Isabella Brant,a portrait drawing, was executed in Antwerp around 1621, by Flemish artist and diplomat, Peter Paul Rubens (1577–1640). Brant (1591–1626) was Rubens' first wife and modelled for some of his portraits until her untimely death in 1626. The portrait is drawn in black and red chalk with white heightening on brown wash paper. This drawing is noted for its 'immediacy and attractiveness, and was the basis for three oil paintings. The first was painted in 1621 by Rubens' pupil, Anthony van Dyck as a gift to his mentor. This portrait now hangs in the National Gallery of Art in Washington. The second, painted by Rubens between 1620 and 1625, is located in the Cleveland Museum of Art and the third also painted by Rubens in 1625, is located in the Uffizi Gallery in Florence. Following Ruben's death, the drawing passed through five known collectors and was eventually acquired by the British Museum in 1893. During re-mounting work in 1964, a rough sketch was discovered on the reverse side of the portrait. The sketch, also in red and black chalk is presumed to be a self-portrait of Rubens and his second wife Hélène Fourment (1614–1673) with Rubens' child. History The portrait of Isabella Brant was drawn by Rubens around 1621, when she was about 30 years old and had been married to Rubens for 12 years. Rubens employed the aux trois crayons technique, using red and black chalk, with white heightening on light grey-brown paper. The head of the portrait was sketched in detail while the eyes had been retouched with pen and black ink. This drawing, which is the only one sketched of Isabella Brant in this medium, has been admired for centuries as a fine example of Rubens' portrait drawing. Rubens' intimate drawing was intended to capture the sweetness and vivacity of his first wife. The sitter's head is shown with a slight downward tilt — facing slightly to the left and looking directly at the observer. She is shown wearing drop earrings. Her hair and features are depicted with care, while her clothes are sketchily portrayed. Her mischievous smile is further enhanced by the dimples in her plump cheeks, which complement her alert gaze. The great detail and animation of the portrait suggests that Rubens had great affection for his wife. The drawing was used as a basis for three oil portraits. The 1621 painting of Brant