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Johnson Manuscript page- two studies of Laocoon, one with the serpents transformed into drapery

Title

Johnson Manuscript page- two studies of Laocoon, one with the serpents transformed into drapery

Date of Production

(mid 18th century) 1725 - 1775

Medium

graphite, pen and brown ink on laid paper; some graphite offset on verso from facing drawing

Dimensions

Height: 21.1 cm
Width: 16.1 cm

Accession Number

MS.1978.PG.1.67 (fol. 65)

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






Related Works

The Johnson Manuscript (manuscript transcript of the Rubens Pocketbook)

Provenance

possibly Albert Rubens (1614-1657); bought by Captain Maurice Johnson, 1742/44 for his father, Maurice Johnson Sr., Spalding (1688-1755); by descent in Johnson and Marsden families; W.A. Marsden (book-plate, 1897); Christopher Marsden (bookplate, 1930); his sale, Sotheby's (London), 23-24 March, 1970, lot 179; purchased there via Maggs Bros. (London) by Count Antoine Seilern, London (1901-1978) (£2,600); Princes Gate Bequest 1978

Exhibition History

Rubens. The Power of Transformation, Kunsthistoriches Museum, Vienna, 17/10/2017-21/01/2018; Stadel Museum, Frankfurt, 08/02/2018-03/06/2018

Literature

Rubens: Picturing Antiquity, J. Paul Getty Museum, Los Angeles, 10 Nov. 2021- 24 Jan. 2022
pp. 36-39, 41
Fig. p. 38, fig. 33

Rubens. The Power of Transformation, Kunsthistoriches Museum, Vienna, 2017-18
cat. no. 28

Rubens - A Master in the Making, National Gallery, London, 2005-2006
p. 24
Fig. p. fig. 14 on p. 24
essay author: David Jaffé with Amanda Bradley ...More

van der Meulen, Marjorie, Rubens copies after the Antique (CRLB), 3 vols, London 1994
vol. II, pp. 95-96

Jaffé, Michael, Van Dyck's Antwerp Sketchbook, London 1966
vol. I, p. 96n64 ...Less

Inscriptions

Watermark: Watermark: Recto, left centre edge, fragment: lower half of Arms of Amsterdam.

Inscription: Recto: upper right corner, brown ink, Rubens’s original foliation: “210.a.”; lower right corner, graphite, folio number: “65”.

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