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Johnson Manuscript page - end of text 'De forma Foeminea' (recto)

Title

Johnson Manuscript page - end of text 'De forma Foeminea' (recto)

Date of Production

(mid 18th century) 1725 - 1775

Medium

pen and brown ink, with some accents added in grey ink (recto and verso) on laid paper

Dimensions

Height: 21.2 cm
Width: 16.3 cm

Accession Number

MS.1978.PG.1.77 (fol. 75)

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

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, p. 125 under no. 6

van der Meulen, Marjorie, Rubens copies after the Antique (CRLB), 3 vols, London 1994
vol. I, p. 73; vol. II, pp. 72-73

Inscriptions

Watermark: Watermark: none.

Inscription: Recto: upper right corner, brown ink, Rubens’s original foliation: “216 .b.”; whole page, brown ink with accents added in grey ink: “In feminis o[mn]is sim […]” [not fully transcribed]; lower right corner, graphite, folio number: “75”. Verso: upper right corner, brown ink, Rubens’s original foliation: “217.a.”; whole page, brown ink with accents added in grey ink: “Mores feminei / In feminis […]” [not fully transcribed].

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