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Studies after Michelangelo's 'Samson and the Philistines'

Maker

(or workshop)
1519-1594

Title

Studies after Michelangelo's 'Samson and the Philistines'

Date of Production

c. 1545 - 1555

Medium

charcoal, black chalk and white bodycolour on blue laid paper (now discoloured; variegated blue paper, formed of fibres dyed with indigotin), the lower right corner made up, laid down

Dimensions

Height: 45.4 cm
Width: 27.6 cm

Accession Number

D.1978.PG.99

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

This is one of Tintoretto’s numerous drawings of Michelangelo’s lost sculpture of Samson and the Philistines. The sculpture, designed after 1529-30, was planned to stand as a companion to Michelangelo’s David in the central Piazza della Signoria in Florence, but was never completed. Tintoretto’s drawing was probably made after a clay model, rather than a bronze, as indicated by the support behind Samson’s back, as well as by the lumpy appearance of the musculature of the figure.

Provenance

Arthur Goldschmidt (Paris dealer), by 25 February 1954 (letter in file); purchased from him by Count Antoine Seilern, London (1901-1978), 2 March 1954 (600,000 francs); Princes Gate Bequest 1978

Exhibition History

Drawn to Blue: Artists' use of Blue Paper, The Courtauld Gallery, London, 04/10/2024-26/01/2025

Drawings Gallery Display - Renaissance Modern, The Courtauld Gallery, London, 22/04/2015-07/06/2015

Special Display - Looking at Michelangelo, The Courtauld Gallery, London, 11/02/2010-06/06/2010 ...More

A Passion for Drawings, Collectors at the Courtauld, The Courtauld Gallery, London, 28/02/2002-09/06/2002

Material Evidence, The Courtauld Gallery, London, 30/10/1998-24/01/1999

Master Drawings from the Courtauld Collections, Courtauld Institute Galleries, London, 16/10/1991-19/01/1992

The Princes Gate Collection - Drawings (Selection A), The Courtauld Gallery, London, 17/07/1981-26/01/1982 ...Less

Literature

Adam, Edina and Michelle Sullivan, Drawing on Blue: European Drawings on Blue Paper 1400-1700s, exh. cat., The J. Paul Getty Museum, Los Angeles, 2024
p. 35
fig. 3.6
as workshop of Tintoretto

Drawing in Tintoretto's Venice, Morgan Library, New York, 12 Oct. 2018-6 Jan. 2019 and National Gallery of Art, 3 Mar.-26 May 2019, 2018
p. 106
fig. 74 on p. 102
as Tintoretto (?)

Whistler, Catherine, Venice and Drawing 1500-1800: Theory, Practice and Collecting, New Haven and London 2017
p. 135
fig. 142 on p. 135
dated as possibly 1550s ...More

Sotheby's, London, Old Master drawings, 5 July 2006
under lot 13

Material Evidence, Courtauld Gallery, London, 1998-1999
cat. no. no cat. number

Hass, Angela, 'Michelangelo's Samson and the Philistine: conception, meaning and subsequent influence' in 'Apollo', Dec. 1993 - pp. 382-86; CXXXIX, 382
p. 383
fig. 3 on p. 384

Master Drawings from the Courtauld Collections, Courtauld Institute Galleries, London, 1991
cat. no. 69
pp. 146, 194
ill. on p. 147

The Princes Gate Collection - Drawings (Selection A), Courtauld Gallery, London, 1981-1982
cat. no. 152
ill. on p. 110

Byam Shaw, James, Drawings by Old Masters at Christ Church, Oxford, Oxford 1976
p. 206 under no. 763

Rossi, Paola, I disegni di Jacopo Tintoretto, corpus graphichum, Florence 1975
pp. 14, 43
fig. 29
finds the attribution to Tintoretto acceptable by comparison with the other autograph drawings of the same subject

Seilern, Count Antoine, Corrigenda and Addenda to the Catalogue of paintings and drawings at 56 Princes Gate, London, London 1971
no. 99

Italian 16th-century drawings from British private collections, Edinburgh Festival, 1969
under no. 83

Paintings and drawings from Christ Church, Oxford, Matthiesen Gallery, London, 27 April - 11 June 1960
under no. 74

Pallucchini, Rodolfo, 'Una collezione italiana a Londra' in 'Arte Veneta', 1959-60; XIII-XIV
p. 256
thought Seilern's dating was too late

Seilern, Count Antoine, Italian paintings and drawings at 56 Princes Gate, London, SW7, London 1959; II
no. 99
pl. LVIII
dated c. 1550-55 ...Less

Inscriptions

Watermark: upper centre: three crescent moons, with something small above them (Venice in 17th and 18th century famous for their 'tre lune' paper, but three crescents seen in paper as early as 1520 from a Genoese mill - see Eineder, The ancient paper-mills, p. 180).

Collector's mark: none.

Inscription: Recto: lower right, graphite: “No 48”. Verso (backing sheet): lower centre, graphite: "di G Tintoretto"; lower right, brown ink: "Tintoretto"; lower right, brown ink: "£6.16 [or £6.10 or £6.18]."; lower left, graphite, modern hand: "G. Giugno 1830"; lower right, graphite, modern hand: "size 2."; lower right corner, graphite: "1".

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