LOT DETAILS

Materials:

Black chalk and gray wash, with touches of pen and brown ink

Measurements:

17.13 in. (43.50 cm.) (height) by 22.24 in. (56.50 cm.) (width)

Markings:

bears inscriptions, in brown ink: Leonardo da Vinci ( fecit deleted), No 2 and A v Dyk

Exhibited:

London, S. & A. Woodburn,. The Lawrence Gallery. First exhibition. A Catalogue of One Hundred Original Drawings by Sir P.P. Rubens, Collected by Sir Thomas Lawrence , 1835, no. 23 (as Rubens: 'FIGHTING FOR THE STANDARD - a highly finished drawing of this famous subject, from the Cartoon by Leonardo da Vinci. This drawing was engraved by Edelinck; and is very interesting, the original Cartoon having been destroyed. Black chalk, highly finished. Size 22. 1/2 inches by 17 inches. From the Collection of Thomas Dimsdale, Esq.');. Rotterdam, Museum Boymans,. Tekeningen van Petrus Paulus Rubens , no. 62 (as Rubens);. Rotterdam, Kunsthal, . Leonardo da Vinci: uitvinder, wetenschapper en kunstenaar, 1995-6, p. 206;. Saint Petersburg, State Hermitage Museum,. Willem II and Anna Pavlovna. Royal Splendour at the Netherlands Court, 2013-14 (catalogue ed. Sander Paarlberg and Henk Slechte), no. 187; also shown, with different titles, at Dordrecht, Dordrechts Museum (. Willem II - . Kunstkoning ) and Luxembourg, Villa Vauban, Musée d`Art de la Ville de Luxembourg (. Une Passion Royale Pour l'Art: Guillaume II des Pays-Bas et Anna Pavlovna );. Haarlem, Teylers Museum,. Leonardo da Vinci. The language of faces, 2018-19, no. 42

Literature:

on 17th-century painting in the Netherlands and Germany',. The Art Bulletin , XXIII, 1941, p. 225;. F. Lugt,. École flamande (Musée du Louvre, Inventaire Général des dessins des Écoles du Nord), vol. II, Paris, 1949, pp. 29-30, under no. 1.084 (as. a second version );. J. Wilde, 'Michelangelo and Leonardo',. The Burlington Magazine , XCV, 1953, p.69 (as. Rubens );. J.S. Held,. Rubens. . Selected Drawings, with an Introduction and a Critical Catalogue , vol. I-II, London, 1959, pp. 157-9, under no. 161 (as. Rubens's first drawing, or copy after it );. C.-A. Isermeyer, 'Die Arbeiten Leonardos und Michelangelos für den Grossen Ratsaal in Florenz. Eine Revision der Bild-und Schriftquellen für ihre Rekonstruktion und Geschichte', in. Studien zur Toskanischen Kunst. Festschrift für Heinrich Heydenreich zum 23. März 1963 , Munich, 1964, p. 108, fig. 8 (as. studio replica of Rubens's drawing after Leonardo's 'Trial Panel', dated c. 1603);. J. Müller Hofstede, 'An Early Rubens. Conversion of St. Paul . The Beginning of his Preoccupation with Leonardo's. Battle of Anghiari' ,. The Burlington Magazine , CVI, 1964, pp. 101-102, fig. 14 (as by. unknown artist after Rubens );. A. Georges, 'La composition dans l'oeuvre peint de Léonard de Vinci: Conception, originalité, influence', in. Mélanges d'archéologie et d'histoire de l'art, offerts au professeur Jacques Lavallaye, Louvain, 1970, pp. 107-108 (as. after Rubens );. C. Pedretti,. Leonardo. A study in Chronology and Style , London, 1973, p. 84 (as. after Rubens );. R. Avermaete,. Rubens et son temps , Brussels, 1977, p. 64, reproduced (wrongly as Rijksprentenkabinet, Amsterdam);. M. Jaffé,. Rubens and Italy, 1977, p.30;. A.-M. Logan, 'Rubens Exhibitions 1977',. Master Drawings , XV, 1977, p. 409 (as. not Rubens, version of the original state of the Louvre drawing );. A.-M. Logan and E. Haverkamp-Begemann, 'Dessins de Rubens',. Revue de l'art , no. 42, 1978, p. 96 (as. an anonymous copy made before Rubens's reworking );. K. Renger, 'Rubens, Drawings and Sketches. Ausstellung des Departement of Prints and Drawings in the British Museum, 15. Juli bis 31. Oktober 1977; Peter Paul Rubens. Ausstellung des Wallraf-Richartz-Museums in der Kunsthalle Köln, 15. Oktober bis 15. Dezember 1977',. Kunstchronik , XXXI, 1978, p 82, under no. 79;. A. Sérullaz,. Rubens, ses maîtres, ses élèves: dessins du Musée du Louvre (Cabinet des Dessins, Musée du Louvre, Paris, 1978), p. 82, under no. 79;. D. Freedberg,. Rubens. The life of Christ after the Passion (Corpus Rubenianum Ludwug Burchard, VII), London-Oxford, 1984, p. 113, note 10 (as. possibly a copy );. J.S. Held,. Rubens. Selected Drawings, with an introduction and a Critical Catalogue , rev. ed. Oxford-Mount Kisco, 1986, pp.86-8, under no. 85 (as. Rubens or a copy after him );. A.-M. Logan, Review of Julius S. Held,. The Oil Sketches of Peter Paul Rubens. A Critical Catalogue, (Master Drawings , XXI, 1983, pp. 412-7), 1987, p.71 (as. After a Leonardo prototype, without Rubens' intervention );. P. Joannides, 'Leonardo da Vinci, Peter-Paul Rubens, Pierre-Nolasque Bergeret and the 'Fight for the Standard'',. Achademia Leonardi Vinci. Journal of Leonardo Studies and Bibliography of Vinciana , ed. C. Pedretti, I, 1988, pp. 79-80, fig. 9 (as. Rubens, or after him );. E. Hinterding and F. Horsch, 'A note on Willem II's collection of old master drawings,'. Simiolus, vol. 19, 1989, p 54;. D. Bodart,. Pietro Paulo Rubens (1577-1640) (Palazzo della Ragione, Padua; Palazzo delle Esposizioni, Rome; Società per le Belle Arti ed Esposizione Permanente, Milan, 1990, p.64, under no. 15;. F. Zöllner, 'Rubens reworks Leonardo. 'the Fight for the Standard''. , Achademia Leonardi Vinci. Journal of Leonardo Studies and Bibliography of Vinciana , ed. C. Pedretti, IV, 1991, pp. 181-2, 184 and 186-90, fig. 2 (as. anonymous copy after Leonardo );. F. Zöllner,. La Battaglia di Anghiari di Leonardo da Vinci fra mitologia e politica (. Lettura Vinciana , XXXVII), Vinci-Florence, 1998, pp. 13 and 33, no. VIII (as. anonymous copy of the drawing retouched by Rubens , dated to early seventeenth century);. J. Wood,. Rubens. . Drawing on Italy , exhib. cat., National Gallery of Scotland, Edinburgh; Djanogly Art Gallery, University of Nottingham, 2002, p. 40, under no. 4 (as. copy of the core section of Louvre inv. no. 20.271 before retouching and enlargement );. A.-M. Logan in C.C. Bambach,. Leonardo da Vinci. Master Draftsmen, exhib. cat., New York, The Metropolitan Museum of Art, 2003, pp. 672 and 674-5, under no. 135;. A.-M. Logan in. Léonard de . Vinci. Dessins et Manuscrits, exhib. cat., Paris, Musée du Louvre, 2003, pp. 294-6, fig. 80 (as. anonymous );. M.C. Plomp, 'Rubens' Zeichnungen als Sammelobjekte', in K.A. Schröder and H. Widauer,. Peter Paul Rubens, exhib. cat., Vienna, Graphische Sammlung Albertina, 2004, p. 109;. M.C. Plomp, 'Collecting Rubens's Drawings', in A.-M. Logan and M.C. Plomp,. Peter Paul Rubens. The . Drawings, exhib. cat., New York, The Metropolitan Museum of Art, 2005, p.54;. J. Wood, . Rubens, Copies and adaptations from Renaissance and later artists, Italian artists: III. Artists working in central Italy and France, (. Corpus Rubenianum Ludwig Burchard Part XXVI (2) ), London/Turnhout 2011, pp. 79, 86-87, 89-90, Copy 1 under no. 165, reproduced fig. 2 .; . . Inventory of the Collection of Drawings by Old Masters Formed by Sir Thomas Lawrence, P.R.A, drawn up while the Collection was still in his House (duplicated typescript, National Art Library, Victoria and Albert Museum, London, 86 w 39), fol. 78, Case 7 Drawer 2 ('4. An exact copy by Rubens of the famous Battle of the Standard which served Edelink for the Engraving');. . Athenaeum, 30 May 1835;. . Morning Advertiser, 27 May 1835;. G.F. Waagen,. Works of Art and Artists in England, vol. II, London, 1835, p. 175 (as. Rubens );. F. Reiset,. Notice des dessins, cartons, pastels, miniatures et émaux exposés dans les salles du 1er étage au Musée Impérial du Louvre, Première partie: Écoles d'Italie, écoles allemande, flamande et hollandaise… Paris, 1866, pp. 318-319, under no. 565 (as a. copy );. M. Rooses,. L'Œuvre de P.P. Rubens. Histoire et description de ses tableaux et dessins, Antwerp, 1886-1892, V, p. 207, under no. 1.395 (as a copy after. Rubens );. I.Q. van Regteren Altena,. Rubens , 1940, p. 199, pl. I (as Rubens);. W. Stechow, 'Recent periodical; . . Inventory of the Collection of Drawings by Old Masters Formed by Sir Thomas Lawrence, P.R.A, drawn up while the Collection was still in his House (duplicated typescript, National Art Library, Victoria and Albert Museum, London, 86 w 39), fol. 78, Case 7 Drawer 2 ('4. An exact copy by Rubens of the famous Battle of the Standard which served Edelink for the Engraving');. . Athenaeum, 30 May 1835;. . Morning Advertiser, 27 May 1835;. G.F. Waagen,. Works of Art and Artists in England, vol. II, London, 1835, p. 175 (as. Rubens );. F. Reiset,. Notice des dessins, cartons, pastels, miniatures et émaux exposés dans les salles du 1er étage au Musée Impérial du Louvre, Première partie: Écoles d'Italie, écoles allemande, flamande et hollandaise… Paris, 1866, pp. 318-319, under no. 565 (as a. copy );. M. Rooses,. L'Œuvre de P.P. Rubens. Histoire et description de ses tableaux et dessins, Antwerp, 1886-1892, V, p. 207, under no. 1.395 (as a copy after. Rubens );. I.Q. van Regteren Altena,. Rubens , 1940, p. 199, pl. I (as Rubens);. W. Stechow, 'Recent periodical

Provenance:

Thomas Dimsdale (1769-1830), London (L.2426);. Sir Thomas Lawrence (1769-1830), London (L.2445);. from whose estate acquired by Samuel Woodburn (First Woodburn/Lawrence exhibition, 1835, no. 23, as Rubens);. from whom acquired in February 1838 by Prince William of Orange, later King William II (1792-1849),. his sale, The Hague, de Vries/Roos/Brondgeest, 12 August 1850 and following days, lot 323 (as RUBBENS. (École de) Un combat; d'après un maître italien; bought back for the family by Brondgeest),. by inheritance to the present owner