the drawings', Burlington Magazine, 72, 418, January 1938, pp. 13-20
p. 20
17th Century Art in Europe, Royal Academy of Arts, London, 1938
cat. no. 580
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
pp. 193-94, no. 2
pl. LXXXIV ...Less
pp. 39-40
fig. 2.9 on p. 38
Lusheck, Catherine H., ‘Leonardo’s brambles and their afterlife in Rubens’s studies of nature’ in Constance J. Moffatt and Sara Taglialagamba (eds.), Leonardo da Vinci: nature and architecture, Leiden, 2019, pp. 123-67
pp. 128, 152-55, 158-61, 164-65
fig. 6.3 on p. 127
in file
Lusheck, Catherine, Rubens and the Eloquence of Drawing, London, 2017
pp. xx, xxiv-xxv
plate 3 ...More
Kleinert, Corina, Peter Paul Rubens (1577-1640) and his landscapes: ideas on nature and art, Turnhout, 2014
p. 37
fig. 29 on p. 268
Logan, Anne-Marie, 'Rubens's drawings after Julius Held' in 'Oud Holland', 2007, Vol. 120, No. 3/4 (2007), pp. 160-180.
pp. 172, 177, note 77
Peter Paul Rubens: the drawings, Metropolitan Museum of Art, New York, 15 January - 3 April 2005 New York, New Haven, London 2005
pp. 31-32
Anne Marie Logan, Peter Paul Rubens as a draftsman
in file
Royalton-Kisch, Martin, The Light of Nature: Landscape Drawings and Watercolours by Van Dyck and his Contemporaries,The British Museum, London, 1999
p. 17
fig. 9
Making and meaning: Rubens's landscapes, National Gallery, London, 1996-97
cat. no. 27
pp. 88, 90, 124
fig. 85
Rubens - Paintings, Drawings and Prints in the Princes Gate Collection, Courtauld Gallery, London, 1988-1989
cat. no. 37
and Forward and p. 19
ill. on p. 32
identified as blackthorn and dated c. 1620; in file
Rubens in Oxford, The Picture Gallery, Christ Church, Oxford and Colnaghi, London London 1988
p. 44 under no. 10
Farr, Dennis, 100 Masterpieces from the Courtauld Collections, London: Courtauld Institute Galleries, 1987
p. 142
ill. on p. 143
dated c. 1620; in file
Held, Julius S., Rubens: selected drawings, Oxford 1986 (2nd ed.)
p. 114 under no. 116
The Princes Gate Collection - Drawings (Selection B), The Courtauld Gallery, London, 1982
cat. no. 181
ill. on p. 129
in file
Adler, Wolfgang, Landscape and Hunting Scenes. I. Landscapes (CRLB), London 1982
no. 71 on p. 185 and p. 186 under no. 73
fig. 157
dated before 1620; in file
Vergara, Lisa, Rubens and the poetics of landscape, New Haven 1982
pp. 82-83, 127
fig. 56
Rubens drawings and sketches, British Museum, London, 15 July - 30 October 1977, 1977
cat. no. 198
in file
Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 63
in file
Martin, George, National Gallery Catalogues: the Flemish School c. 1600 - c. 1900, London 1970
pp. 140-41
in file
Held, Julius S., Rubens: selected drawings, London 1959
p. 145 under no. 131
in file
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. 15
van Regteren Altena, J.Q., 'Boekbespreking' in 'Oud Holland', 1955; LXX
pp. 176-77
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
Seilern, Count Antoine, Flemish paintings & drawings at 56 Princes Gate, London SW 7, London 1955; I
no. 63
pl. CXX
dated c. 1630-40; in file
Glück, Gustav, Die Landschaften des Peter Paul Rubens, Vienna 1945
p. 35
fig. 18
Glück, G., Die Landschappen van Peter Paul Rubens, Antwerp and Amsterdam 1940
p. 45
fig. 18
Popham, A.E., 'Review of Seventeenth-Century Art in Europe at Burlington House: the drawings', Burlington Magazine, 72, 418, January 1938, pp. 13-20
p. 20
17th Century Art in Europe, Royal Academy of Arts, London, 1938
cat. no. 580
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
pp. 193-94, no. 2
pl. LXXXIV ...Less
Inscriptions
Watermark: none visible in raking light, though difficult to say with certainty as is laid down.
Inscription: Recto: all in black chalk, artist's hand, colour notes: centre: “blauw besien ghelyck / druyven met dauw / de blaederen schoon groen blinckende [the latter word added with a carrot] maer van / achter wat bleeck ende doof” [blue berries like bedewed grapes the leaves bright green shimmering but at the back a bit pale and dull]; below and left of that: “de stammen ros” [the stems reddish]; left of centre: “de bladers / gans groen” [the leaves entirely green] and “Lichte groene stelen” [light green stems]; below that: “noten” [nuts]; right centre: “het onderste oft achterste van [de] / bladeren lichter” [the back of the leaves lighter]; lower centre: “geel” [yellow]; lower left edge: “eyck / bruyn groen [or grijs?]” [oak / dark green or grey]; lower centre edge: “wit achter” [white on the back] and “wit riste” [white bundle, or a plant of the knot-grass family?]; lower right: “schoon dauw” [bright dew]. Mount (historic), Verso: upper centre edge, brown ink, Jonathan Richardson the elder's shelf marks (L.2983): "O.24. / Zd. 18 / Zc"; lower left edge, graphite, now hidden under inlay, modern hand: "30 x 28"; lower centre edge, graphite, now hidden under inlay: "20 / 100".
Collector's mark: Recto: lower right, written in brown ink: Jan van Rijmsdijk (L.2167); immediately below, stamped in black: Jonathan Richardson, the elder (L.2184); lower left corner, blindstamped: Sir Thomas Lawrence (L.2445). Mount (historic), Verso: upper centre edge, written in brown: Jonathan Richardson, the elder (L.2983).
Inscription: Recto: all in black chalk, artist's hand, colour notes: centre: “blauw besien ghelyck / druyven met dauw / de blaederen schoon groen blinckende [the latter word added with a carrot] maer van / achter wat bleeck ende doof” [blue berries like bedewed grapes the leaves bright green shimmering but at the back a bit pale and dull]; below and left of that: “de stammen ros” [the stems reddish]; left of centre: “de bladers / gans groen” [the leaves entirely green] and “Lichte groene stelen” [light green stems]; below that: “noten” [nuts]; right centre: “het onderste oft achterste van [de] / bladeren lichter” [the back of the leaves lighter]; lower centre: “geel” [yellow]; lower left edge: “eyck / bruyn groen [or grijs?]” [oak / dark green or grey]; lower centre edge: “wit achter” [white on the back] and “wit riste” [white bundle, or a plant of the knot-grass family?]; lower right: “schoon dauw” [bright dew]. Mount (historic), Verso: upper centre edge, brown ink, Jonathan Richardson the elder's shelf marks (L.2983): "O.24. / Zd. 18 / Zc"; lower left edge, graphite, now hidden under inlay, modern hand: "30 x 28"; lower centre edge, graphite, now hidden under inlay: "20 / 100".
Collector's mark: Recto: lower right, written in brown ink: Jan van Rijmsdijk (L.2167); immediately below, stamped in black: Jonathan Richardson, the elder (L.2184); lower left corner, blindstamped: Sir Thomas Lawrence (L.2445). Mount (historic), Verso: upper centre edge, written in brown: Jonathan Richardson, the elder (L.2983).
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