y

f
-'

F
'\

<

MASTE
l^#

THE

0DNER

COLLE TIQN^
Royal AcadmiyoF Art K
/

/
j

m'

MASTER DRAWINGS
THE WOODNER
COLLECTION

'i

^di<niiaHHHMC9H

I& Kavi ^

i^iri^ ' lUI

MASTER DRAWINGS
THE WOODNER
COLLECTION

ROYAL ACADEMY OF
Catalogue published

WEIDENFELD

in

ARTS,

LONDON,

.'I

'

1987

association with

AND NICOLSON, LONDON

!i

SECRETARY OF THE ROYAL ACADEMY

Piers

Rodgers

EXHIBITIONS SECRETARY

Norman Rosenthal
EXHIBITION ADMINISTRATION

MaryAnne

Stevens

Assistniils

Annette Bradshaw
Kathleen Soriano

EXHIBITION DESIGN
Ivor Heal

CATALOGUE COMPILED BY
Christopher Lloyd

MaryAnne

Stevens

Nicholas Turner

CATALOGUE EDITED BY
Jane Shoaf Turner

Copyright C; Royal Academy of Arts 1987

All rights reserved.

No

system, or transmitted

part of this publication

in

may

any form or by any means,

be reproduced, stored
electronic, mechanical,

or other use, without the prior permission of the copyright owner.

George Weidenfeld and Nicolson Limited

91 Clapham High Street, London sw4 7TA
Filmset in

Monotype

Palatino

Colour separations by Ncwscle Litho Limited, Italy

Printed in England by Jolly & Barber Ltd, Rugby

in a retrieval

photocopying

Contents

Acknowledgements

Preface

Roger de Grey

Introduction
Nicholas Turner and Jane Shoaf Turner

Editorial

Note

15

List of Exhibitions of the

Woodner

Collection

16

Catalogue
Italian

.17

School

German and Swiss Schools

117

Dutch School

169

Flemish School

185

French School

199

Spanish School

273

Bibliography

288

Photographic Acknowledgements

299

Index of Artists

300

Friends of the Royal

Academy

301

Royal Academy Trust

302

Sponsors of Past Exhibitions

304

Acknowledgements

he compilers and editor of

to thank

all

the scholars

who

this edition of the

catalogue wish

contributed to previous editions of

Woodner Collection catalogue as well as Sarah Bevan, James

Byam Shaw, Gabriel Naughton, Walter Strauss, Richard Thomson
the

and Thea Jirat-Wasiutynski. For matters concerning the

practical

production of the catalogue, they are particularly indebted to

Walter Strauss, to Johanna

Awdry and

Kate Ferry of Weidenfeld

and Nicolson and to Kathleen Soriano of the Royal Academy of

Arts.

CHRISTOPHER LLOYD
MARYANNE STEVENS
JANE SHOAF TURNER
NICHOLAS TURNER

Preface

Ihe intentions behind the creation of great collections of old master drawings have
been various. Vasari and Reynolds were fascinated by the preliminary compositional
explorations and draughtsmanship of their distinguished fellow practitioners, Fairfax

Murray and Kenneth Clark were impelled by

a learned appreciation, while

committed

amateurs such as Lord Burlington and Mariette enjoyed the aesthetic pleasure derived

from moments of quiet contemplation.

remarkable collection of

Mr

Ian

It is

Woodner

within these points of reference that the

rightly takes

its

place.

Assembled over the

past thirty years, this collection gives a comprehensive survey of the level of excellence
of the tradition of drawing.

Ranging over

century to the twentieth, the

all

schools of European art from the fifteenth

represented provide a

artists

roll-call

of distinction:

Leonardo, Raphael, G.B. Tiepolo, Diirer, Rembrandt, Claude, Poussin, Degas, Redon,

Goya and Picasso.

The Royal Academy of Arts

Cezanne,

Master Drawings from

the

is

indeed fortunate to be able to present the exhibition.

Woodner

London have been exhibited over

Munich and
showing
the

at the

Prado

a significant

Woodner

in

number

Collection.

given by

The

Mr

grateful to

all

the past

While many of the drawings shown

two years

Madrid, the exhibition

at the Albertina in
in

London

is

Vienna,

in
in

distinguished in

of remarkable sheets which have only recently entered

We are naturally deeply indebted to Mr Woodner for having

supported with such enthusiasm

exhibition.

Collection.

all

stages of the planning and preparation of the

success of the venture

is

also

due to the

tireless

Walter Strauss, ably assisted by Jennifer Jones.

the scholars

who have worked on

We

energy and support

are also

enormously

the earlier editions of the catalogue.

For the Royal Academy's version of the catalogue,

we extend

our special thanks to

Nicholas Turner and Christopher Lloyd for their unstinting work and scholarship, and
to Jane Shoaf Turner for her excellent editorial work.

Drawings, whether the slightest of preliminary notes or the grandest of finished

presentation pieces, whether executed in the finest of lead pencils or the boldest of
charcoal or sanguine chalk, provide a continual source of visual enjoyment.

them we

we

Through

are privileged to gain immediate access to the artist's creative responses,

and

draw refreshment through the study of so

rich

are convinced that our visitors will

and diverse a display.

ROGER DE GREY
President

Private Collections of
in the

Old Master Drawings

Twentieth Century

JTor many, the collector of prints and drawings

is

immortalised

man wearing a top-hat in Henri Daumier's

He stands in an interior examining
the contents of a portfolio, lost in the silence of that moment of
appreciation, when the eye is caught in pleasurable contemplation
of an object of beauty. Today the private collector is engaged in
in

the slender figure of a

lithograph

more

scene.

L'Amateur d'estampes.

by

serious pursuit than the gentle activity implied

this

Although Daumier's 'amateur' presumably had determination,

energy, luck, and above

money,

all else,

certainly requires these resources in

modern counterpart

his

even greater measure.

famous Chatsworth collection belonging

sale of a portion of the

Duke

of Devonshire.

of those drawings
California, the

two

went

Although the

to the

J.

went

prize lots

largest single section

Museum

of Malibu,

American

collections:

Paul Getty
to private

was bought by Mr Woodner

and Raphael's Siudy of a Man's

the Page from Vasari's 'Libra de' Disegni'

(Cat.

22

in

the present exhibition),

Head and a Hand by Mrs Barbara Johnson of Princeton.

The
recent

collecting of drawings in the United States

phenomenon whose complex, but

yet to be written.
is

attempted here

context.

Much

brief outline of

order to set

in

information

initial

its

Mr

fascinating, history has

and development
Woodner's collection in

origins

may be gleaned from

compendium

Lugt's Les

Marques de

collector's

marks which contains biographical notices of

and

its

collections (1921), a

is

by

a painter

an important figure

profession.

The

artist-collector

beginning with

in the history of this field,

Vasari (see Cat. 22). Drawings, not normally conceived of as

independent works of
little

art,

for finished pictures.

The

artists interested in the

To

were, until the eighteenth century, of

interest to aristocratic patrons

first

tastes

this extent, Smibert's collection

is

were primarily

drawings were therefore

collectors of

working methods of

infinitely smaller scale, to those

1792) and

whose

their predecessors.

Peter Lely (1618-1680), Sir Joshua Reynolds (1723-

Thomas Lawrence (1769-1830).

Sir

Other drawings must undoubtedly have found

their

America during the eighteenth and early nineteenth

but documentary evidence
nineteenth century

more

on an

related in type, but

put together in Europe by such

scant.

is

America

in

that

systematically into collections.

It

was not

until

way

to

centuries,

the mid-

drawings were assembled

However, such accumulations

of often only secondary or tertiary material were generally over-

shadowed by

a far greater interest in pictures, furniture

and

objets

de vertue.

At

the opening of the twentieth century, before the establishment

of substantial collections of drawings and specialist commercial

a comparatively

is

drawings was himself

artists as Sir

The contemporary demand for Old Master drawings in the

United States comes from public and private collections alike,
and competition for the choicest items between these two rival
sectors is intense. The situation is well illustrated by the 1984
to the

America

in

Frits

of different

United

galleries in the

were formed

by

either

States,

American collections of drawings

on

the purchase while

brief visits to

Europe

of individual sheets or through the acquisition of part or

an established European collection.

assembled piecemeal
(1818-75), born

in

Europe

at Jamesville,

is

An example

that of

New

York.

all

of

of a collection

Edwin Bryant Crocker

He was first a railway

collectors,

engineer and then studied law. His support for the abolition of

Supplement (1956). But Lugt's Supplement does not cover

slavery brought him into conflict with his colleagues and caused

the past thirty years, the period of real expansion in

private collecting of drawings: notices

O. Baer

do not

American

1976), Walter Baker

exist for such

him

1971), John

with his family

in

Gaines,

Dr Armand Hammer, Dr Rudolf J. Heinemann (d. 1975),

Robert Lehmann (d. 1969), Eugene V. Thaw, nor, indeed, for Ian

number almost

Woodner himself.

mansion. Based

figures as Curtis

(d.

The first Old Master drawings

to reach

(d.

America were probably

those belonging to the Scottish-bom portrait-painter John Smibert

(1688-1751),

who had

some 251 drawings

settled in

in

Boston by 1729.

1720 while

in Florence,

He had

acquired

almost certainly

from the Florentine engraver Andrea Scacciati (1725-1771). A

portion of his collection of drawings formed part, possibly the
whole, of the bequest

in

1811 of James Bowdoin

drawings to Bowdoin College, Brunswick, Maine, the

collection of

drawings

in

III

of 141

first

public

America. Despite uneven quality, the

bequest included an outstanding landscape by Pieter Bruegel the

Elder, as well as

Abraham Bloemaert,
Koninck, Domenico Beccafumi,

examples by Dirck

Bartholomeus Breenbergh, Philips

Vellert,

Taddeo Zuccaro and Salvator Rosa.

It comes as no surprise that the

American collector of

It

thousand items. Crocker's

visit

had been under-

taken expressly to buy works of art to decorate his Sacramento

made

Dresden, he

at

sorties to such centres as

Munich, Diisseldorf, Vienna and possibly Prague. His primary

objective

assumed

was

buy

to

some

pictures and he acquired

that he also purchased

his

drawings then,

yoo;

it

is

a conclusion

supported by the character of the collection, which excels

in

works of the German School. Crocker's drawings were presented

by

his

widow

to the City of

his collections to

form the

distinguished works

by Rudolph Weigel
of drawings

in his

The formation

Sacramento

E.B.

by such

Bartolommeo, Goltzius and

collection en bloc
first

where he established a law

was probably during a visit to Europe
i&6g-yo that he purchased his drawings, which

to emigrate to California in 1852,

practice in Sacramento.

(d.

in

1885, with the rest of

Crocker Art Gallery. They include

artists

others.

as

He was

Carpaccio, Era

Diirer,

advised

1877) of Leipzig, a leading

in his

purchases

German

dealer

day.

of a drawings' cabinet through the purchase of a

is

illustrated in the history of the

important group

of Italian architectural and ornament drawings in the Cooper-

Museum

Hewitt

1924) and her

(d.

of Design,
sister

some 3,500 mostly

York. Eleanor Garnier Hewitt

all

(d.

numbering 215,000

periods,

and engraver Giovanni

Italian painter

number

Museum

purchased en masse

that 'their

way,

its

historical

certainly

and not of private

importance has only

1938 the Cooper-Hewitt

large portion of these from Mrs Brandegee

following her husband's death, thereby adding to the already

possessed with a Piancastelli

it

provenance. The remnant of the Brandegee collection was sold

The

collectors.

Master drawings

Morgan

New

Library,

another great
of Art, had

New

begun

York, undoubtedly acted as a stimulus to

To be

collecting in the city.

in

America took place

1910 when the wealthy

in

Morgan (1837-1913)

Pierpont

J.

bought the greater part of the exceptional collection of drawings

assembled by the English

and marchand-amaieur Charles

artist

Murray (1849-1919). This

Fairfax

purchase, for the then vast

of the Fairfax

York

as long

of ^0,000, occurred at the end of a period of intense

who

on the part of Pierpont Morgan,

collecting

then had

until

concentrated not on drawings but on autographs. Medieval and

Renaissance illuminated manuscripts, early printed books and

Murray

published

it

in a series of lavishly illustrated

which he entrusted to

ship of

its

Murray gives only the

former owner, Fairfax Murray.

probably one of the

in

it

'was

commenced

in Italy,

but the

the last thirty years'.

its

carefully chosen, representative

specimens available from

Murray

collection

lection of

a type

century

Old Master drawings

in

in

England

in

examples of the

first

example of

in

important English sale of

first,

which an American

institution

was

to be

Even

as late as 1947, the

Morgan purchase was regarded by

the field

Hans Tietze as an exception in

of American collecting. In his book European Master

Drawings

in the

the emigre Viennese art historian

United States (1947) he noted that whereas paint-

ings had been acquired with enthusiasm

by American

collectors

such as Henry Clay Frick, Isabella Stewart Gardner and

Carnegie

at the

Andrew

beginning of the century, 'drawings were largely

in spite

of Pierpont Morgan's conspicuous acquisition',

adding that

it

'was a promising start

had

it

been continued

Commenting upon the collectors of drawings in

the United States, he noted that many seemed satisfied not by
'quality' but by the 'acquisition of a considerable number of more

and

cultivated.'

'for

He summarised

the situation with the

various reasons American collecting has

not yet become drawing-conscious'.

to reach America.
a

new

It

represented

generation of

the second half of the nineteenth

which quality was preferred to quantity. Items were

Among the English collections assembled during

no longer does today.

Yet Tietze was perhaps too harsh

1947,

such a view pertained in

If

it

American disregard

the period

in his

assessment of a general

for drawings, for the pattern of collecting

had begun to change from the beginning of the twentieth century.

Collections were
Atlantic, usually

dealers

Museums

Robinson, Director of the South Kensington

(now the Victoria and Albert Museum) and one of the

Old Master drawings

had

not the

still

on

being formed

when Americans

their annual trips; but

were beginning to exert an

crossed the

by the 1920s American

influence, such as Knoedler.

Nevertheless, the large groups of drawings in Europe, in plentiful

this

Sir J.C.

taste

to

a selective col-

more scientific approach, the best was that formed by

John Malcolm of Poltalloch under the guidance of the connoisseur

in

Morgan

began

collection that the Metropolitan

or less average drawings'.

ranging, Italian drawings were almost always given pride of

place.

purchase by

finest

scrupulously chosen; but although taste was intentionally wide

with

after the

the principal schools, the Fairfax

became the

which had become popular among

connoisseurs

was only

powerful buyer.

general claim that

all

1880 when Cornelius Vanderbilt

1912, Fairfax

greater part of the drawings were purchased in England during

With

it

first, if

Old Master drawings

ignored

briefest account of the formation of his

he explains that

collection;

Morgan

volumes, the editor-

volume published

In the introduction to the third

as

Museum

Metropolitan

institution, the

ago

drawings of

more important lots at

the Pembroke sale of 1917 held in London. The moment was not
a propitious one, with the First World War still raging. Yet it was

bookbindings.
After his purchase of the drawings collection, Pierpont

sure, the collection of

collect seriously, purchasing several of the

sum

Pierpont

at the

presented a group of b-jo largely indifferent items purchased from

development of private collecting of Old

banker and industrial tycoon

Murray drawings

arrival of the Fairfax

James Jackson Jarves. But

crucial step in the

museums'

the job of 'public

in

1944.

that the 'collecting of so

was

other collections

to be appreciated. In

group of drawings

Robinson then went on to observe

extensive and universal a character'

number was

many

their quality', like

in this

acquired a

substantial

has been a special

object to avoid the accumulation of comparatively uninteresting

matter.

more impressive than

Museum

it

little

and Mrs Brandegee of Boston bought a larger

Although Lugt wryly comments

come

those vast gatherings usually

in

intrinsic value. ... In the present instance

Piancastelli

portion of the Piancastelli collection amounting to 8,200 drawings.

recently

point of the

consisted of drawings of doubtful authenticity; or of

1901.

Mr

1904

In

in

in

of specimens than the present series: but a large

proportion of the specimens

sheets,

(1845-1926). The Misses Hewitt presented their collection to

the

more extensive

were, generally speaking, far

1930) had acquired

drawings from the immense

architectural

collection of drawings of

amassed by the

New

Sarah Cooper Hewitt

in the

modem

did not match those of Malcolm. In Robinson's

preface to the catalogue of the

Malcolm

collection published in

1869, he briefly explained the principles governing

he pointed out.

the

to benefit

from

Dan

Fellows Piatt (1873-1938) of Princeton and Charles Alexander

Loeser (1864-1928).
Charles Loeser was

bom

in

1864

at

Brooklyn,

son of a wealthy department-store owner.

its

first

these circumstances were William F.E. Gurley of Chicago,

formation.

Harvard
Earlier private collections,

Among

specialists

sense. Fairfax Murray's

First

the consequent sale of aristocratic collections,

tended to be of better quality.

first

had been influenced by Robinson's, but the resources he

at his disposal

supply as a result of the upheavals brought about by the

World War and

in

1886. In

1890 he

New

York, the

He graduated from

settled in Florence,

eventually

INTRODUCTION

moving

where he was

to the villa Torre Gattaia, near S. Miniato,

Camera. The tour was undertaken with the characteristic energy

to assemble an important collection of paintings, drawings, furniture

and enthusiasm of Americans of the period, and the book

and bronzes of the Italian Renaissance, as well as a fine group of

paintings by Cezanne. Loeser was acquainted with a group of
scholars who had been inspired by the Italian connoisseur Giovanni

in this

Morelli. His friends included such distinguished figures as Wickhoff,

Camba, Charles Fairfax Murray and his

'life-long friend and rival' Berenson. During the First World War
Loeser remained in Italy in order to continue work on the publication
Meder,

Frizzoni, Carlo

of a series of facsimile reproductions of the drawings

in

the

same

written

is

spirit.

was by

Fascinated as he

the

works of

art

seen on this journey,

anecdotes of the miscellaneous adventures and mishaps experienced

in his

'open Fiat touring

car'

break up the descriptions. Engagingly,

eye was sometimes diverted from pictures to

his

were passing through

Peschiera's eastern gate a "Rochet-Schneider"

ahead of us

car sneaked

we

'As

cars:

at reckless

as an enthusiastic traveller, Piatt

pace and sped on

was

a dedicated

out.'

As

well

photographer,

book are from his own

photographs. Almost certainly inspired by Berenson's vast
'Fototeca' used for research, Piatt was one of the first Americans
to appreciate that works of art could be embedded further into

1919 he announced his intention to leave his collection

of some 260 drawings, to the Fogg Art Museum, Harvard University,
securing their export by leaving his fine collection of Italian
Renaissance sculptures and paintings to the city of Florence. The

and many of the 200

drawings entered the Fogg

the general consciousness through the contemplation of photographs,

Uffizi. In

Whereas

1932.

in

was an important

the artist-collector

figure in the early

history of collecting, in the twentieth century he has to

extent been replaced by the art-historian collector. In the

some

first

half

of this century, Loeser was probably the earliest representative of

this

type of collector

in

America. (This trend, also apparent

in

England, continues to the present day, exemplified by the collections of such scholars as the late

now

are

in the

Anthony

Museum

Philadelphia

Clark,

whose drawings

of Art.) Loeser regarded his

drawings as objects of study. They were not chosen as specimens

of the highest quality, capable of holding their

own

in a collection

illustrations in his

and he presumably grasped the implications of

the understanding of drawings.

To

figure to his friend the English collector. Sir Robert

Their tastes

much

in

photographic reproductions as adjuncts to

Robert Witt's drawings are

Sir

and

Galleries

process for

Witt (1872-1952).

drawings, for example for those of Guercino, were

same and they both accumulated

the

this

this extent, Piatt is a parallel

now

large collections of

their collections.

in the

Courtauld

While

Institute

famous collection of reproductions forms the

his

nucleus of the Witt Collection at the Courtauld Institute, Piatt

left

many

of his drawings as well as his collection of 300,000

of masterpieces. Instead they were meant to illustrate the history

photographs to Princeton University. Systematically mounted

of drawing, principally in Italy. This idea seems to have been

albums and indexed, the photographs were principally of

Renaissance art but included architecture and topography.

based on Vasari's Lihro de'Disegni (see Cat. 22) and

is

one that

would naturally have appealed to an art historian. The drawings

were acquired from many different sources in Europe. The collection of Italian drawings included examples

from the

earliest period,

C.1400, and continued with works by such fifteenth-century masters

as

Jacopo

Bellini,

Benozzo Gozzoli and

Filippino Lippi.

The

sixteenth

Piatt apparently

began

judge from his book, his taste was for the

War. To

resources did not allow him to collect in this exclusive

sensibly he

made

a virtue of necessity,

of artists of later

Michelangelo, Parmigianino and Pontormo. Canaletto and Guardi

quality in

closed the sequence in the eighteenth century. Loeser was less

a collection of at least

owned

Italian

World
Italian

Renaissance and was influenced by Berenson's writings. But his

century was represented by drawings of Raphael, Fra Bartolommeo,

interested in the Northern Schools but nonetheless

collecting drawings after the First

in

periods, not just

what might be termed

this

field.

Very

buying instead the drawings

Italians.

He had an eye

for

second division and amassed

2,000 items. In the period 1920-37 Piatt

travelled widely in Europe,

buying

in

such centres as London,

magnificent landscape by Pieter Bruegel the Elder and two splendid

Paris, Venice and Vienna. His principal source of supply seems to

Rembrandt drawings.
William Gurley was a geologist at the University of Chicago
who, according to the recent catalogue of Master Drawings in the
Art Imtitute of Chicago, 'collected drawings with the same acquisitive
passion that he collected specimens in his own discipline. Making

have been the London

no pretense of scholarship, he accepted without question the

often over-optimistic attributions of the drawings he bought in
London, mostly

in

inexpensive bundled

vast collection of over 6,000

Institute of

Chicago

Hall Gurley.

in

1922

The drawings

lots.'

He

presented his

Old Master drawings

in

are

memory

to the Art

of his mother, Leonora

immensely problematic and the

many minor pieces continues

dealers, particularly Parsons

from

whom

he bought most of his exceptional groups of drawings by Guercino,

the Tiepolos and Salvator Rosa. Although Piatt's collection lacked
individual pieces of outstanding quality, the presence of sizeable

groups of drawings by different artists indicates an interest in the

artistic personality that lay behind them, whose range and development could only be studied in numerous specimens. Considering
the publicity given to

some American

collections today,

to understand the lack of attention paid to Piatt's.

to an exhibition of

Art

Museum

in

243 drawings of

1932

at the

all

it is

hard

small handlist

schools, held at the

Fogg

time of the College Art Association

At

com-

reassessment of the authorship of the

meeting, barely gives an impression of

to this day.

plete list compiled by Mrs Russell Lynes exists of the drawings

by Guercino, by no means all of which are today at Princeton
(Master's dissertation. Institute of Fine Arts, New York University,

Dan

Fellows Piatt (1873-1938) was an altogether more dis-

criminating buyer

whose

activity deserves further study.

of Princeton in 1898, he
settling at

Engelwood,

century, Piatt

became

New

made annual

Jersey.

trips to

local politician,

1940).

From around

the turn of the

On

Europe, mostly to Italy and

1908 he published the travel book, Through

10

INTRODUCTION

A graduate

lawyer and

Italy

in

with Car and

its

scope.

least a

some of Piatt's drawings were sold

immediately by his widow. However, the principal group was
presented to Princeton in 1943. The University 'just after accepting
his

death

in

1938,

some

the collection ... let

by Cambiaso and the

go, in particular

Tiepolo, in order to conserve the remainder'.

others were

Still

widow, and those which had failed to sell on the

open market in New York in 1949 (an indication of the low level
of interest in such drawings at that moment) were purchased
retained

by

his

in 1950 by the Chrysler Museum at Norfolk, Virginia,

where they form the centrepiece of the museum's small collection
of drawings. Besides those by Guercino and the Tiepolos, the
drawings at Norfolk include examples by the English Pre-Raphaelite

from her

the nineteenth-century French painter Puvis

Edward Burne-Jones,

de Chavannes, as well as by the twentieth-century sculptors

Gaudier-Brzeska, Epstein and Maillol.

Of

the generation of collectors active in the

first

half of the

twentieth century, however, the most influential was Paul J.

Sachs {i8y8-ig65), the eldest son of the banker Samuel Sachs of
the Wall

Goldman Sachs & Co.

Street firm

In 1915, at the late

age of thirty-seven, he was appointed assistant director of the

Fogg Art Museum

at

Harvard University. He had abandoned

came

career in the family enterprise and

to the

Fogg with

made an

and

his great love of art.

Two

bought

the drawings he

have been given a

much

influenced

many

Department of

American collector

first

to feel

it

commendable
art historians

enthusiasm and high standards to others. This

his

was

trait

to benefit several generations of

and led to the idea of what

ing collection'; Sachs regarded the

laboratory for students'.

He

is

American

today termed a 'teach-

Fogg Museum

as a 'working

believed in buying only the choicest

examples, but such works would cover

periods and schools.

all

himself.

].

From an

hand by

free

whom he maintained a

'lifelong

drawings began

in the

1920s. In 1924

he purchased several from the collection of Luigi Grassi. Lehman

some lots at the Oppenheimer sale in London in

1936 and bought some of the Diirer drawings from the Lubomirski
acquired

later

group of Rembrandts

collection, as well as a

had belonged to

that

Louis Silver of Chicago. Other drawings were purchased in the

1950s

such important London sales as those of Captain H.

at

Reitlinger and John Skippe.

and

his last significant

He

also

bought

at P.

&

Sachs (iSyS-ipS^j reveals the wide-

in

D. Colnaghi's,

1962.

He

solace from the turmoils of the everyday world.

Museum

1941 and became vice-

in

museum around i960 when Lehman seems

to

have contemplated

forming a private museum, a settlement was

whereby

his collection of

museum on

own. At Lehman's death

to the

museum and

finally

in

it

art would be left to the

would be housed in a wing of its

1969 the

the purpose-built

collection collection passed

wing opened

in

1975.

World War, Americans have bought drawings

passion equalled only by that of the English in the eight-

Since the Second

with a

Ingres, Corot, Millet,

a rich

natural enthusiasm has

them bought

works of

as early as the 1920s).

which he compiled with Agnes

probably the

a collection of

first

emerges

training of the eye

Mongan and which

selectively illustrated scholarly catalogue of

Old Master drawings

Sachs's approach

Museum

which counts.

trained through an intimate

an American museum,

in

'For the beginner

clearly:

We believe

that the

knowledge of the

best.'

is

it

eye

At

is

his

the
best

death

in 1965, Sach's personal collection of drawings was united with

those he had already given to the

years. Thus,

Fogg over

a period of

many

credit for

given to public museums. This arrangement has

benefited American collectors and

museums

alike.

The impact

of

American purchasing has been felt in the supply and pricing of

master drawings, their display and their exhibition.

The supply

of high quality drawings in the immediate post-war

was noteworthy. This was the golden age of the

was also the time of the now legendary boxes of

era in Britain

bargain.

It

miscellaneous drawings at Colnaghi's,

mere

shillings.

collections.

In spite of the

Great Britain

still

many

of

which sold

numerous inroads

possessed

many

into

treasures.

its

for

old

Those

combined with the drawings bequeathed by Loeser

put on the market in the 1940s and 50s were sold for what today

Old

would seem trifles. For example, the sale at Christie's on

9 December 1949 of Drawings of Old Masters, including those

and accessioned

in

1932, they

made

the Fogg's collection of

Master drawings one of the most important

in

America.

Admiration for the quality of the collection of

Sachs, as well as that of the Pierpont

Morgan

his friend Paul

Library, inspired

Robert Lehman (1887-1969), head of the New York investment

bank Lehman Brothers, to form his outstanding collection. His

drawings amounted to some 1,000

different periods

in

and schools - though

that predominated.

selves but a

art

been

supply of excellent drawings on the market

and by favourable American tax laws which allow tax

is

reached

3,000 works of

condition that

encouraged by

of Art (1940),

the

joined the

Degas, Gauguin and Picasso are represented superbly (many of

Fogg

president in 1948. After a period of strained relations with the

works of the modern period. Prud'hon,

in the

auto.

legends of his shyness were legion'. His collection provided a

eenth and nineteenth centuries.

Drawings

S.

purchase was a group of 125 Venetian

ness of his taste and his keen eye for quality, particularly for

In the preface to the catalogue of

seems to

He was

by Berenson, with

friendship'. His interest in

early age he

his parents at buying.

glance at the catalogue to the Memorial Exhibition: Works of Art

the Collection of Paul

of the paintings from his father, but

Lehman was 'a bewilderingly complex and difficult man,

cratic in some matters and strangely indecisive in others

mission both to assemble objects of the very best quality

and to transmit

from

inherited

board of the Metropolitan

Sachs seems to have been the

his

Lehman

'no

Fine Arts.

was

carefully choosing the 'right' period frame for each piece.

drawings from Paul Wallraf

years later he was

assistant professor in the University's

was only poorly represented

in drawings, he might be shown by one or two exceptional
pictures. He was also sensitive to the display of his drawings,
artist

his

precise professional training' other than his exceptional enthusiasm

as a collector

and other works of art. Where an

They formed not

to his much

complement

so

all,
it

representing

was again the

much an

many

Italians

entity in them-

larger collection of pictures

from the Lionel Lucas

collection, provides

an example of the

generally low level of interest in what today would be regarded

group of drawings. The prize lot, a drawing by

went to the London dealer Hans Calmann for only
2,300. It is worth noting that most of the several drawings with
this provenance now in the United States were purchased later,
still for relatively low prices, through London dealers such as

as an exceptional
Pisanello,

Colnaghi's and Agnew's rather than at the sale

itself.

INTRODUCTION

11

Competition

for

drawings intensified

in

the 1960s and 70s, with

more important items in

Getty Museum began pur-

the Americans usually acquiring the

London

sales.

Since 1981,

when

the

chasing drawings, competition for those of the highest quality

has stepped up

still

further, prices

have soared and more great

drawings have appeared on the international

many

market than for

art

years. In the case of Raphael drawings, for example,

have been on the market

in the past

few years than

at

more

any other

time this century.

Great drawings have come onto the market not only as a result
of the decision of the Trustees of the Chatsworth Settlement to

begin dismantling part of

discovery

in

its

collection, but also

collections. Dealers, collectors

flock to Paris in search of 'new'

sales at the

and museum curators

Hotel Drouot. Discoveries also turn up

all

some

is

same high

the

itself

such a repository of

level

and twentieth

unprecedented American

interest,

slowly shifting from traditional centres

such as London and Paris to

denced

now

indications of self-sufiiciency.

surprisingly, given this

the drawings' market

alike

at the regular

in Switzerland,

periods, particularly of the nineteenth

centuries, that there are

unknown

in recent years, collecting in the

United States has made the country

drawings of

the unexpected

Old Master drawings

another source of supply. Indeed

Not

by

France of several large and and previously

New York.

everywhere, even

Prices are tending to reach

in

New

at the recent sale of the collection of

York, as was evi-

John R. Gaines held

on 17 November 1986 (three lots from which were purchased by

Mr Woodner and are included in this exhibition, see Cat. 8, 12,
65).

With

the establishment of high saleroom prices, the auction

houses have come to dominate the

art trade.

American museums

period followed

is

thus becoming potentially threatened.

The tendency of

chose a mark (Lugt

The

towards drawings and

their display.

on the wall rather than

them mounted, in solander boxes, or placing them loose
in portfolios has become prevalent among some contemporary
American collectors. Today drawings are increasingly appreciated
practice of keeping drawings in frames

storing

as independent

works of art

in their

own right, although admittedly

some extent their original function.

Another development in modern collecting, partly a result of
the trend to regard the drawing less as a sheet of paper and more
this

is

to misunderstand to

as a picture,

and partly

a result of a greater respect for the object

abandonment of the collector's

mark. This is most often a small stamp printed with indelible ink,
applied to a drawing as a mark of ownership. Among English and

per

se,

has been the almost universal

Continental owners, particularly

in the

eighteenth century, these

were usually elegant devices, formed by an

applied to the comers or to

initial

or set of

some unobtrusive blank

initials,

area of the

sheet.
In the early

collectors

still

CM.

Dr

path.

457

S.

Cooke

(1874-1948)

Jr

consisting of an upright rectangle

mm within which a nude girl

31 X 28

dances exuberantly. Fortu-

was applied to the margins of the prints and is therefore

usually hidden by the mounts. Had every owner of a given drawing applied his own mark, there would soon have been little room
on the paper for the drawing itself. Opposition to the use of a
collector's mark was forcibly expressed by Charles Loeser in his
nately

it

He

will.

asked that 'none of the drawings having belonged to

[him] ever be inscribed or

the

Today

like'.

stamped with marks,

is

practised.

Catalogue entries usually have a

paragraph devoted to provenance,

of past owners appear.
of Cat. 8

by Carpaccio.

One need

in

in

which the names and

only look

J.

has belonged to a

it

Henry OppenSwitzerland; and John

Mr Woodner. Yet it

Heseltine and

P.

England; Robert von Hirsch

in

R. Gaines in America, before passing to

carries

sales

at the relevant section

In this century alone

succession of different collectors:

heimer

and

official seals

system of recording the pedigree of

a different

Old Master drawings

only a single mark, that of the first-named collector.

The nature of collecting has changed dramatically in other

ways. It is no longer the private pursuit of the gentleman alone in
his study: drawings are now exhibited and seen by a wider public
than ever before. Reproductions have also made them more familiar.

How many people can

Albertina, Vienna,
original

visualise Diirer's Praying

Hands

to specialists

by

contradicted

is

in the

even though they may never have seen the

drawing? The view that the appeal of drawings

the large

is

primarily

numbers of

visitors

attending exhibitions of drawings the world over.

Recent American collectors have been generous

selections

private collectors to acquire choice pieces has

also led to a shift in attitude

same

of Honolulu, Hawaii, an amateur of early twentieth-century prints,

and collectors pay big prices there rather than to dealers whose
position

in the

As

large.

from
the

list

of

Woodner

Collection exhibitions on

demonstrates, the present exhibition at the Royal

Arts

is

States

Mr

p.

Academy

at

16
of

the fifteenth opportunity that the public, both in the United

and abroad, has had

Woodner's

to see a selection of

Mr

collection. But

drawings from

Woodner's example

among many American

reflection of a general pattern

of

allowing

in

be shown to the public

their collections to

Old Master drawings. Other

exhibitions, each

is

also a

collectors

accompanied by

published catalogue, include drawings from the following collections;

Mr

Mr and Mrs George

Abrams;

and Mrs Lester Avnet;

Mr

Mr

and Mrs Winslow Ames;

Curtis O. Baer;

Mr

and Mrs

Malcolm Bick; Mr David Daniels; Mr and Mrs

Mr and Mrs Roger Gordon; Dr and Mrs Rudolf J. Heinemann;
Mr and Mrs Frederick Herman; Mr Ronald S. Lander; Mr Otto
Manley; Mr and Mrs Robert Manning; Mrs Elsa Durand Mower;
Mr Janos Scholz; Mr and Mrs John Steiner; Mr and Mrs Eugene
V. Thaw; and Dr Richard P. Wunder.
These account for only a minority of the actual number of
private collectors of Old Master drawings in America. An indication
Lorser Feitelson;

twentieth century both European and American

of the quantity and quality of a sub-stratum of 'private' private

employed such marks, some so

collections

disfiguring that

which

exists in the

United States was provided by the

they detracted from an appreciation of the sheet. The Englishman

1981 exhibition of drawings from Princeton Alumni collections

Archibald Russell (1879-1955), Lancaster Herald of Arms, used a

organised by the University Art

large

stamp (Lugt

the form of the Rose of Lancaster

S. 2770)
which often overpowers the drawing. Cat. 4 in the present exhibition, by Luca Signorelli, at one time belonged to Russell, but,

mercifully,

12

in

was not stamped. Some American

INTRODUCTION

collectors of the

print curator and

1922.

letterato

Museum in memory of the great

Mayor (d. 1980), Class of

A. Hyatt

spectacular group of drawings of

from more than 100 different

twenty were anonymous

all

periods

collectors, of

lenders.

was borrowed

which more than

It is

unfortunately possible neither to

them

collectors nor to discuss

most recent

hands on Third Avenue

individually.

Among

them, how-

was even more neglected because

Hungarian-born musician Janos Scholz

ever, the

York,

of the

list all

who formed one

drawings

1903) of

New

of the largest accumulations of Italian

deserves special mention. The Scholz

in recent years,

more than 1,500

collection comprises

b.

items,

from the fourteenth

known

ticular

the Italian schools, with par-

all

emphasis on Venetian, Bolognese and Neapolitan. Since

shown

the 1950s, selections from his collection have been

in

Morgan

Pierpont

Library.

World War. In 1942

collection.
from
the
Brandegee
group
of
drawings
he purchased a
The introduction to his Italian Master Drawings, 13 $0-1 800, from

Second World War.

It

of drawings.

He

collector

When
in

in

published

in the

twenty-

1970 he has not

scale.

was put on public exhibition

a selection of his collection

London

since

1968, he spoke of

it

with modesty:

was with some timidity that accepted this most flattering

invitation by the Arts Council to send some of my Italian
It

drawings to England.

was

to bring

them

Foremost among

to a country

whose

my

reservations

discerning taste and the

study of drawings by the masters of the past have become

almost a national characteristic.

in this exhibition return to the

Thus,

many

of the drawings

pleasure, already several centuries ago, to amateurs of this

most

[his]

and on such an ambitious

study collections of drawings

in

in

way

the United States (such as exist

Europe), he determined to try and

him

so specialised a

Conscious of the lack of large

scale.

fill

the gap. Lugt advised

to pursue 'quality' rather than an interesting attribution;

however, as Scholz

states,

'.
.

my

professional training

much

left in

me

mania for system and order which on occasion forced me to

lower my standards, usually for historical considerations. ... I
desired to build a study collection of drawings rather than a

handsome

pieces to delight

the eye.'

word

or

the
in

first

were acquired while he was abroad on

interestingly, Scholz seems to have been

of his drawings

his musical tours. But,

American private collector to have bought substantially

how many Old Master draw-

the United States, an indication of

ings had

by then found

their

way

drawing by

'actually

brought

some

two must be added about

good example is that of
theatrical designs formed by the New York stage-designer Donald
Oenslager (d.1975), now also in the Pierpont Morgan Library; concollections, a

some 2,000 drawings

sisting of

type anywhere

in

all, it is

one of the

largest of

Wunder assembled

world. Richard P.

in the

its

and ornament drawings, the

was dispersed at auction in 1976. The
focal point of the collection of Lore Heinemann and her husband,
the late Dr Rudolf J. Heinemann, is the large group of drawings

greater portion of which

by the Tiepolos. The nucleus of this collection, largely acquired

in the period between i960 and 1973, consists of the magnificent
'Tiepolo material' brought together by the London dealer and
collector Tomas Harris. Another instance of a specialised collection and one of non-Italian drawings is that of Dutch and
Flemish drawings formed over the past twenty years or so by

Maida and George Abrams of Brookline, Massachusetts. From

modest beginnings, this collection has been painstakingly upgraded and refined over the years, thereby becoming one of the
largest collections of Netherlandish

Fundamentally different from

across the Atlantic.

Mr

in

private hands.

the specialist collection

Scholz drawings,

Mr Thaw

is

of

New

York, which,

is

the

is

like

the

promised to the Pierpont Morgan Library.

a successful dealer in drawings and paintings

many

combined, as have
ing.

Thaw

and Mrs Eugene V.

and has

dealers in the past, collecting with

The marchand-amateur was

sell-

a familiar figure in eighteenth-

and nineteenth-century England, Jonathan Richardson Sr and

Charles Fairfax

The Thaw

collection

Morgan

held at the
to the

Murray being good examples

first

is

principally

of the type.

known from two

exhibitions

Library in 1975 and 1985. In the introduction

catalogue.

Thaw

two

considers

different impulses to

collecting:

may be two

of drawings, the
in

fundamental approaches to the collecting

first

a print lover's

which drawings are kept

atically

in

and

bibliophile's

approach

mats [mounts] and boxes, system-

arranged and often concentrating on a single country

or school.

The second approach devolves,

for paintings.

lector manque,

was obvious that we no longer had to get drawings in the

London or Paris market for viciously marked-up prices, while
fine items were available at home for modest amounts. ... It
was easy [around 1935] to get a good Giambattista Tiepolo
drawing on 57th Street for much less than a hundred dollars,
while a Giandomenico Pulcinello sheet |cf. Cat. 36] changed

drawings

remarkable and carefully chosen one assembled since the 1950s

There

Many

example

has been said of the wide-ranging aspect of

those of a more specialised nature.

smaller selective collection with only

for

other

Still

door'.

American private

by

sensitive of art forms.

in

Fellows Piatt collection,

Raphael of a Figure Symbolising an Earthquake was

land where they have given

Scholz gives his reasons for collecting

Dan

similar collection of architectural

fullest

market

in the

war ended, but

five years or so after the

period around the

on the subject of his acquisitions

continued to be active

bought on the same

in the

one of the

also stands as

by an American

records

(Dover, 1976) evokes the tranquil inter-

Old Master drawings

was not well enough

of St Louis, Missouri.

drawings turned up haphazardly,

Europe. In

Scholz began buying before the Second

national market in

it

in

his intention to leave his collection to the

the Janos Scholz Collection

sources was the

Dr Max A. Goldstein

Since

1973 he announced

early material

from which Scholz bought drawings by Tiepolo. Another was

to

United States as well as

different centres in the

The

to stir sufficient interest.

Among his American

that of

century to c.1800, representing

for thirty-five dollars.

am,

if

you

think, this

rather,

second type -

from a

taste

a painting col-

wish.

It

Thaw's strategy has been somewhat

like

of Frits

that

Lugt,

namely, not only to gather together choice pieces, but also to

concentrate on groups of drawings by favourites.
of his partiality for certain

artists,

Thaw

speaks

including Gericault, Daumier,

Cezanne, Watteau, Goya, Rembrandt, Delacroix, Degas, Claude

INTRODUCTION

13

and the Tiepolos, father and son. As

specialised in collecting

century

whom

of

artists,

owns works by van

Redon, Seurat, Matisse, Picasso and

Vuillard,

by Jackson Pollock

on

(an artist

whom

a scholarly

Giambattista Tiepolo, not surprisingly, once belonged to Piatt,

drawings have been

in the States for

more
It was Sachs who emphasised the usefulness of seeing the work
of the Old Masters in the context of that of their modem successors.
Thaw has done much to perpetuate what one might call 'survey
collecting' in which the whole is to be appreciated almost as
much as the individual parts. The collection is seen as a visual
than one generation.

entity, as

if it

were one large

Janos Scholz, through

first

Goya

opportunity

The major European schools

some of its leading figures over

He

is

wide-

are represented in

more

a period of

has a strong personal preference for draw-

that his 'natural instincts

go

to the

"hard" kind of drawings'. Yet,

neglected the

artists of the

like

more

and

austere, simple

Sachs and Thaw, he has not

nineteenth and twentieth centuries. In

he has the largest private collection of paintings, drawings

fact,

and prints by Odilon Redon

Mr Woodner

is

in the

world.

deeply committed to sharing his collection

with a wide international public:

show

like to

And

the art that

have collected to other people.

By
have become a

love to see the reaction of people to these things.

showing

to acquire his

this truly

extraordinary collection,

...

kind of American ambassador to the different countries of the

drawing. But he explains that 'through differing taste

financial

on the market.
Mr Woodner's

other American collections,

than six centuries.

world. These exhibitions

went on to form a different kind of

drawing collection than his'. This is nowhere more apparent than
from Thaw's remarks on his lack of sympathy for Italian seventeenthand

of

exhibition, rather than as a collection

whose generosity he came

for the prize pieces

competing with

field,

ings of the early periods, both Northern and Italian, explaining

acknowledges the advice and help he received from

freely

Indeed, since

in scope.

work

the

the normal sense of the word.

Thaw

Museum

many

ranging

in

last six years'.

has been one of the strongest buyers in the

Like

The provenance of many of Thaw's Old Master

drawings show that they came not from English or European
sources, but from the American market. Several of the drawings

modem

within the

the Getty

he has written

As he
come only
about 1980 Mr Woodner

of his collecting has changed over the years.

admits, 'the true urge to have a great collection has

sketchbook

catalogue raisonne).

by
and many of the

The nature

has

works by nineteenth- and twentiethhe has many fine and rare examples:

besides those of Cezanne and Degas, he

Gogh,

Thaw

this list implies,

show Europeans

that

very austere and highly refined type of

lect a

Americans
art,

which

coluntil

fairly recently

has been generally characteristic of European

collections, not

American.

century drawings:

Of
simply

It

all

is

not,

my

and never was,

taste.

have missed out on

have

Many

sailed into the

times

market

'will

at spectacularly rising prices.

the

home

too half-hearted.

seems that

It

am

still

my

efforts

were

ings are

Mr Woodner

dramatics.

referred, the other prize possession

sheet sold
similar taste

governed the choices of drawings made by John

England has been

in the present exhibition represent one-fifth of

his total collection. Besides the Cellini, to

Academy show-

The drawprobably better appreciated here than anywhere else.'

sonian prejudice against the grand style and Counter-Reformation

1984.

have been

his collection will

of drawings for the last couple of centuries.

The drawings

a victim of the Beren-

where

believes that the Royal

be the most appreciated, because

ing

considered climbing aboard but

the different centres

Guido Renis

the Carraccis, Guercinos, Domenichinos, and

that

all

exhibited,

The

is

we have

which

already

undoubtedly the Vasari

by the Duke of Devonshire at the Chatsworth sale in

Mr Woodner's outbidding the Getty Museum

story of

collection, very much in the mould of that of

Thaw, was recently dispersed at auction. Similar preferences can
be found in Mr Woodner's collection, in which less emphasis is

has already been told. Describing the sheet as the 'crown jewel'

paid to artists of the Baroque than to those of earlier or later

travelling exhibition of

periods.

effect of the

R. Gaines,

It is

whose

fitting that this

artist-collector. Ian
ful

survey should both begin and end with an

Woodner, an

property investor

private collection of

in

New

architect

by

training,

York. His collection

Master drawings

in the

spoke

at

London

thirty years ago.

show.

dealer Jean-Luc Baroni,

length of his collection.

Having bought

He began
'forty

ings ... in auction houses at rather

low

is

a success-

the foremost

United States today,

as a glance at the present catalogue will quickly

interview with the

is

In a recent

Mr Woodner

buy drawings some

or fifty fairly good draw-

collection'.

prices', his first

important

1970) that
the

14

first

it,

he 'was beginning to have something of a

was not for another eight to ten years (around

he began to collect in earnest. 1971 was the year of
But

it

exhibition of his drawings.

INTRODUCTION

to the

page years ago when

how
it

was exhibited

it is

he

is

York

It

in a

was the

as much as the quality of the individual

composed that caught his eye. Mr Woodner

has a fellow feeling for Vasari, the

is

New

in

drawings from Chatsworth.

ensemble

sheets of which

Not only

he was immediately attracted

first

great collector of drawings.

Mr Woodner himself both an architect and a collector,

also a painter;

architect's sense of

and

it is

the painter's eye

combined with the

form that has guided him

in

his choice of

drawings over the years.

to

purchase was the Cellini drawing (Cat. 20), acquired from the New
York dealer William Schab. The next year he bought a Holbein
drawing once in the Thyssen collection (Cat. 54), by which time,
as he himself puts

of his collection, he spoke of

NT and

JST

Editorial

The catalogue
cally by artist.

Note

is

organised by school and within

this

chronologi-

The medium of each work is given; paper is white unless otherwise

stated. Drawings on the verso are in the same medium as the
recto unless otherwise stated.

Dimensions are given

Watermarks

in millimetres,

are given

when

height preceding width.

previously recorded; the authors

have not had the opportunity to study the drawings out of

their

frames.
Inscriptions
ally,

and

on the

recto or verso of a

work

are transcribed liter-

The Woodner Collection of Master Drawings has been exhibited

in several places over the past four years, most recently at the
Prado in Madrid. For most of the venues a new edition of the
catalogue has been prepared to accommodate recent acquisitions
and new research. The catalogue of the version shown at the
Royal Academy of Arts in London would not have been possible
without the invaluable work undertaken by those scholars who
contributed to previous editions. The compilers of this most recent
edition, therefore, wish to express their deep gratitude to George
Goldner, Michael Miller, Professor Konrad Oberhuber, and a number
of his graduate students, Dr Friedrich Piel and Dr Renate Piel
without whose research and knowledge this catalogue would not
have been possible.

their location specified.

In addition

Barbara Dossi and Manuela

Provenances have been checked as

they also thank Veronika Birke,

Mena

for their unstinting

work

in

far as possible.

editing the various editions.

Bibliographical references and exhibitions are given in abbreviated

form;

full titles

can be found

List of Exhibition

in the

Bibliography, pp.

Catalogues, pp. 295-8.

z88-g^ and

upon this work, the present catalogue has been comby Christopher Lloyd, MaryAnne Stevens and Nicholas

Building
piled

Turner;

The
entry.

has been edited by Jane Shoaf Turner.

it

list

below gives the

author(s) responsible for each catalogue

single set of initials indicates sole responsibility for an

entry; initials within parentheses indicate that an entry published

in a

previous

Woodner

Collection catalogue has been edited

by

one of the compilers of the Royal Academy catalogue.

Abbreviations:

Konrad Oberhuber: ko

MaryAnne

Fredrich Piel: fp

Jane Shoaf Turner 1ST

George Goldner: gg

Nancy

Christopher Lloyd: cl

Pia de Santis:

mm

Michae

Miller:

Cat.

MM
MM

ko(nt)

(NT)
(nt)

4 NT
5

MM (nt)
MM (nt)

gg(nt)
8 NT
7

9
10

MM (nt)
MM (nt)

KG
12 NT
11

Puriton:

31 GG (nt)
(nt)

59 CL
60 gg(ist)

87 mm (mas)
88 GG (mas)

(nt)

61 gg(jst)

(nt)

62 GG CL

89 gg(mas)
90 GG (mas)

32
33

34

MM
MM
MM

35 GG (nt)
36 GG (nt)
37 fp(nt)

38 ko(cl)
39 csw(cl)

40

MM

(cl)

41 gg(cl)
42 gg(cl)

mm(nt)

43

16

MM (nt)
MM (nt)
MM (nt)

44 CL
45 csw(cl)
46 fp(cl)

22
23

mm (nt)
mm (nt)
MM (nt)

24 NT
25 gg (nt)

26 ko(nt)
27 ko(nt)
28 GG (nt)

Wood: csw
IW
85 GG (mas)
86 MM (mas)

MM (nt)

21

S.

Woodn ;r:

MM (cl)
MM (cl)

15

mm(nt)
20 mm(nt)

Ian

57
56

14

19

Christopher

29 GG (nt)
30 GG (nt)

NT

18

mas

Nicholas Turner: nt

np

pdes

Andrej Smrekar: AS

13

17

Stevens:

CSWMM (cl)

47 MM FP (cl)
48 ko(cl)

49 fp(cl)
50 csw(cl)
51

MM

(cl)

52 as(cl)
53 as(cl)

63

MM

(CL)

64 GG (cl)
65 CL
66 GG (CL)
67 IW
68 GG (cl)

69 ko(cljst)
70 GG()ST)
71 mm(jst)
72
73
74

MM
MM
MM

(nt)

GG
76 GG
75

77
7&

MM
MM

91 mas
92 pdes (mas)
93 pdes (mas)
94 mm (mas)
95 mm (mas)

96 mas
97 fp(mas)
98 gg(mas)

99 gg(mas)
100 np(mas)
101 GG (cl)
102 GG (cl)
103 pdes(cL)
104 cl

105 GG (mas)
106 MAS

79 CL
80 FP

107 MAS
108 FP (mas)

81 GG

54 ko(cl)

82

MM

109 mas
no NP (mas)

55 CL
56 CL

83 fp(jst)

111 np (mas)

84

MM

15

List of Exhibitions of the

Woodner Collection

New York and

i,

Woodner

elsewhere 1971-2

A Selection of Old Master Drawings before

lyoo

New York, William H. Schab Gallery

15 October - ib

November 1971

Los Angeles, Los Angeles County

17 December 1971

- iS February 1972

Indianapolis, Indianapolis

13

March - 2

May

Museum

Collection

Woodner

Cambridge

Collection,

Master Drawings from

(checklist,

the

ma

Woodner

1985
Collection

with additional drawings not included

in

Malibu

and elsewhere 1983-5, by Konrad Oberhuber)

Cambridge ma, Fogg Art Museum, Harvard University

1 February - 31 March 1985

Museum of Art

1972

Woodner Collection, Vienna 1986

Die Sammlung Ian Woodner

Woodner Collection

11,

New York and elsewhere 1973-4

Old Master Drawings from

the

New York, William H. Schab

12 October

XV to the X VIII Century

Los Angeles, Los Angeles County

Woodner

Museum

of Art

Munich, Haus der Kunst

Woodner Collection, Malibu and

the Woodner
by George Goldner)

Master Drawings from

28 May -

Paul Getty

1986

Madrid 1986-7

Collection,

Collection

Museum

12 August 1983

Fort Worth, Kimbell Art

May

elsewhere 19835

Woodner

].

Sammlung

Woodner

25 March - 25

Malibu,

Munich 1986

Collection,

Meisterzeichnungen aus Sechs Jahrhunderten: Die

Ian

6 March - 14 April 1974

(exh. cat.

Albertina

Museum

- 17 February 1974

Indianapolis, Indianapolis

Sammlung

26 January - 2 March 1986

Gallery

- jo November 1973

14 December 1973

Vienna, Graphische

Dibujos de

los

sighs

XIV al XX:

Coleccion

Woodner

Museo del Prado

4 December 1986 - 31 January 1987
Madrid,

Museum

10 September - 13 November 1983

Washington dc. National Gallery of Art

18 December 1983 - 26 February 1984
Cambridge ma, Fogg Art Museum, Harvard University
1 February - 3 1 March 1985

Woodner Redon

Collection,

Munich 1986

Odilon Redon, 184.0 i<pi6: Meisterwerke aus der

Munich,

Museum

27 March - 8

Villa Stuck

June 1986

Woodner Redon

Collection, Jerusalem

igS^-d

Odilon Redon, Ian Woodner Collection

Jerusalem, Israel
3

Museum

December 1985 -

3 February

1986

Sammlung I.W.

ITALIAN

SCHOOL

Taddeo Gaddi

(or circle)

- Florence, 1366

Florence, c.1300

The most important pupil of Giotto (1266 or 1276-C.1337),

in whose workshop he was long active. His principal painted
works are the frescoes of Scenes from the Life of the Virgin in
the Baroncelli Chapel in S. Croce, Florence (after 1327). Other
decorations of his are in
S.

S.

Miniato, Florence (1341-2) and in

Between 1359 and 1366 he was

Francesco, Pisa.

member

Agnolo Gaddi continued

the Giottesque

Tree of

as the

To

centre of the drawing,

Mater

that of a

Studies of the Kneeling

have been drawn

Above

an Agony

comer angles

in the

in

the right, mori anno

laid

down on brown

spaces

made by

in relation to the rest of the

white paper, also

Cartouches inscribed,

brown

laid

down on

Garden

in the

The

on the

ink,

left,

the placing of the

and groups of studies on these three

studies

figure of the kneeling St Francis

Lignum

is

the only one of the

was given to Giotto by both the Anonimo

Vitae

Magliabecchiano and Vasari,^ and

401 x 206 mm.

fiorenti I no, and on

Maria

com-

the sleeping

Vision of St Francis in the Fiery

studies that can be connected with a surviving work: the

drawing are two

Giotto I

or, less likely,

in a

paper;

the backing:

i}}6, e sepol I to in Sta. I

these figures, in the middle of the

all of them seem to be by the same hand and to have come

from the same sketchbook, possibly even from the same page.

and other Figures

divided into three separate pieces and

in

conjunction and intended

but

The

cartouches

in

sheets taken together are not therefore related thematically,

Bnjsh and brown wash and white heightening, on green prepared paper,

narrower upper sheet

and on the

an angel. The angel and the seated

drawing, are three sleeping male figures, probably Apostles

Chariot.

of the

a draped, seated figure, possibly

is

is

panions of St Francis

two

generally

is

dolorosa at the foot of the Cross,

extreme lower right

in

filling

fresco

the right of the second study of St Francis, in the lower

for an Annunciation.

tradition of his father.

St Francis

The

Life).

accepted as by Taddeo Gaddi and his school.^

woman may

of the committee charged with the construction of Florence

Cathedral. His son

on the Cross

unquestioned

Taddeo Gaddi and

his school, first

remained

this attribution

until the nineteenth century.

The authorship of

advanced

twentieth

in the

I dei pore.

century,^

is still

accepted. Francis Russell has emphasised the

Ihe drawing - somewhat rubbed in parts and with some

old repairs - is made up of three separate sheets of paper laid

Woodner drawing for the knowledge of

methods of Taddeo. Until the sinopia, or underdrawing, beneath the fresco might prove to the contrary,
Russell suggests that Gaddi would have generally worked

down on

with drawings such as

importance of the
the working

an old backing decorated with two cartouches,

which bear inscriptions attributing the studies to Giotto, an

whom many

artist to

lectors.

It

early drawings

were ascribed by old

has been proposed that the drawing

belonged to the painter and famous biographer of

Giorgio Vasari

artists,

Libra de' Disegni (for

means

{q.v.),

and

Italian

may have come from

which see Cat.

certain since the decoration

col-

may once have

22); but this

is

his

by no

and ruled border do not

entirely correspond with those that appear

on pages unques-

tionably from the Libro.

Of
made

two

painted

work

drapery and
as are the

of Taddeo.

is

undulating

its

preparation of his works.

The decorative modelling of the

movement are typical of the artist,

physiognomies of the

and the general

effect of light.

Temple

of the Virgin in the

and Russell consider to be

hand from the

very different

the three sheets of paper from which the drawing

this for the

Both the style and technique show analogies with the

figures, their

in the Louvre,^

dramatic gestures

The drawing of the

copy

after

which both Ladis

Taddeo by another

fresco in the Baroncelli Chapel in

in

Presentation

Croce,

S.

handling. In the Louvre drawing the

tiny details are picked out with the utmost care

is

many

by

fine,

bottom seem to have been simply

cut and then rejoined. That they were originally adjacent to
each other can be judged from the continuity in the drawing
of the two figures on either side of the division. On the other

precise brushstrokes, while in the present studies the deeply-

hand, the upper sheet of paper does not carry on any part of

from Vasari's Libro

up, the

the drawing

at the

below

on the lower

right

it.

is

One

of the losses in the sheet of paper

filled

with an insertion drawn with a

fragmentary study of a woman's head, which bears no relation

to the figure to

which

man

in the

figure of a

it

has been added, namely the sleeping

centre of the drawing.

Once

the three

down on the backing, the decorative

would have been added and then the ink borders ruled.

modelled surfaces are drawn more broadly and are

a

way as

more

to achieve a

Ragghianti Collobi includes Cat.

de' Disegni, citing

support of her argument

of

mounting drawings

sheet contains studies for a kneeling St Francis:

of the complete figure are partial studies of his

sleeve and habit.

The study of
some

which

is

comer

of the drawing,

repeated with

is

the

whole

figure of the saint,

connected with the fresco

S.

Croce

of drawings

list

the use of the cartouches

a pattern in

The border

is

pages of the

and

this

it

drawn

usual for Vasari.

in fact typical of the

makes

Nevertheless,

the border are heavier and are

is

drawings which became widespread

tury,

Libro.

different

method

in the

of

mounting

seventeenth cen-

from Vasari's

practice, accord-

left

ing to which the framing lines always form a part of an

in the

architectural invention, usually serving to indicate planes

variations in the lower

former refectory of the Convent of

her

favour of such a provenance. The

in the

make up

the lines that

with a darker ink than

left

such

sheets symmetrically are certainly typical of Vasari's procedure

sheets had been laid

The upper

in

in

of restoring the losses and the desire to arrange the

volutes

to the

1 in

and the arrangement of the sheets of paper into

method

lit

sculptural effect.

in Florence, de-

picting the Lignum Vitae (St Bonaventura's vision of Christ

and to create
differ

spatial illusions.

The crudely-drawn cartouches

from the meticulously-wrought ornaments of Vasari's

ITALIAN SCHOOL

19

mounts.

soon

Many

after

reasons.

its

It is

of the pages from the Lihro were dismounted

much

dispersal, as

for

economic

possible that this drawing

up by Vasari and

that the person

keep part of the Vasarian'

style of framing

effect,

was

as for aesthetic

originally

who dismounted

it

made

tried to

intending to imitate the older

and ornamentation, yet without being able

to rid himself completely of the conventions of his

own

time.

Provenance: John Clerk, Lord Eldin (1757-1832); sale, Edinburgh, Winstanley and Sons, 14-29 March 1833, lot 225: 'nine various, early Italian
masters, Giotto,

etc.'; Sir

Archibald Campbell, 2nd

1848); Sir Hay Campbell, sale, London, Christie's,

Bt,

of Succoth (1769-

26 March 1974,

Exhibitions: Glasgow 1953, no. 41; Los Angeles 1976, no.

Collection,

Malibu and elsewhere 1983-5, no.

i;

2;

Woodner

Vienna 1986, no. i; Woodner Collection, Munich 1986, no.

Collection, Madrid 1986-7, no. 1.

lot 54.

Woodner

Collection,
i;

Woodner

Bibliography: Degenhart and Schmitt 1968, pt 1, pp. 68ff., no. 25, pt 3,

fig. 50 (as 'Florentine, c.1340'); Ragghianti Collobi
1974, p. 29, fig. 15;
1,

Russell 1984, p. 279; see also

Woodner

Collection catalogues.

Notes
1

Borsook 1980, pp.

of the

2 See

20

Woodner

42ff.; Ladis

1982, pp. i7iff., no. 23 (without mention

drawing).

Degenhart and Schmitt 1968,

Venturi 1901-40, V (1907),

Paris,

p.

i,

pt

i,

p.

69, no. 2.

545.

Louvre, inv. no. 222; see Berenson 19O1, no. 758.

ITALIAN SCHOOL

Fra Angelico

(?)

Vicchio di Mugello, c.1400

Pupil of Stamina

- Rome, 1455
1387-1409/13) and

(/7.

Lorenzo

assistant of

Monaco (1370/2-1422/5); he was probably trained as a

painter of miniatures. Aged twenty years, he joined the
Dominican Order at Fiesole. At the command of the Order
lived at Foligno

between 1409-14, and

at

Cortona

he

until

1418; afterwards he returned to Fiesole. In 1436-45 he

painted the fresco decorations of the Convent of
Florence. After 1445 he lived in

Pope Eugenius

Rome

1447 he was

iv; in

S.

Marco

in

at the invitation of

installed at

Orvieto and

in

1449-52 he returned to Florence as prior of S. Marco. He

went back to Rome in 1452 and painted the famous frescoes
of the Chapel of Nicholas v in the Vatican.

Illuminated Letter with a

Procession of Children
Tempera on vellum,

ihere

is

the background of burnished gold:

218 x 208 mm.

an undeniable connection between

illuminated

initial

and

splendid

this

works by Fra Angelico of the

certain

1420s and 1430s. The quaint figure types, the general

late

compositional arrangement, and the combination of the

ent pastel shades of colour

works of the period

all

artist

find their parallel in such

as the predella panels of the so-called

The

Linaiuoli tabernacle of 1433.'

the

differ-

has exploited

way

individual

documented miniatures date from 1446 - and it is

preferable to regard the second hand as that of an unidentified
his first

assistant of Fra Angelico'.^ In

different in style

any

case, the present

from the schematic,

employed by

this unidentified assistant

Fra Angelico's

work

in the

example

less plastic

and

is

is

treatment

far closer to

same manuscript.

which

in

expressive potential of the

the

hands and varied what might otherwise have been

monot-

by the movement of the

arms and the sway of the drapery are devices that would be
expected in the authentic work of the master. Particularly
onous sequence of upright

Angelico

characteristic of Fra

pink and blue

in

figures

is

the juxtaposition of the light

the scrollwork surrounding the

initial

of the gold ground, with

own

brilliant quality

its

O. The
delicate

tooling, should not be overlooked.

Cat. 2 has been attributed in the past to Zanobi Strozzi

(14121468), a pupil of Fra Angelico.

artist

have been made,

less

ticular artistic personality

Many

attributions to this

from the desire to define

than to rid the

name

his par-

of Fra Angelico

do not fit in with some predetermined

But from what little is known of Strozzi's

of 'peripheral' works that

notion of his style.

development,

it

was only from the middle 1440s

that Fra

Angelico's influence exerted a strong effect on him. Before

that he

1446),

had trained under Battista Sanguigni (1392 -after

whose

style

is

markedly

assisted Fra Angelico his

different.

work

When

reflects a later

Zanobi Strozzi

moment

in

the

at S.

Marco

in

work

known from a
1428-30."' Some

as a miniaturist

Florence, datable

is

Missal
of the

miniatures are by a second, weaker hand and although

been suggested that

this artist

may have been Zanobi

it

has

Strozzi,

by no means certain since, in the words of Pope-Hennessy,

'we have no evidence for Strozzi's style at so early a time this is

22

ITALIAN SCHOOL

Sir

Herbert

Jekyll.

Exhibitions:

Woodner
1986, no.

master's development and not that of a decade earlier.

Fra Angelico's

Provenance: Samuel Woodbum, sale, London, Christie's, 25 May 1854,

lot 982; H.G. Bohn, sale, London, Christie's, 23 March 1885, lot 535;

Woodner

Collection, Malibu and elsewhere 1983-5, no. 2;

Collection, Vienna 1986, no. 2;

2;

Woodner

Collection,

Woodner

Madrid 1986-7, no.

Collection,

Munich

3.

Bibliography: see Woodner Collection catalogues.

Notes
1
The panels represent St Peter Preaching, the Adoration of the Magi and
Martyrdom of St Mark; see Pope-Hennessy 1974. pls 29-31.
2

Pope-Hennessy, pp. 9-10, 191,

111,

pp. 1-38.

3 Pope-Hennessy, p. 10.

pis 13, 14; Berti

1962-3,

11,

the

pp. 277-98,

Giovanni Badile
Fl.

(?)

Verona, 1447-78

Boy

Portrait of a
Pen and

brown

light

on cream paper: 207 x 153 mm.

ink,

brown

Inscribed at upper centre, in

Ihis beautiful portrait

portrait

drawings made

fifteenth century.
simplicity.

Yet

in Profile

The

is

in

ink, 2 / joane badille qual fu prete.

one of the

number

finest of a

of

Verona around the middle of the

overall formal structure

of the utmost

is

presumably also by the

Giovanni, or was there a con-

first

temporary by the same name

who was

not only a painter but

also a cleric?

of this almost naive purity of conception,

in spite

the portrait reveals a subtle and sympathetic understanding

of the psychology of the

expression -

shown

in the

the slightly

wide-eyed

downward

sitter.

convey

difficult to

The touching sadness of

seen in profile - is

in a face

stare, the

unsmiling mouth and

in

angle of the head; even the placing of

the head and shoulders in relation to the rest of the sheet,

with the wide expanse of surrounding space seeming to press

down upon

them, reinforces a sense of

of the line

is

outstanding, and

in the hair

and

face,

sketched

in the
in to

its

fragility.

The

quality

beauty can be seen especially

drawing of the shadow to the

left

of the

enhance the silhouette and to give greater

force to the lighting of the flesh.

This drawing formed part of an album that appeared

thirty years

ago on the London

which were dispersed. For long

art

some

market, the contents of

in

the possession of the

Moscardo family of Verona, the album had probably once

belonged to

a painter called

Antonio,

who

inscribed the date

1500 on the cover. This Antonio was almost certainly

Antonio Badile (1424-C.1507), son of Giovanni Badile the
^

who is known to have had six sons

documented by name.
Many of the works contained in the album were drawings
by Badile, thirteen of which bear the name of Giovanni; one
of them is now in the Art Institute of Chicago.^ The album
included a number of portraits, specifically designated as the
work of Giovanni Badile the second, who was a cleric.
Documentary evidence exists of a Giovanni Badile, nephew
of Antonio Bartolomeo,' and the inscription on this drawing,
Elder (1379 after 1447),

from two marriages,

qual fu prete ('who

all

was

a priest') implies that this

was already dead in 1500, the year the album is

The style of the drawing, as well as the
clothing of the

sitter,

place

it

in

Giovanni

dated.
hairstyle

and

the middle of the fifteenth

century, whereas the shorter hair in the Chicago portrait

portrait in the
in

the

is

closely based

on the donor

polyptych with the Virgin and Child with Saints

Museum

at Castelvecchio,

Exhibitions:

Woodner

Woodner

Verona. The delineation of

1986, no. 4;

Woodner

mouth

although neither the hair nor the clothing

polyptych bears the signature jo/;cs

Imili

and

is

Byam Shaw

Notes
1 The album, which

is

are similar,

the same.

one of the secure works of Giovanni Badile the

Elder.'

as

The

today considered

Thus

Collection,

1983,

mistake

24

in his

Antonio make

annotations on the pen portraits, which are

ITALIAN SCHOOL

Collection,

Munich

no. 5.

p.214, n.i; see also

1,

is

'a

is

is

preserved

still

discussed in

small xvith-century

album

in

Woodner

Collection

the Lugt Collection, Institut

Byam Shaw
in -8"'.

The

1983a, where
full

it is

inscription

Cavazzocca Mazzanti 1912,

5 Brugnoli 1974, pp.

6 Brugnoli,

fig.

50.

75-82,

McCullough 1979,

p. ii.

fig.

in

52.

works by

Pisanello.

no.

described

on the cover

also transcribed here.

2 Venice 1966, no. 26A; Joachim and

4 Cf. the haircuts with those seen

the following question arises: did the painter

Woodner

Madrid 1986-7,

catalogues.

Neerlandais, Paris,

the profile and the outlines of the eyes and

Collection, Malibu and elsewhere 1983-5, no. 4;

Collection, Vienna 1986, no. 4;

Bibliography:

suggests an earlier date, between 1430 and 1440.''

The Woodner drawing

Provenance: probably Antonio Badile the Younger, Verona; Moscardo

family (Lugt S. 2990 ); sale, London, Christie's, 6 July 1982, lot 20.

1.

Luca Signorelli
Cortona, 1450

The

- Cortona, 1523

pupil of Piero della Francesca (1410/20-1492), with

whom he worked at Arezzo.

1476-9 he painted

In

in the sacristy of the basilica at Loreto,

recorded as being

work on two

at

and

1481 he

in

thereafter active in

Cortona and Citta

At

in

the end

Orvieto Cathedral,

Damned,

Resurrection

scenes of this scheme.

A first contract was signed in

most famous works and the

movements

in

They

1506.

and

figure types

probable that the

Woodner study was

in fact

drawn

in this

connection. However, the drawing has been indented for

regarded the

transfer, a process that implies that the artist

and Paradise are the principal

and the frescoes were completed

of the devils in the Damned,^ another scene in

same chapel, have long curly locks or horns above their

ears and some have either bat or bird wings on their backs.
Even though no corresponding head occurs in the fresco, it
is

left

incomplete over half a century before by Fra Giovanni. The

Antichrist,

On the other

the

of the century he accepted the commission to complete the

decoration of the Cappella Brizio

many

hand,

is

He was

di Castello.

the fresco in the area

in

surrounding the figure singled out by Berenson.

frescoes of the Stories

of Moses for the Sistine Chapel in the Vatican.

do not occur

hair to the right

frescoes

arrangement of the forms as more or

That the head

1499

are Signorelli's

their energetic

influenced Michelangelo's decoration of the

ceiling of the Sistine Chapel.

may be

less

complete.

some remove,

connected, albeit at

with the fresco of the Damned receives further support from

the figure studies

on the verso of the

sheet,

recently revealed

when

was

backing.
right

the drawing

One of the figures,

arm apparently

away from

seen from the

which were only

from

lifted

its

old

moves with his

who moves

rear,

raised against a second

him. Similar figures appear in the foreground of

the Damned. There are also indications of the foot, leg and

Head and Shoulders of a

Youth Gazing Upwards
to the Left (recto) and
Two Nude Figures (verso)

buttocks of a third figure lying on the ground.

Signorelli's

medium

drawings were made almost exclusively

of black chalk, and their directness of

reflect the practice of

his

drawing employed

in the

in the

manner may
workshop of

master Piero della Francesca. They are unusually rough

in

handling and have an almost deliberate lack of charm, a result

of the energy and determination with which the artist drew.

on brown paper, the outlines indented with a stylus:

217 X 173 mm. Some losses to the sheet at upper right, and both upper
comers trimmed diagonally.

Blaci< chaiic

erenson was inclined to connect the study on the recto

with the head of a youth

large-scale,

in a

group of three

figures in the

many-figured Resurrection, one of the scenes

the famous cycle of frescoes painted

by

in

Signorelli in the

Cappella Brizio in Orvieto Cathedral in 14991506.' Even

if

he

was somewhat uncertain as to the precise relationship, he

had no doubt that the study was drawn for the Orvieto
frescoes.^ Tietze followed Berenson's opinion regarding the

drawing's general purpose and supported, with greater conviction, the particular connection.
In

the fresco the groups of resurrected

naked, though

some

are

shown

as skeletons,

from the ground; they gaze upwards

in

mostly

spirits,

have

just

emerged

wonderment

at the

heavens. The group of three figures to which Berenson refers

appears

in the left half of the fresco,

the left-hand trumpeting angel.

head upturned to the

behind the other two

left,

Provenance: A.G.B. Russell

22

May

1928, lot 89;

De

(see

Lugt

S.

2770^), sale, London, Sotheby's

Clementi; John Nicholas Brown.

under the right foot of

The youth

Exhibitions: Philadelphia 1950-1, no. 19; Cambridge

is

seen with his

Hartford-Hannover nh 1973-4, no.

ma

1962, no. 32;

1.

standing to the right and slightly

figures,

with

his

hands across

his chest.

Bibliography: Berenson 1938, 11,

1947, p. 44, no. 22; Berenson 1961,

p.
11,

334, no. 2509F,

p.

564, no. 2509F,

111,

fig.

in, fig.

94; Tietze

99.

Close inspection of the drawing shows that the youth

seems to have long pointed

wings of a bird or
hair.

a bat,

ears,

somewhat resembling

the

behind which appear his locks of

This anatomical abnormality, hardly befitting a soul

Paradise,

is

Notes
1 The
p.

left,

which

is

partly obscured

In addition, the lines

below the

1.

by an area of

right ear

and the

shape that could possibly be a loop of ribbon or a strand of

26

ITALIAN SCHOOL

reproduced by Dussler 1927,

fig.

woman

98. See Berenson 1938,

[the figure in the fresco

male] embracing another man, just under the

damage.

is

forming a group with

in

particularly noticeable in the figure's right ear,

but less so in his

fresco

11,

334, no. 2509F, where he notes: 'probably for the head of a youth

in

r.

is

apparently

foot of trumpeting angel

the fresco of Resurrection'.

The connection had already been noted by Tancred Borenius

Sotheby's sale catalogue of 1928.

3 Dussler, figs

100-3.

in the

^iiS;'-

"'

^
y

=^:

,-^..
^',-

^m^r^f-'^

'm^^^i-S

%f-%
^.

Pietro Vannucci, called Perugino

Citta della Pieve,

The

c.

1448 - Perugia, 1524

exponent of the Umbrian

principal

style of painting, in

which the influence of some contemporary Florentine work

is clearly apparent. He may have been trained under Piero
della Francesca

of

Andrea

(1410/20-1492).

He was

a pupil in Florence

1473 he painted
Perugia, probably in

del Verrocchio (c.1435-1488). In

the Scenes from the Life of St Bernard in

collaboration with Pintoricchio (c 1454-1513).

A good

In

{c.

the Cathedral

begun by

Signorelli

Raphael

He was

the teacher of

is

combined with

the structure of the figure. In this example

much

attention

have been determined by the drawing's function.

It

would be

natural for the artist in a finished portrait such as this to

modify the working methods normally used

and studying separate

A certain

figures

for planning

and groups of

present drawing and the

two

children seen

the extreme right of the Baptism of Christ painted

for the Sistine Chapel.^

com-

figures.^

may be observed between

similarity in type

These

figures

the

on

by Perugino

have attracted

attributions. Scarpellini divides the Baptism

different

among

various

hands: Perugino, Pintoricchio, other helpers, as well as Andrea

whom

d'Assisi, called L'Ingegno, to

(q.v.).

a strong emphasis

paid to surface quality and details. This approach seems to

sitter in the

1441/50-1523). In the same year he painted the Vision of

St Bernard (Alte Pinakothek, Munich).

is

the

1489 he transferred to Orvieto to complete the decoration

in

upon

positions

example of Perugino's mature work is the Christ Handing

Keys to St Peter in the Sistine Chapel in Rome, of 1480-2.
of the Cappella Brizio

and vigorous handling

he attributes the youths

Vasari claimed L'Ingegno

in question.

was one

of the

most

talented of Perugino's assistants. According to other opinions,

however,

Youth

Portrait of a

it

whole of the Baptism

likely that the

is

is

by

Perugino."

Metalpoint, heightened with white, over black chalk, on pinkish-grey

mm.

prepared paper: 252 x 193

Inscribed on the back of the old mount, probably in the hand of

Maria Zanetti,
di

sua propria

in

brown

mano,

ink, Ritratto di Raffaele

quando

d'Urhino

Antonio

giovane

I tutto

era in I scola di Pietro Perugino I suo

Maestro.

V V hen

drawing was

this

in the

possession of the eminent

eighteenth-century Venetian collector Antonio Maria Zanetti,

it was attributed to Raphael and believed to be a self-portrait,
done when the young artist was in Perugino's workshop. It
is easy to understand the reasons for this somewhat fanciful

type

identification: the facial

portraits of the

young

not unlike that of the

is

Raphael,' and the youthful expression

agrees with those of so

many

Umbrian

upward gaze

to

show

sitter's

self-

period. But the

figures painted in the artist's

of the sitter

is

enough

in

such works the

eyes invariably stare intently outward

at the spectator

that this

is

not a self-portrait, for

Provenance: Antonio Maria Zanetti (1680-1757), Venice; Kupferstichkabinett, Darmstadt; Robert von Hirsch (18831977), Basel, sale, London,
Sotheby's, 20 June 1978, lot 22.

as the artist confronts himself in the mirror.

1917 Fischel gave the drawing to Pintoricchio and

compared it to two painted portraits, then also considered to
In

be by

the master, one

Washington

dc,

now

in

and the other

the flurry of research

the National Gallery of Art,

in the

Dresden Gallery.^ With

on Umbrian painting prompted by the

quincentenary
tation as a

in 1983 of Raphael's birth, Pintoricchio's repudraughtsman became somewhat eclipsed. Several

Exhibitions:

Woodner
1986, no.

to the

sheet

his,

young Raphael. It is
shows little stylistic

were given

Fischel

in

the British

Museum.'

same refinement of

line

1917,

certainly the case that the present

similarity to Pintoricchio's
is

ITALIAN SCHOOL

Madrid 1986-7,

6;

Munich

no. 6.

p.

203, no. 111,

fig.

278; Fischel 1928, no. 12; see also

Notes
1

Raphael's early self-portraits include a drawing in the British

inv. no.

1860-6-16-94 (Pouncey and Gere

certainly, a painting at

In

some

work

see

^^ampton Court,

1962, no.

inv. no.

1),

Museum,

and, almost

278 (Shearman 1983,

this

finish.

differs in

many ways from

in

painting

is

included in Rusk Shapley 1979, no. 405, where

attributed to the Master of Santo Spirito. For the Dresden painting,

Menz

1962, pp. 90-91.

most recently

Woodner

at the

The present

the style
a free

in

Madrid 1986-7.
1-26 (Popham and Pouncey 1950,
Collection, Madrid 1986-7.
Inv. no. Pp.

A comparison
is

of the

Woodner drawing

discussed

in

is

discussed

the catalogue of the

Scarpellini 1984, p. 78, no. 31, figs

Ibid.

no. 191); see

Woodner

with certain works by Perugino's

Michael Miller's entry

Collection catalogues: Vienna 1986,

which

attribution of these

beginning of the entry

Collection,

respects this shares the

and high degree of

The Washington
it is

undoubtedly to

comparable study has been noted

of Perugino's generally-accepted drawings,

28

Collection,

1983-5, no.

Collection,

Collection catalogues.

followers

The Woodner drawing

Woodner

Woodner

pp. 2o8ff., no. 217).

be preferred. Although few finished portrait drawings of

exist, a

5;

Woodner

either to Perugino or

and the alternative attribution to Perugino

type by Perugino

Collection, Malibu and elsewhere

Bibliography: Schonbrunner and Meder 1896-1908, v (1901), no. 552;

drawings, which Fischel had attributed to him and which had

long been accepted as

Woodner

Collection, Vienna 1986, no. 5;

in

the following

Woodner

Munich 1986 and Madrid 1986-7.

44-5.

Leonardo da Vinci
Vinci,

1452 - Amboise, 1519

Pupil of

Andrea

worked

in

del Verrocchio

(1433-1488)

where he was given the chateau of Cloux, near

of Western

art,

similar

known and

head to that of Cat. 6 already occurs,

work of Quinten Massys (1465/6-1530),

demonstrating that such drawings, or copies from them, had

and more drawings have

survived from his hand than from that of any other

copied.

for example, in the

to settle in

Amboise. Leonardo was probably the greatest draughtsman

in the history

Leonardo's drawings of grotesques were widely

much

Florence and Milan for most of his career, but

C.1516 accepted an invitation from Francis

France,

He

in Florence.

reached Northern Europe within the

teenth century.^

head appears

of

artist

is

An

early

first

quarter of the six-

drawn copy in which the Woodner

Museum.' Many of the grotesques

in the British

were engraved. The best known

series of prints after them is

by Wenzel Hollar {xdoj-id'j'j), the Czech printmaker
who was active mostly in England." This series was probably

the Italian Renaissance.

that

made when

Grotesque

example derives was

Head of an

ink;

Arundel.

grotesque heads with that of the carefully executed studies

in

Anatomical MS

nearly
Pen and brown

in the collection of the Earl of

Clark compared the technique of the Chatsworth group of

Woman

Old

the group of drawings from which the present

Sforza.

It

Windsor

Castle,

and suggested that

of the finished grotesque drawings of this type

all

were made

64 x 52 mm.

B at

in

Milan while Leonardo was

in the service of the

seems that the small-scale caricatures were conceived

Museum copy is to be believed, the

Woodner drawing is a drawing of a man with

in pairs. If the British

Thhis

is one of four caricature or grotesque heads sold in

1984 from the collection of the Duke of Devonshire at
Chatsworth; they formed part of a larger group of such

drawings, the remainder of which

in the

is still

pendant to the

an aquiline nose, also toothless,

still

Chatsworth.^

at

possession of

the Devonshire family.

Leonardo was the

series of

first

to

Italian artist

make extensive

drawings of grotesques. They arose from

physical abnormalities,

in certain

itself a

his interest

by-product of

his

anatomy and profiles. The grotesques

do not appear to have been conceived to raise a laugh by
means of the distortion of a particular individual's features as were later caricatures from the end of the sixteenth and
fascination for drawing

the beginning of the seventeenth centuries.

The

artist

resulting

was

particularly interested in facial deformities

from edentulism or toothlessness, especially

elderly.' In this condition the

face

lost

is

and either the bottom jaw protrudes beyond the

top or the top overlaps the bottom.

that

in the

normal structure of the lower

It is

this latter

malocclusion

represented in the present example, which shows the

is

characteristic enlarged

upper

lip,

receding chin and abnor-

malities in the musculature of the neck

from the change

and cheek, resulting

in the usual position of the jaws.

There

is,

of

humour in this hideous visage. The absurdly

downturned mouth is compensated for in formal terms by
course, a trace of

upwardly-pressing corseted breasts and the upright

the
(?)

carnation standing between them. Equally ironic

juxtaposition of the hag-like features with the

is

woman's

the

elab-

orate coiffure, veil and stylishly cut dress.

Most

of the grotesques

the artist's

some
some

are

first

seem

They vary in type:

more carefully finished;

stay in Milan in 1483-99.

drawn

freely while others are

are large in scale while others, such as the present

example, are miniature. In spite of their traditional attribution,

the Chatsworth group of caricatures

accepted as Leonardo by the

have

late

was somewhat

Lord Clark,

disliked the careful finish with

reluctantly

who seems

to

which most of them are

drawn.' However, they have been accepted with more conviction

30

by other

specialists.'

ITALIAN SCHOOL

then by descent, Chatsworth

Earl of Arundel; Nicolaes

Duke

Anthonis Fiink

of Devonshire (1672-1739);

(inv. no. 820b), sale,

London,

Christie's, 3 July

1984, lot 23.

Woodner Collection, Cambridge ma 1985, no. 77 (checklist

Woodner Collection, Vienna 1986, no. 6; Woodner Collection,
Munich 1986, no. 6; Woodner Collection, Madrid 1986-7, no. 7.
Exhibitions:

only);

Bibliography: Venturi 1939, v, p. 7, no. 212; Popham and Pouncey 1950,

under no. 1 19; Gombrich 1976, p. 67, fig. 152; see also Woodner Collection
catalogues.

Engraved: Caylus 1730, no.

have been drawn during

to

Provenance: Thomas Howard,

(Lugt 959); William Cavendish, 2nd

6.

Notes
1

This

Ibid.,

is
I,

observed

in

Clark and Pedretti 1968,

i,

p. xliii.

p. xliv.

3 For example,

Popham and Pouncey

1950,

p. 73,

under no. 119.

4 See the portrait of a grotesque old woman, sometimes identified as

Margaret, Duchess of Corinthia and Countess of Tyrol,

Massys in the National Gallery, London

5 Popham and Pouncey 1950, no. 119.
copy

after

known from

(inv. no.

the

5769).

6 See Pennington 1982, pp. zjzd., nos 1558-1610B. The original edition
of the series

was

printed

in

Antwerp

in

1645.

7 Inv. no. 822c. For the pairing of the caricature heads, see previous

Woodner

Collection catalogues.

Vittore Carpaccio
- Capo

Venice, 1455/65

d'Istria(?),

His early training was

1525/6

workshop of Gentile Bellini

1507 he worked with Giovanni Bellini
in the

1429/30-1507); in
(c.1430 1516) on the decoration of the Doge's palace
(c.

Venice.

The

series of paintings of the Legend of St Ursula,

(Venice, Accademia),

14905
principal

work

is

is

his early masterpiece, but his

the cycle of paintings for the Scuola di

Giorgio degli Schiavoni, carried out

St Jerome in his Study

in

scenes from the

and St George Slaying

Life

of the Virgin. After

great series for the Scuola di

S.

150111: among others,

the Dragon. In

he began the paintings for the Scuola degli Albanesi:

last

in

1504

six

1511 he worked on one

Stefano, which includes

S.

The Dispute between St Stephen and the Doctors (Milan, Brera).

The Virgin and

Tour Other Women
Pen and brown

1 his

fine

style of

grey wash, on cream-coloured paper: 141 x 161

ink,

example of Carpaccio's simple yet extremely

drawing

of fioly

is

Women

mm.

forceful

almost certainly connected with the group

but Muraro has recently proposed that

The Woodner drawing

that appears to the left of the altar in a

in the Ufifizi, Florence.^ Although

do not occur in the same relationship, there is a
general resemblance between the two groups, particularly in

should be placed

it

c.1505.^
elaborates the

The

more simply conceived

drawing of the Circumcision

figures of the Uffizi drawing.

the figures

developing the rapport between the figures and has omitted

the forward

movement

to the right,

which seems almost

Woodner

hurried in the case of the figures in the

sheet.

Some

of the individual figures are nearly the same in pose, for

example the

figure of the Virgin at the front of the group.

the right of the

Woodner

advancing to the

left

sheet

is

a study of a

to

be an early idea for the pose of the priest

arms

in the Uffizi

to look with concern at the figure at the

much
would appear

painted compositions.

who

acts as a repoussoir in

The woman behind the Virgin in the

Woodner drawing unites the group by extending her right
hand to the Virgin's waist as she turns at the same time
on the upper

with his arms held out, drawn to a

who

has concentrated on

the Uffizi drawing.

nude old man,

smaller scale than the rest of the figures; this

Infant Christ in both

On

the kneeling girl with a long plait

artist

the figures

is

right arm. This sense of

a feature of

many

who

left

taps her

communication between

of the groups in Carpaccio's

holds the

drawing.

As a draughtsman, Carpaccio was much influenced by the

work of Mantegna and Giovanni Bellini. The almost geometrical
simplicity and solidity of the marionette-like figures and the
angular penwork with its sudden short, sharp strokes derive
largely from these sources. Compositionally, his arrangement

of figures harks back to the earlier conventions of Gentile

Bellini,

but the pictorial sense Carpaccio achieves in his

drawings

is

entirely his

own. The

practice, seen here,

drawing some of the figures partly nude

the
in

in

of

Provenance: unknown.

order to understand

anatomy before adding the drapery was already common

Woodner Collection
New York and elsewhere 19712,
Woodner Collection, Malibu and elsewhere 1983-5, no. 8.

Exhibitions:
no. 26;

i,

Florence in the fifteenth century.

Bibliography: Muraro 1977,

Some

critics

have argued, somewhat unconvincingly,

of a connection

between the

Uffizi

of Christ in the Temple in the

from which

seems more

was never

it

differs

drawing and the

it

is

favour

Presentation

in

a study for a

carried out or has not survived.

every respect.^

It

ITALIAN SCHOOL

to

have been

pp. 44f.
first

The connection between

observed

in

Woodner

the

two drawings seems

New York and

Collection

1,

elsewhere 19712.
2

The

Presentation

is

described by Lauts 1902,

p.

250, no. 79. For the

different opinions regarding the possible connection

work which either

Most scholars have

dated the Uffizi drawing around t5to, or shortly thereafter;

3-2

Notes
1
Muraro 1977,

Accademia, Venice, dated 1510,

compositionally

likely that

in

p. 85.

between the

Uffizi

drawing and the painting in the Accademia, see the discussion of the
Uffizi drawing, Muraro, pp. 44f.
5

Muraro, pp.

44f.

Vittore Carpaccio
Venice, 1455/65

- Capo

cl'Istria(?),

1525/6

Groups of Figures

Studies for

and Sketch for

(recto)

the

Martyrdom of the Ten

Thousand Christians (verso)
Red

chalk:

211 x 296 mm.

A, Lauts was the

LS

first

on the recto

to observe, the figures

Sermon of St Stephen,

are for the audience in the

Louvre, one of a series of pictures

in a cycle

Carpaccio between 1511 and 1514 in the Scuola

now

in the

by

painted

di S. Stefano.^

The poses have been studied from garzoni, or studio models,

clothed in contemporary dress. The artist has not bothered
to vary their costumes, for his aim was to establish the poses
and to clarify the stances of the figures. The groups do not
occur in the same relationship in the finished work, in which

of

The

on the

three figures

on the

identical poses

left

markedly

different function, the verso differs

from the recto

studies,

which are

the composition drawing

rapidity and

is

The

The

Christians are

is

in

handling

by

contrast,

sketched with great

is

highly abstract in conception

an entirely different solution and

in format.

carefully drawn;

on the verso

are typical of a prima pensiero.

qualities that

final result in fact

shows

vertical instead of horizontal

shown

tied to trees instead of

crosses and the groups of figures to the

left

and right include

corpses of the martyrs, and horsemen.

Lauts dates the sheet around 151314.

the figures are differently clothed.

all

its

of the sheet appear in nearly-

of the painting as orientals with

left

long exotic robes, two of them wearing turbans: the one on

the right of the group, turbaned and bearded,

hands placed behind

back

his

in

exactly the same

corresponding figure of the youth

become, from

young man with stockings and

similarly slightly inclined to the

left;

of St Stephen

(who

behind and to the

to right, a

long cloak, whose head

a

man

is

with a long cloak

of a

on the

figures appear

left),

right

slightly

group of seated women.

In the

on
where the third figure rests
hands on the shoulders of the second. The solitary figure

painting the middle figure places his hands

of the
his

left

stands on a pedestal to the

left

as the

a bearded oriental with a turban,

These three

also with a long cloak.

way

drawing. The three

in the

figures in the centre of the sheet

and exotic headgear; and

has his

still

on the

first,

the shoulders

unlike the drawing

right of the

drawing appears to be

a female pilgrim in

drawn above this last

complete with staffs, on the extreme

the painting, while the three figures

Provenance:

become

sale,

three pilgrims,

Of the

Gaines,

with scenes from the

five pictures

di S. Stefano,

dispersed in different collections.

most important
of painting had

later

one

They
if by

works. Even

become

little

is

life

lost

are
this

among

rest are

Carpaccio's

time his technique

new monumental
him - none the less

something of Giorgione's influence may be detected

in the

more realistic lighting and brighter colours of these works.

The composition study on the verso has been accepted,
almost without exception, as an early idea for the Martyrdom
of the Ten Thousand Christians on Mount Ararat, formerly in

34

ITALIAN SCHOOL

sale,

New York,

P.

Heseltine (Lugt 1507);

July

Henry Oppenheimer,

1936, lot 52; Robert von Hirsch

London, Sotheby's, 20 June 1978,

Sotheby's, 17

November

1986, lot

John

lot 19;

R.

7.

Exhibitions: not known.

Bibliography: Colvin 1897,

(verso),

now

in

the

work generally dated 1515.^ Because

286

(recto);

1913-14, nos
p. 70, pi.
p.

CLXX

6,
a,

Meder

7;

p.

194;

Ludwig and Molmenti 1906,

1919, pp. 288f.,

von Hadeln 1925,

b (2nd edn 1931,

p. 84);

pi.

97

pp. 284

(verso); Vasari Soc,

Fiocco 1958,

p. 33;

Lauts 1962,

p.

ix,

37-8; Fiocco 1930,

van Marie 1923-38, xviii (1936),

pp. 58?., pis

345; Tietze and Tietze-Conrat 1944 (reprint 1970), no. 623 (verso),

xviii;

pi.

265, pis 163 (recto), viib (verso);

Venice 1963, pp. 250-1, under no. 54; Pignatti 1963, p. 53; Muraro 1966,
p. 107, pis ecu, cciii; Cancogni and Perocco, 1967, under nos 56, 61;

Muraro 1977,

pp. 27L, figs 52, 61.

Notes
1

the church of Sant'Antonio di Castello and

a

sale,

J.

10-14

of the saint that

and the

outdated - the

style of Titian being largely alien to

Accademia, Venice,

Christie's,

(1883-1977), Basel,

right of the composition.

decorated the Scuola

Earl of Sunderland;

London,

Lauts 1962,

p.

2 Lauts, p. 265.
no. 81, pis

265.

The Louvre

The

painting in the Accademia, Venice,

179-81.

painting

is ibid.,

p.

236, no. 27,

is ibid.,

pi.

159.

pp. 25of.,

8 verso

.JU.^^'iW. ;..-. .>'T^ .^^.

Filippino Lippi
Florence,

(?)

1457 -Florence, 1504

Son of the painter Fra Filippo Lippi {c.i4o6[l]-6g), he was

trained by his father. From 1472 he is mentioned as being in
the workshop of Sandro Botticelli (q.v.) and as a member of
the Compagnia of S. Luca. From 1488 to 1493 he lived in
Rome, but continued to work in Florence. His principal
works are the frescoes of the Life of Si Peter in the Brancacci
Chapel of S. Maria del Carmine in Florence, where he
completed the cycle begun by Masolino (c.i383-after 1432)
and Masaccio (1401-27/9), and the frescoes
Chapel

in the Strozzi

Maria Novella, Florence, of 1487-1502.

in S.

Design for an

Ornamental Structure
Pen and brown

on cream-coloured paper: 165 x 253 mm.

ink,

he old attribution to Filippino Lippi has been almost

unanimously accepted,^ The object depicted on

this sheet

is

not easily identified. Berenson suggested that

might be

'a

thought, modified

first

altar

in the

it

execution, for the top of the

the fresco of the Strozzi Chapel in Santa Maria

in

Novella, Florence, representing St Philip exorcizing'. Loeser,

on the other hand, proposed

that

was

it

study for

'a

processional chariot such as Filippino and his contemporaries

were employed
in

Florentine

The

to design,

and which formed a chief feature

festivals'.'^

style has

been compared with that of Filippino Lippi

of the period of the Strozzi Chapel (14941502), although

the drawing seems not to be as closely connected with this

The fascination
renewed interest

decoration as Berenson was inclined to believe.

for

complex

classical

in the antique

ornament

reflects the

which was so much

a feature of Italian painting

was stimulated

of the very end of the fifteenth century and

by

the then-recent discovery of the grottesche painted in the

Domus
the

aurea in

Rome, constructed

in the first

century bc for

Provenance: Sir J.C. Robinson; John Malcolm (18051893); the Hon.

Alfred Gathorne-Hardy (d.1918); Geoffrey Gathome-Hardy (1878-1972);
the Hon. Robert Gathome-Hardy (1902-1973), sale, London, Sotheby's,
28 April 1976, lot 10.

- Oxford 1971-2, no. 22; Woodner Collection, Malibu

5; Woodner Collection, Vienna 1986, no. 9;
Woodner Collection, Munich 1986, no. 9; Woodner Collection, Madrid
Exhibitions: London

and elsewhere 1983-5, no.

1986-7, no.

12.

Emperor Nero.
Bibliography: Robinson 1869, no. 399; Gathorne-Hardy 1902, no. 41;
Berenson 1903, 11, no. 1348; Berenson 1938, 11, no. 1353a; Berenson 1961,

The

structure

is

divided roughly

solutions, with that

Its

form

is

on the

in half to

essentially that of an ornamental base, possibly

intended as a candelabrum, or pagan

Roman

show two alternative

right the less resolved of the two.

altar.

The

figure of a

bowl of flames stands at the very

putto seated on the scroll below and to the left

soldier holding a

top, while a

raises aloft a torch in

stands at

An

both hands.

the corner to the

left,

ornamental torch also

apparently drawn over

another figure of a seated putto also holding a torch. Further-

more, what appears to be an elaborate candlestick

is

drawn

just to the right of centre in the right-hand section of the

central panel.

Not

all

the figures carry torches, however:

on

the upper level, the seated figure to the right of the soldier

is

evidently playing a musical instrument, while those seated

or standing at the lower level, with one exception, hold what

seem

36

to be large maces; in addition

ITALIAN SCHOOL

one of them holds

a shield.

II,

no. 1353a; Scharf 1935, pp. 131, 147, no. 325;

no. 36;

Shoemaker 1975,

p.

i,

London 1973c, under

375, no. 114; see also previous

Woodner

Collection catalogues.

Notes
1

In the catalogue,

Woodner

Mena Marques,

it

Collection, Madrid 1986-7, edited by Manuela

was proposed that the attribution to Filippino should
be reconsidered on the grounds that the technique and style are not
entirely consistent with his work. She argued that the more 'pictorial'
style of drawing is suggestive of the hand of an artist working in
Northern Italy, possibly in Padua or Venice, and that the colour of the

ink

and the handling of the pen are

both Andrea Mantegna

(c.

with the formal repertory and

work of

typical of

drawings attributed to

143 1-1506) and Giovanni

Bellini

(c.

1430-15 16),

style, especially of the figures, recalling

Andrea Briosco, called Riccio (c.14 70/5-1532).

it was further claimed, bears some resemblance
to the work of the anonymous Lombard Master of 1515, particularly to
the Berlin Notebook which is attributed to him.
2 From a letter, presumably to the Hon. Alfred Gathorne-Hardy, dated
the

the sculptor

This 'formal vocabulary',

19

November

1898.

Baccio della Porta, called Fra Bartolommeo

Florence,

1472 - Plan

Mugnone, 1517

di

From 1485 he was

Cosimo Rosselli (1439-1507),

Cosimo (1462-after 1515) and his

a pupil of

together with Piero di

and

future friend

assistant

Mariotto Albertinelli (1474-1515).

In 1497,

under the influence of the teachings of Savonarola,

he burnt

all

his pictures of

profane subjects.

He abandoned

painting in 1500 and entered the convent of

Prato as a novice.

He took up
and

travelled to Venice (1508)

by Leonardo da Vinci

iq.v.)

he interpreted with great

10

Domenico

Rome (1514). He was

at

influenced

whose work
His membership of the

and Raphael

sensitivity.

{q.v.),

Dominican Order also greatly affected his

imbued with

S.

painting again in 1504 and

paintings,

which are

religious ideals.

its

Two Angels, One

of

Them

and the pipes - there

violin, the lyre

no

is

actual direct cor-

respondence and the angels do not appear adjacent to each

Blowing a Trumpet,
the Other Holding a Staff

other.
It

might be further argued that the melody the angels

provide

in the Sacra

more in the nature of

accompany the pious event of a

Conversazione

gentle background music to

is

monk presented to the Virgin and Child and St John

One note from the large trumpet being blown by the
in the Woodner drawing might be thought to be too

sainted
Pen and brown
squared

in

on off-white paper, the left-hand

ink,

red chalk for transfer; 169 x 129

side of the sheet

the Baptist.

mm.

angel

noisy for such an event. Trumpet-playing angels of the sort

ivn

example of Fra Bartolommeo's

attractive

highly delicate style of drawing with the pen.

lightness of touch

is

typical of the artist's

in

fluent

The

drawn than

may

been squared

it

linear

too

in the head, torso

Woodner drawing

the

that the

Woodner drawing may be

related to a Coronation,

possibly the composition planned for in the Uffizi drawing,

carefully

should perhaps be reconsidered.

and arms. This figure has

for transfer, either to another

drawing or to a

The other angel

is

drawn more spontaneously,

unconnected with any known work. The curvi-

is

rhythms of the drapery billowing out towards the

looseness of touch

in

the pen lines.

hand seems to have

The

staff

Provenance: Jonathan Richardson Sr (Lugt 2183); John Barnard; John

Thane (Lugt 1544); George John, 2nd Earl Spencer (Lugt 1531); William
Esdaile (Lugt 2617); Charles Sackville Bale (Lugt 640);

left

emphasise the sense of movement already conveyed by the

held in the

Lugt 1507); fienry Oppenheimer,

sale,

London,

20 June 1978,

Exhibitions: London 1930,

p.

284, no. 583;

and elsewhere 1983-5, no.

9;

Woodner

Woodner

Collection,

1986-7, no.

all

the authorities, including

Berenson, Knapp, Gabelentz and Popham.' Berenson observed

that the figures

may have been

endorsing

view, proposed a connection with a drawing

in

this

for a 'Coronation'.^ Gabelentz,

the Uffizi of angels dancing in the sky to music, which he

dated 1^0^-6.''
the connection

More

recently,

however, Fischer has questioned

between the Woodner drawing and

Berenson 1903,

Munich 1986,

II,

p. yy;

see also

Florence 1986a,

Woodner

Conversazione, for which

are seen in

ITALIAN SCHOOL

11,

Gabelentz 1922,
4 Florence 1986a,

work - they

two of the drawings playing the

Malibu

no. 11;

Woodner

Collection,

Madrid

p.

Knapp 1903,

101, no. 4;

11,

p. 56,

11,

no. 203 l-i,

under no.

p.

hi, fig.

19,

p.

314, no.

i;

131, no. 303; Berenson

and

372; de Gaigneron
p.71,

under no. 30;

See Bibliography' above.

2 Berenson 1903,

the Uffizi, pointing instead to a possible relation with a Sacra

the musical angels at one time intended to be included in this

Collection,

Notes

that in

known; these drawings he dates between 1500 and 1504."

While it is true that there is some resemblance in type with

Woodner

Collection catalogues.

3 Gabelentz 1922,

three composition drawings are

London, Sotheby's,

Collection, Vienna 1986, no. 11;

no. 433; Gabelentz 1922,

11,

no. 433; Berenson 1961,

1938,

1981,

Heseltine (see

14.

Bibliography: Gruyer 1880,

The drawing has been accepted by

sale,

P.

1014 July 1936,

lot 11.

The two figures may have been intended to appear together:

they do not seem to be separate studies, even though the
artist chose to transfer only the more complete study.
it.

J.

Christie's,

Robert von Hirsch (1883-1977), Basel,

lot 29;

a flag or banner attached to

figure's left

38

are normally included in scenes of

heavenly glory, such as the Coronation of the Virgin; they also

occur in scenes of the Last Judgement. Thus the earlier view

but no such figure occurs in Fra Bartolommeo's

surviving work.

but

in the

the other figure, and this greater degree of finish

be observed

painting,

graceful

drawings

medium in the first years of the sixteenth century.

The angel blowing the trumpet has been more

and

One

no. 433.
11,

11,

p.

131. For the Uffizi drawing (inv. no. 1203E), see

p. 83,

p. 56,

no. 165.

under no.

19,

and

p. 71,

under no. 30.

1875-6-12-1.
two angels on either
side of the Virgin as playing tubas. The instruments would seem, however,
to be pipes. They are shorter and more slender than the instrument
played by the angel in the Woodner drawing, and they are directed
downwards as a pipe is played.
of the drawings

Turner, in

is

London 1986,

in the British

Museum,

inv. no.

p. 66, no. 38, described the

/'

Raffaello Santi, called Raphael

Urbino, 1483 - Rome, 1520

An architect as well as a

by

painter. First trained

his father

Giovanni Santi (f.1435-1494), he was probably already

workshop of the Umbrian Pietro Perugino (q.v.) by

1495. Among the more important works of his Umbrian

in the

period are the Coronation of the Virgin (1502-3),

now

in the

now in the Brera. From

worked in Florence, where he was much
influenced by the work of Leonardo da Vinci (q.v.) and
Michelangelo (14751564) and where he painted the
Entombment, dated 1507, now in the Borghese Gallery, Rome.
He was summoned to Rome by Pope Julius 11 in late 1508 or
early 1509, and soon after began work on the decoration of
Vatican, and the Sposalizio (1504),

1504 or 1505 he

the Stanza della Segnatura in the Vatican (1509-11);

afterwards he decorated other

rooms

in the Stanze, the

Stanza

d'Eliodoro (151114) and the Stanza dell'Incendio (1514-17).

Other works of his Roman period include the Galatea

in

the

Farnesina, 1514, and the cartoons of the Acts of the Apostles

for the Sistine

Chapel

tapestries,

works he was helped by

1515-16.

assistants.

period he painted a succession of altarpieces,

most important of which

now

1 1

is

many

In

of his late

Roman
among the

Throughout

his

the Transfiguration (i5i7[?]-2o),

in the Vatican.

Head

of a Horse

Silverpoint, heightened with white,

prepared paper: 144 x 108

reworked with black

chalk,

on grey

mm.

Inscribed on the verso, in an old (t/th-century?) hand, Gioseppino m.

ihis small but expressive drawing

attribution to

Giuseppe

is

c.

67.

inscribed with an old

Cesari, called the Cavaliere d'Arpino

(1568-1640), a great admirer of Raphael. Paul Joannides has

recently recognised that

it

is

connected with a secure work

in

Oxford

for the fresco of the Expulsion of Heliodorus, painted

by the

by Raphael. Comparing

it

with the

full-size

master about 1510, Joannides argues

with the Repulse of Attila

in the

in

cartoon

favour of a connection

Vatican Stanze.^

claimed that silverpoint had ceased to be used

It

has been

in Italy

by two
ear

is

soldiers, the direction of its

gaze

is

lower, and the

left

placed further forward.

Raphael was
sitions

in

through

compomade good use of

the habit of exploring his ideas for

many

his individual studies

variations, but he

from

life

and was

careful not to

waste

his

work. The multiple uses to which a single study could be put

within this creative process

is

well demonstrated

by the

Woodner drawing.

from

the second decade of the sixteenth century, a view contradicted

by the

fact that

there are other examples

silverpoint drawings

by Raphael

on grey prepared paper which,

of

like the

present sheet, were executed around 1512.

Provenance: the Hon. Edward Bouverie (Lugt

6 July 1982,

Most comparable

to the

Woodner drawing

is

the detailed

study of a Rider Seen from Behind (Frankfurt, Stadel),^ which

itself

is

related to an early composition study for the Repulse of

Attila,

known only through a copy in the Ashmolean Museum,

Woodner Head of a Horse would seem to have

Oxford.' The

been
the

a preparatory

study for the

lost first

Oxford drawing and to have been

in a fully

design reflected by

reused, with

worked-out composition study

few changes,

in the

Louvre;*

Exhibitions:

Woodner

Woodner

London,

Christie's,

Collection, Malibu and elsewhere 1983-5, no. 11;

Collection, Vienna 1986, no. 13;

1986, no. 13;

325); sale,

lot 21.

Woodner

Collection,

Woodner

Madrid 1986-7,

Collection,

Munich

no. 16.

Bibliography: Joannides 1983, no. 340: Knab, Mitsch and Oberhuber 1983,
no. 45O; de Bayser 1984, p. 76; see also

Woodner

Collection catalogues.

Notes
1
Ashmolean Museum, inv. no. ktp 556; Joannides 1983,
Mitsch and Oberhuber 1983, no. 433.

no. 336; Knab,

it

2 Inv. no. 1797; Joannides, no. 339; Knab, Mitsch and Oberhuber, nos 453-7.

was then

finally translated full-size

on

to the wall in the fresco

of the Stanza d'Eliodoro. There the horse

40

ITALIAN SCHOOL

is

partly obscured

3 Inv. no. KTP 645: Knab, Mitsch

and Oberhuber, no. 449.

4 Inv. no. 3873; Joannides, no. 341.

<*1

Raffaello Santi, called Raphael

Urbino, 1483

11

- Rome, 1520

The Heads and Shoulders of

Eight Apostles
Red

chalk,

over stylus underdrawing: 81 x 232

edge of the left-hand

half of the sheet has

mm (maximum). The lower

been cut

irregularly.

Thhese two fragments, recently joined together, once formed

.

part of a

composition study for the cartoon of

to St Peter.

Christ's

Charge

This was one of a series of cartoons that Raphael

hung on
the lower part of the walls of the Sistine Chapel.' The seven
surviving cartoons are in the Royal Collection and are on
indefinite loan to the Victoria and Albert Museum, London.
The series of tapestries is in the Vatican: there are six scenes
from the life of St Paul and four scenes from the life of
St Peter. Records of only two payments survive, one on
15 June 1515 and the other on 20 December 1516, but
Raphael's work on the commission is usually dated c. 15 14-16.
The story of Christ's charge to St Peter is told in St John's
was commissioned

to design for ten tapestries to be

Gospel.'^

On

the third occasion that Christ appeared to His

Apostles after

He had -risen from

front of the others, 'Lovest thou

Peter replied that he did, Christ

lambs'; the
thereafter.

command
The

'Feed

incident

is

shown kneeling
stand behind him. Only
is

appear

in the

me more

He

commanded him

my

sheep'

Church on

in front of the

in

When
'Feed my

to

was repeated twice

in-

earth. In the cartoon

other Apostles

who

the heads of the standing Apostles

present fragment. Unlike the figures in the

cartoon, they are led

by

John, Christ's favourite,

forward eagerly, his hands clasped together

heads appear

asked Peter

than these?'

taken as symbolising Christ's

struction to Peter to lead his

Peter

the dead.

in the

same sense

who

presses

in prayer.

The

as those in the cartoon, but

'-%^

-!>-

T^S

Raphael, Christ's Charge

to St Peter (offset),

Royal Library, Windsor Castle

(Reproduced by gracious permission of H.M, the Queen)

42

ITALIAN SCHOOL

^M^'

"'^.iSa^"^
>.ir<-.

with several differences. They appear

tapestry since

it

was, as usual,

in

reverse in

woven from

i:he final

the back following

the outlines of the cartoon.

The appearance of
fragments come,

is

the larger drawing, from which these

preserved in an offset in the Royal Library,

Castle.' Since they are of adjacent or nearly-adjacent

Windsor

details, the

reason for their division

must, however, have been separated

is

far

from

much

for

clear.

They

of their history:

the pen lines around the edges are old and an etching

by

the

Comte de Saint-Morys of 1790 shows the two drawings,

reverse,

was

one on top of the

other.''

who

by some

early

two miniature pendants

The fragments have been rejoined

preferred the idea of

to a single rectangular sheet.

in

possible that the strip

It is

cut in half for 'aesthetic' reasons, possibly

collector

in

order to convey better the impression of the original drawing.

One other fragment of the drawing survives, that of the figure

of Christ with His left hand raised, now in the Louvre.' The
Windsor offset has enabled the precise reconstruction of the
two fragments of the Woodner drawing. The offset was
presumably made by the
effect of his

direction in which

As

artist in

the

first

place to judge the

composition when reversed, since

it

was

this

was the

to appear in the finished tapestry.

well as revealing several important differences in the

poses of the figures and

Raphael made

his

in

original

their grouping,

study from

life

shows that
by drawing a
it

garzone or studio model in contemporary dress in a series of

different

features
It is

poses. This

is

the explanation for the identical

on the heads of several of the

remotely possible that the

figures.

himself

artist

may have

cut

Provenance: possibly
London,
sale,

Christie's,

Pierre Crozat;

anonymous

29 November 1977,

New York, Soliheby's,

lots

private collector, sale,

33 and 34; John R. Gaines,

17 November 1986,

lot 8.

Exhibitions: not known.

Bibliography: Shearman 1972, pp. 96-7, figs 48, 49; Fischel and Oberhuber
1972, nos 443, 444, pi. 45; Annesley 1978, p. 96; Joannides 1983, p. 223,
a montage of the three fi-agments); Knab, Mitsch and
Oberhuber 1983, p. 125, pis 514, 515; London 1983, p. 193, under no. 155;
Paris 1983-4, p. 282, under no. 99; Ames-Lewis 1986, p. 131, repr. (with
the two fragments side by side).

nos 359, 360 (with

the sheet into pieces in order to experiment with different

groupings of the same

him

figures, using the

visualise these alternatives.* This,

likely.

Not only would such

fragments to help

however, seems un-

a practice had been uncharacteristic

of his working methods, but also the exercise, had

undertaken, seems to have had

little

it

been

or no consequence

upon

Raphael's invention: the finished composition

development from the grouping

that

Furthermore, the Louvre fragment

is

2 John
3

the tapestries are discussed in

Shearman 1972.

15-17.

Popham and Wilde

1949, no. 802;

London 1983,

no. 155.

Crozat collection, which were catalogued by Mariette as

lot

110

in

Crozat's sale of 1741.

no. 3854. The fact that this drawing belonged to the French
seventeenth-century collector Everhard Jabach would suggest that the

5 Inv.

cut both clumsily and

irregularly to the right of the standing Christ,

XXI,

4 Annesley 1978, p. 96. Shearman, p. 96, n. 14, suggests that they may
even have been the drawings that Jonathan Richardson Jr saw in the

a logical

had already been explored.

is

Notes
1 The cartoons and

original sheet

impinging upon

was

cut

down

at

sometime

in the

seventeenth century or

earlier.

the figure in

own

two

places.

Raphael had dismembered

made

his

The Louvre

a neater job of

3863), which

also possesses a

shows

drawing

in

pen and brown wash

(inv. no.

the composition at a later stage than that of the

more likely that the lower

right-hand area of the sheet was accidentally damaged perhaps by some liquid - in such a way that only part of the

figure study originally formed by Cat. 12 and Louvre inv. no. 3854. See
Chicago 1979-80, no. 48, and Joannides 1983, p. 102, pi. 35, no. 360.
6 The suggestion that Raphael himself may have cut up the sheet is made
by Shearman, p. 97.

drawing could be

trimming the fragments.

44

If

drawing, he would surely have

ITALIAN SCHOOL

It

salvaged.''

is

London,

p.

196.

Andrea
Florence,

del Sarto

i486 - Florence, 1530

Cosimo (14621521) and

Pupil of Piero di

Franciabigio (1482-1525). His

was

first

later associate of

important commission

for the five frescoes of the Life of

S.

is

sumptuous

dated

storie fatte

1510. Probably in 1512 he began the famous series of grisaille

frescoes of the Life of St John the Baptist in the Chiostro dello
Scalzo.

He journeyed

have been court

One
was

of the

to France in

1518 where he was to

he returned to Florence

painter, but

most important commissions following

in

1519.

his return

From

succession of major altarpieces, of which the Lamentation in

Bartolommeo

(q.v.)

after the departure of

Raphael

Michelangelo (1475-1564) and

from the

(q.v.)

part of the sixteenth century,

first

the collections

in

The

sale in 1860.^

was
was

the

first

down on

the

is at

Museum drawing was

British

entry for the

in his

Museum

version

Berenson accepted both drawings

Drawings of

the Florentine Painters, in the

The same opinion was repeated

compare the

1938 and 1961

in the

he added cross-references.

status of the British

Museum drawing

remained, the issue had in fact been settled as early as 1949,

when Popham compared

laid

the

22

edition of which (1903) he did not even

While doubts about the

chali^, on paper
325 X 233 mm.

was purchased by

to point out that the British

first

a copy. But, curiously,

as authentic in his

city in 1508.

of St John the Baptist

Black

it

the relatively high price of

for

editions, although in the latter

Head

Paignon Dijonval, Morel

of Mariette,

de Vinde, Dimsdale and Lawrence,

two.''

13

with alcune

present sheet in the catalogue of the Locko Park collection,

he was one of the most important painters

active in Florence in the

filled

it

long accepted as autograph. Richter,

an outstanding example. With Fra

is

was

it

was una cosa rara (a rare thing).'

A deceptive copy of the Woodner drawing, with a highlydistinguished provenance, is in the British Museum. * Formerly

masters) and that

Woodbum

the beginning of his career he painted a

the Pitti Gallery

interior: Vasari says that

da eccelknti maestri (some histories done by excellent

Museum

for the fresco of the Last Supper for S. Salvi, finished

C.1526.

may even have been

it

the centrepiece of the room." This must indeed have been a

Filippo Benizzi in the

forecourt of SS Annunziata, the latest of which

of the Benintendi residence and that

two drawings

the

first-hand

and

noted: 'The original appears to be the drawing in the collection

panel; various losses and repairs:

Major Drury Lowe, Locko Park.

This drawing, though
damaged and made up, shows in its original
parts Andrea del Sarto's authentic hand'.
of

considerably

L^espite the damage

drawing has

this

poise of the youthful head

typical of Sarto's best work,

still

and the haunting,

sion of the face, which the artist

in his figures,

can

was

be admired.

still

suffered, the classic

possesses that nobility so

able to

Much

lifelike

of the force and

quality of the original handling have survived, for

make up

in the lines that

Earlier critics, notably

Guinness and Richter, were inclined

in

the Sacrifice

composition known from several versions, the prin-

of Isaac, a

being that

cipal

example

the neck and parts of the hair.

drawing with the head of Isaac

to connect the

expres-

convey so often

in the

Cleveland

seems to have been the

first

Museum

of Art.^ Berenson

to observe the connection with

the half-length St John the Baptist in the Pitti Gallery, painted

Provenance: Guadagni family, Florence (according to Richter); probably

William Drury-Lowe of Locko Park; then by descent to Capt. P.J.B. DruryLowe; sale. New York, Sotheby's, 14 January 1987, lot 32.
Exhibitions: Leeds 1868, no. 254a; London 1953, no. 51

Nottingham 1968,

Souvenir, p. 10);

no.

pi.

1,

i;

{Illustrated

Edinburgh 1969, no.

1,

pi. 6.

an opinion that recent specialists have followed

in C.1523,

unanimously.^ The correspondence between drawing and

painting

striking. Its exactness

is

ated in the lighting, which

falls

may

perhaps be best appreci-

on the

face identically in

works. The only significant difference between the two

the position of the

band of animal

both
is

in

skin over the figure's left

Bibliography: Guinness 1899,

1965,

II,

p.

is

recorded as having painted two represen-

tations of St John the Baptist, the patron saint of Florence.

Only

the

one

in the Pitti

Gallery has survived.

It

was com-

missioned by the banker Giovanni Maria Benintendi,

later

gave

it

to

Duke Cosimo

picture

between

Medici

villa at

Mugello
ing
that

fits
it

in

Caesar's

Poggio

Tribute of

a Caiano,

1521, painted in the

and the

1523 to escape the plague;^

perfectly with such a dating.

once formed

who

de' Medici. Vasari places the

artist's flight

to

stylistically the paint-

Shearman has proposed

a part of the furnishings of the anticamera

359,

pi.

Freedberg 1963,

The

Museum
del Sarto

p. 27,

no. 68; Berenson

p.

124b; Forlani Tempesti 1970,

p.

92,

fig.

40.

Notes
no. 7g.

Andrea

Richter 1901,

p. 74;

135 (2nd edn 1928, p. 115); Berenson 1938,

no. 130; Berenson 1961, no. 130; Freedberg 1963, p. 168 (mistakenly
locating the Drury-Lowe collection at Luton Hoo), fig. 125; Shearman

shoulder.

Knapp 1907,

1903, no. 130;

p.

picture

147, under no. 66;

is

Shearman 1965,

11,

pp. 269ff.,

fully discussed in the recent catalogue,

Cat. European Paintings 1982, pp.

2 Berenson 1903, no. 130. For the

pp. i67f., no. 74, and Shearman,

Pitti

11,

p.

Cleveland

407^.

Gallery picture, see Freedberg,

259, no. 67, See also Alessandro

Cecchi's illuminating discussion of the picture in the exhibition catalogue,

Florence 1986b, pp. i26ff., no. xvi.

3 Vasari ed. Milanesi,

4 Shearman,

11,

p.

v, p.

36.

259.

5 Vasari ed. Milanesi, v, p. 352.

6 Inv. no. 1860-6-16-92. See Freedberg,

London,

p.

168, and Shearman,

11,

p. ;}5g.

4 June i860, lot 826.

8 Berenson, no. 136, where he identifies the drawing as 'apparently for
the Baptist in the Vienna "Pieta". Probably Andrea's, but not of his best
7 Sale,

Christie's,

quality.'

ITALIAN SCHOOL

45

Copy

after

British

Andrea

del Sarto,

Head

of St John the Baptist,

Museum, London

(Reproduced by kind permission of the Trustees of the

British

Museum).

..^

Venetian School
Beginning of the sixteenth century

'4

Landscape with Buildings

Pen and brown

inic,

on

light buff paper:

176 x 266 mm. Laid down,

the lower right corner missing.

Inscribed in the lower
at

lower

visible

left

right, also in

corner, in

brown

through the paper

at

ink,

brown

hand

ink, Titiano; in a different

1606 n. 69; inscription on verso

lower

left.

his extraordinary structure built

on

a hillock beside a stream

a mill, as is suggested by the arch

bottom through which water seems to pass

might perhaps be

in the

wall at the

into a

pool.

The

structure

composed

is

of

many

different elements

which together form a tower. Some parts are apparently

of brick or stone, others of

supported on

stilts.

wood, while some seem

built

to be

sense of irregularity, produced by the

is further imparted by the

random placing of the little windows and the thatching of
some of the roofs. The artist's purpose seems to have been
to create a complex pattern out of many different shapes and
textures. The central motif is largely self-contained and the

chaotic division of the whole,

beholder

is

not required to imagine the surrounding space.

Such buildings, usually on

be found

in the

Giulio and
c.

a smaller scale than this,

landscapes of Titian

Domenico Campagnola

as well as those

(q.v.)

The

style

is

by

(c.i482-after 1515 and

1484-1562). Their geometrical forms and

with the softer elements such as

may

hillsides,

flat

planes contrast

rocks and trees.

most suggestive of the work of Giulio Cam-

pagnola.

Provenance:
Exhibitions:
tion,

Munich

sale,

Woodner

lot 21.

Woodner CollecWoodner Collection, Madrid 1986-7, no. 18.

Collection, Vienna 1086, no. 14;

1986, no. 14;

Bibliography: see

48

London, Sotheby's, 4 July 1975,

Woodner Collection

catalogues.

ITALIAN SCHOOL

Jit-

^^
.^

^-

t:*t~jC~^ -

I*-*? ."_

Tiziano Vecellio, called Titian

Pieve di Cadore,

1480(7)

c.

(circle of)

- Venice, 1576

1430-15 16) and

worked with Giorgione (c.1477-1510) on the frescoes on
the exterior of the Fondaco dei Tedeschi in Venice. His early
works, such as the Sacred and Profane Love of 1516 (Rome,
Borghese Collection), show the clear influence of Giorgione.
The Assumption which he painted in 1516-18 for the church
of the Frari in Venice marks a new and more exuberant phase
in his work. From 1530 Titian's grand compositions are less
Probably

a pupil of

Giovanni

Bellini

(c.

'baroque' in conception, for example the Presentation of the

Virgin in the Temple of

1534-8

in the

Accademia

in

Venice.

1533 he was nominated court painter to the Emperor

Charles v. He journeyed to Rome in 1545. During this
In

period he was principally active as a portrait painter.

15

Town on

a Hill

Pen and brown ink, on off-white paper (verso: black

ink and brown wash): 185 x 216 mm.
Inscribed in the lower right comer, in

brown

chalk,

pen and brown

ink, di Tizian.

JTormerly attributed to Domenico Campagnola

Campagnola
the

The

first

(c.

1482 -

fifteen or

artist

1484-

(c.

drawing reveals the influence of Titian and Giulio

1562), this

after 1515).

It

has been dated within

t-

C'l

twenty years of the sixteenth century.^

:h.

has not only carefully drawn the buildings at the

base of the rocky outcrop in the middle of the composition,

but has also been at

some pains to define the space surroundThe outcrop is placed in the middle

ing this central motif.

ground and

is

wooded mountains

contrasted with the

distance at the right and the

flat,

sometimes rocky land

in the
in

the

foreground.

Michael Miller has noted certain

similarities

with the work

of Titian's brother, Francesco Vecellio (c.i485-[?]i559/6o);

buildings resembling those seen in the

can be found

in pictures attributed

Woodner drawing

with some certainty to

Francesco.^

On

two nude male studies, three

left foot. These were formerly

the verso, in black chalk, are

studies of legs and

one of

15 verso

attributed

to Jacopo Tintoretto

evidently by an

work

is

artist

of a

(1518-94), but they are

somewhat

earlier

generation whose

closer to Titian. In the lower left corner,

the sheet turned upright,

is

head seen

drawn with

in profil perdu,

looking

downwards. Unlike the other studies on the verso, this is

drawn in pen and brown ink and brown wash. Miller has
proposed that the drawing of the head was made in the first
fifteen years of the sixteenth century,

sistent with the

noting that

drawing of the landscape on the

it

is

con-

recto.

considers the chalk studies to be slightly different

Provenance: Maurice and Marie de Marignane (Lugt 1872); Hubert de

Marignane.

Woodner Collection
New York and elsewhere 19712,
Woodner Collection, Vienna 1986, no. 15; Woodner Collection,
Munich 1986, no. 15; Woodner Collection, Madrid 1986-7, no. 19.

Exhibitions:

nos 2ga,

Bibliography: see Woodner Collection catalogues.

He

in style

Notes
1

and to have been drawn somewhat

in

50

later,

possibly sometime

the third decade of the sixteenth century.

ITALIAN SCHOOL

1,

b;

See Michael Miller's entry

in

the

Woodner

Collection catalogues of

Vienna, Munich and Madrid.

2 For the

works he

cites in

comparison, see the above catalogues.

'"J'tztai.'c

Girolamo Romanino
Brescia,

c.

1484/7 -

1559 or

Brescia,

later

His early work reveals the influence of Andrea Solario

(1468/70-1524) and Bernardino Luini (//.1512-32). Later he

was much affected by the Venetians Giorgione (c.1477-1510)
and Titian [q.v.) and by the nomadic Lorenzo Lotto (c 1480
1556/7). In 1519 he began the series of frescoes of the

Cremona. He also worked

Passion of Christ in the Cathedral at

Padua, Trento and above

in

the

Brescia,

all

most important painters active

where he was one of

in the first half of the

sixteenth century.

16

Madonna and

The

Antony Abbot,
and a Donor

St Francis

St

Red

chalk,

Signed

on

light buFf paper; laid

the upper

in

left

comer,

beautiful

and

down: 203 x 185 mm.

same red chalk as that of the

the

in

drawing, Hieronimo romani da

hrescia.

characteristic

example of Romanino's

of drawing in red chalk.

Its

generally agreed that

was drawn

it

Child with

purpose

is

style

not known, though

it is

is

a little cruder than that of the

some doubt cast on

has been

Woodner drawing and

there

the authenticity of the signature."*

Both the Woodner and the ex-Scholz drawings would

early in the artist's career,

probably shortly before 1520. The composition reveals the

seem

influence of Venetian painting of the period, particularly

frescoes in the Cathedral at

to

have been made when the

was working on the

Cremona, begun in 1519.
artist

Palma Vecchio ([?]i48o-i528). Besides capturing

Titian and

Romanino was

the lyrical charms of the Venetians,

maintain the rustic strength of his

own more

Typical of his method of drawing

which gives a highly

The drawing

a looseness of

left.

many

For

touch

whole.

pictorial effect to the

signed top

is

is

able to

provincial style.

years

it

was

considered Romanino's only undoubtedly genuine drawing.

importance therefore for the reconstruction of Romanino's

Its

activity as a

by

stylistic

draughtsman has been considerable,

analogy with the

Woodner drawing

others were subsequently given to the

First

that

it

was

many

artist.

published in 1939, this drawing had earlier been recog-

by Morassi when

nised as autograph

market

in the

1930s, before

it

the altarpiece of the

the church of

Evangclista.-^

S.

it

Madonna and

Rocco

was on

it

the Paris art

entered the Rasini collection

Milan.' Morassi later published

in

for

himself,

comparing

it

in

with

Child with Saints, formerly

in Brescia

and

There are indeed many

now

in S.

stylistic

Giovanni

and compo-

between the two works, for example, in

of the Madonna, whose pose (seated at the centre

sitional similarities

the figure

on

a slight

are

much

eminence

in

Provenance: unidentified seventeenth-century English collector; unidentified Parisian dealer, around the 1930s; Conte Rasini, Milan.

the painting) and facial expression

Exhibitions: Brescia 1939,

Woodner
no. 17;

Accompanied by a Second
collection

York,

is

and

now

in

Soldier,

formerly

in the

Janos Scholz

Morgan Library, New

Woodner drawing and was

the Pierpont

close in style to the

341, no.

9;

inscription,

52

Hieronynw Romatiino da

ITALIAN SCHOOL

Bressa.

It

bears a similar

The handwriting

(checklist only);

fig.

208;

Woodner
1986,

Bibliography: Venice 1957, under no. 14; Scholz 1958, pp. 4nff.; Morassi
1959, pp. i89ff.; Ferrari 1961,

pi.

25; see also

Woodner

Collection cata-

logues.

Notes
Brescia 1939, p. 341, no. 9. See also Michael Miller in

2 Ferrari 1961,

pi. 12;

Woodner

Collection

Munich and Madrid.

Brescia 1965, no.

5.

3 inv. no. 1973.38. For this drawing, see Venice 1957, no. 14; Scholz 1958,
pp.

41

iff.;

and Washington

DC-New York

1973-4, no.

4 The handwriting on the ex-Scholz drawing

is

76.

discussed

in

Venice,

and by Scholz, pp. 4iiff. Scholz cites a statement by Scharf to

the effect that both drawings were at one time together in the same
no. 14,

evidently drawn at about the same time.'

Brescia 1965, no. 122,

Vienna 1986, no. 17; Woodner Collection, Munich

Woodner Collection, Madrid 1986-7, no. 21.

catalogues of Vienna,

red chalk drawing of a 5ta)idi)ig Soldier Seen from Behind

p.

Cambridge ma 1985, no. 81

Collection,

the same.

Collection,

seventeenth-century English collection.

l-ijCP^j'lDflc

ro

tr

i>

'ft,,

-^^^Ji r/.-Si^fi

OT**?:-^
jr-

*-

\i'
":/'

-'"'
1

'"'-,
,;

*'*^

I.

./I?'

./

Si

if
>*

M
iPp:^.^.

'^#,...

,.iS.agptsi;3B..

Antonio

Allegri, called

Correggio

- Correggio, 1534

Correggio, 1489/94

upon Correggio's early style

seems to have been the work of Andrea Mantegna
(c. 1430/ 11506). He was also inspired by the followers of

The predominant

influence

Leonardo da Vinci

{q.v.) in

Milan, a city he probably visited.

Correggio's earliest signed work

(Dresden), painted in
at

151415

is

the

Madonna

for the church of S. Francesco

Correggio. The date of his journey to

accepted)

of St Francis

Rome (now generally

not known, but the impact upon him of the work

is

of Michelangelo (1475-1564) and Raphael

considerable.

He

is first

recorded

in

Parma

was
1520 when he

(q.v.)

in

began work on the cupola of S. Giovanni Evangelista. He

decorated the cupola of Parma Cathedral

some period

at

between 1523 and 1530, though he may not have started

until 1524 or 1525. The two Allegories in the Louvre painted
for Isabella d'Este of

Mantua

are

among

his last

many

Correggio's precocious style anticipates

works.

of the trends

of the Baroque and the Rococo.

17

Woman
Red

chalk,

on

Carrying a Torch

as

17

November

1530. But the resemblance also claimed

between the Woodner drawing and the Two Studies for a

Bound Cupid, on the verso of a drawing in the British Museum,

light buff paper:

78 x 59

mm.

which can be dated c.1524-5,'*

is

not convincing, and

might be argued that the Woodner drawing shows

it

a softer

handling of the chalk which would be compatible with a later

1 opham connected

this

study with an unexecuted painting

phase of the

development.^

artist's

of the Battle between Chastity and Lust: according to his

would have been commissioned by Isabella

Mantua in substitution

hypothesis, this

d'Este for her Studiolo at the Castello in

for a painting
fied.'

by Perugino

{q.v.)

with which she was

dissatis-

Correggio would have been entrusted with the com-

mission at the beginning of 1530, after he had completed the

Allegory of Virtue and the Allegory of Vice,

The point

of departure for

double-sided drawing in the

now

in the

Louvre.^

Popham's argument was

Musee Bonnat

taining studies for a composition of

Venus

at

Bayonne, con-

(or Lust) battling

Provenance: Jonathan Richardson Sr (Lugt 2183); the Hon. Edward Bouverie

(Lugt 325); Revd Dr Henry Wellesley (Lugt 1384), sale, London, Christie's,
26 June 1866, possibly lot 360A; Richard Johnson (Lugt 2216); Henry
Oppenheimer, sale, London, Christie's, 1014 July 1936, lot 74A; Frangois
Strolin,

Lausanne.

with Diana (or Chastity).^ The two studies on the verso of

Bayonne drawing are for the same woman carrying a

torch as appears on the Woodner sheet, but the studies are
more elaborate and are drawn to a larger scale. This figure is
intended to represent Venus (or Lust). The attributes of the
torch and quiver leave no doubt that the combatants studied
in the Bayonne drawing are Venus and Diana respectively,
the

and
in

have some resemblance

by Perugino.

their actions

the painting

to their counterparts

Woodner Collection
New York and elsewhere 1973-4,
Woodner Collection, Malibu and elsewhere 19835, no. 13;
Washington dc - Palma 1984, no. 2.6; Woodner Collection, Vienna 1986,
no. 18; Woodner Collection, Munich 1986, no. 18; Woodner Collection,
Exhibitions:
no.

11,

40;

Madrid 19867, no.

Bibliography: Popham 1957,

has been suggested that Popham's dating of the unexecuted

may need
similarity

executed

view

is

Chastity and Lust to the beginning of

to be revised

Another argument

the connection that exists

same

of the cupola of

in

Popham

1957, pp. 96

Parma Cathedral,

and the decoration

a project that

the

final

ITALIAN SCHOOL

payment was not received

not

until as late

Woodner

in

221. This had arrived, after

Popham,

is

reproduced

many

delays, in

1505.

Gould 1976,

p.

127, pis 180, 182.

pp. i66f., no. 86; i960, no. 25.

4 See Michael Miller in the Woodner Collection catalogues of Vienna,

Munich and Madrid.
5 These drawings were included

in

some

of the earlier

Woodner

Collection

catalogues; see most recently Madrid 1986-7, no. 23, with previous

bibliography.

Inv. no.

no.

was begun
is

and 167, no. 87. Perugino's picture

ff.

pi.

2 Quintavalle 1970, p. 110, nos 84, 83;

between two fragments

original sheet as Cat. 17

1984,

possession

3 Inv. no. 115;

favour of such a

1524-5.' The precise chronology of these frescoes

known and

54

stylistic

between the Woodner drawing and drawings

c.1525.''

cut from the

c.

on the grounds of the

1530

see also

Notes

Isabella's

Battle between

p. 167, no. S>7, pi. ci d;

Collection catalogues.

in Scarpellini

It

22.

6.

195312121; Popham,

Such

a precise dating

the pendentives in
7

S.

See Michael Miller

Munich and Madrid.

is

pp.i52f., no. 18;

Popham

possible since the recto study

is

1967,
for

p. 4,

one of

Giovanni Evangelista.
in

the

Woodner

Collection catalogues of Vienna,

Baccio Bandinelli
1560

Florence, 1493 -Florence,

A sculptor who was firsb trained in the workshop of his father,

a goldsmith.

He was much

influenced

by Michelangelo's

(1475-1564) unfinished cartoon for the Battle of Cascina. His

whole career may be seen as an attempt to emulate that great
master's example. Bandinelli was in Rome from 1517/18 to
C.1525. Shortly after his return to Florence, he

began the

Hercules and Cacits, a marble statue to be erected outside the

Among his

Palazzo Vecchio.

most important

the reliefs in the choir of Florence Cathedral,

He was

draughtsman whose bold

a prolific

particularly with the pen,

owes something

works are

later

begun

in

1553.

style of drawing,

to that of

Rosso

(1494-1540).

18

Three Philosophers Holding

an Altar

Tablets at
Pen and brown

ink,

on

400 x 295 mm.

Dl Baccio (partly

light buff paper:

brown

Inscribed at lower centre, in

ink,

erased) and

DI Michele agnolo.

Ihe purpose

of this splendid example of Bandinelli's distinc-

finished appearance,

its

tation.
in its

it

Although conceived and executed

own

right,

it

may

as a

and

part of the left-hand figure

depends on that of the philosopher standing to the right of

for presen-

Pythagoras, while the upper part of that to the right depends

work complete

have served as a modello

also

The upper

judge from

for a

A resemblance has been noted to a series of marble

sculpture.

bas-reliefs of Prophets

new

is not known. To
may have been made

pen drawing

tive technique of

the Vatican Stanza.

Saints decorating the sides of the

on the Socrates who stands

Thus the right-hand figure

much
(as

directly

above

in Bandinelli's

this philosopher.^

drawing seems as

argument with

to be emphasising a point of

his

hands

Raphael's figure does) as holding the tablet in front of him.

octagonal choir of Florence Cathedral, a commission

upon which Bandinelli

he would have made

started

work

in 1553.^

drawing

this

at

It is

likely that

about that date or

shortly after.

Bandinelli's

approach to drawing was typically that of a

example

sculptor. In this
is

so emphatic that

lated into
fill

low

relief:

the sheet as

space behind

by the

if

is

a single plane

it is

his bias

towards the three-dimensional

easy to imagine the whole group trans-

the figures and the altar they surround

they were part of a sculpted frieze and the

closed

by

neutral hatching that reduces

to

only slightly deeper than the space occupied

figures themselves.

approach to drawing

is

Also

a reflection of this sculptor's

the reduction of the forms into simple

planimetric shapes and the emphasis

upon

surface quality

rather than atmosphere. These features are achieved

characteristic

it

penwork

somewhat resembling

in

by

his

which hatching and cross-hatching,

the technique used

by

Provenance: Nicolaes Anthonis Flinck (Lugt 959); William Cavendish,

2nd Duke of Devonshire (1672-1739); then by descent, Chatsworth (inv.
no. 30), sale, London, Christie's, 3 July 1984, lot

Exhibitions: Washington DC and elsewhere

Bandinelli in a private collection in

Library,

New

Bibliography:

Hamburg and

in

by
the

York, for the prophets and

saints in the choir of Florence Cathedral.^

Ward

figures to

the

left

and right of the

altar are

loosely derived from figures in Raphael's School of Athens in

5^

ITALIAN SCHOOL

Ward

1978, no. 20; see also

Woodner Collection

catalogues.

1978, no. 20; see also his opinion quoted

in

the Chatsworth sale

catalogue, cited in the 'Provenance' section above.

2

Ward, under no. 20. The Hamburg drawing has been considered as a
work from the studio, and it is indeed identical in style to a copy in the
Uffizi (inv. no. 507F), after another drawing also in the Uffizi (inv.
no. 514F),

The two

5;

Notes

has compared the style of Cat. 18 with studies

Morgan

Aarhus 1973, no.

no. 25.

Pierpont

196970 and London 1973-4,

Woodner Collection, Cambridge ma 1985,

no. 79 (checklist only); Woodner Collection, Vienna 1986, no. 20; Woodner
Collection, Munich 1986, no. 20; Woodner Collection, Madrid 1986-7,
no. 14;

the engraver,

define the darks and mid-tones.

Ward

1.

which

is

clearly the

3 See Michael Miller's entry

Munich and Madrid.

in

autograph

Woodner

original.

Collection catalogues of Vienna,

\9

Pietro Buonaccorsi, called Perino del

Vaga

-Rome, 1547

Florence, 1501

Pupil of the minor painter

Vaga (hence

who

his nickname),

took him to Rome. His talents were quickly spotted by

Raphael

and from 1517/18 he collaborated with the

(q.v.),

master on the decoration of the Vatican Logge. Raphael's

influence

was fundamental

to his subsequent

development.

Rome he fled the city and was in Genoa by

decorated
the Palazzo Doria. He was later
where
he
1528,
active in Pisa. It was probably in 1537-8 that he returned to
Rome. His final years were spent in the service of Paul iii, for
After the Sack of

whom
Regia
for

^9

among

he painted,
in the

other works, the stucchi

Vatican and decorations

in the Sala

the Castel Sant'Angelo,

in

which he received payments from 1545.

Alexander the Great

Consecrating the Altars

to the

Twelve Olympian Gods

Pen and brown ink, with grey wash over black
3x3 X 208 mm.
Inscribed in the lower

left

comer,

brown

in

chalk,

on buff paper:

ink, perin I del

vaga; and

on the

verso, in red chalk, A.

A.Jexander
together

twelve

the Great stands

in prayer: in front of

altars

him, in

territories as

gratitude to the gods and as a

down

left

two rows

of

six,

are the

both an expression of

monument

As Alexander consecrates the

them in awe and reverence.

to his

own

his

achieve-

altars, his soldiers

is

a study with only

ander the Great were intended to parallel events

Paul

Paul

Ill's

An

life

of Alex-

in the life of

(Alessandro Farnese): thus Alexander the Great Con-

III

secrating the Altars to the Tivelve

gaze

Olympian Gods alludes to

resumption of work on the building of St

old copy of the

Woodner drawing

is

Peter's.^

in the

National

Gallery of Scotland, Edinburgh.^

at

The drawing

According to Harprath, the scenes from the

with his hands raised

he had erected on the western border of his

newly-conquered
ments.

on the

minor differences

for

one of the large monochrome frescoes of scenes from the life

of Alexander the Great in the Sala Paolina in the Castel
Sant'Angelo.^ Perino had been commissioned to decorate
the state apartments, of which the Sala Paolina

1545 and was

The

work on

is

one, in

when he

died in 1547.

frescoes in the Sala Paolina were completed

by Pellegrino

at

the project

Provenance: unidentified collector (mark on the verso of the drawing

made up of the monogram SG, and LFF in graphite); Jacques Seligmann &

Tibaldi (1527/8-96).

Besides demonstrating Perino's great originality in figure

composition, this study shows the

style of

drawing

in

pen and wash

artist's fluent

at its

and confident

very best.

The decoration of the state apartments in the Castel Sant'

Angelo was one of the most ambitious projects in Rome at a
time of intense

artistic activity,

when both Michelangelo

22) were also employed by

(1475-1564) and Vasari (see Cat.

Paul III on the decoration of the Cappella Paolina of the Vatican
and the Sala dei Cento Giomi of the Palazzo

most accomplished form, the elegant and selfconscious style known as Mannerism, which dominated much
of the sixteenth century in Italy. The frescoes were to exert a
strong influence on artists of the succeeding generation, such
as Taddeo Zuccaro {i].v).

58

ITALIAN SCHOOL

New York.

Exhibitions:

New

York 1966, no.

29;

Binghamton - Notre Dame 1970,

D 24; Woodner Collection 1, New York and elsewhere 1971-2, no. 18;
Rome 1981-2, 11, p. 126, no. 74; Woodner Collection, Malibu and elsewhere 1983-5, no. 19; Woodner Collection, Vienna 1986, no. 21; Woodner
Collection, Munich 1986, no. 21; Woodner Collection, Madrid 1986-7,
no.

no. 26.

Bibliography: Bean 1969,

see also

Woodner

p. 57, pi.

38; Harprath 1978, pp. 43ff.,

pi.

74;

Collection catalogues.

Notes
della Cancelleria

respectively. Perino del Vaga's frescoes in the Sala Paolina

illustrate, in its

Co.,

hands are not held together in prayer.

hand is held to his chest and his right hand hangs down
by his side. F.M.A. and E. Gaudioso in Rome 1981-2, 11, p. 126 under
no. 74 and pp. 1626 under nos 11215, are inclined to ascribe the
actual execution of the fresco to Perino's assistant Domenico Zaga
In the finished fresco, Alexander's

Instead his

left

(^.1543-81)2 Harprath 1978, pp.

3 Inv. no.

43-6.

D 645; Andrews 1971, pp.

i25f., no.

d 645,

pi.

839.

Benvenuto
Florence,

Cellini

1500 - Florence, 1571

Goldsmith, medallist and sculptor.

He was

trained as a

the description of the corresponding satyr in the Autobiography:

goldsmith by Michelangelo Bandinelli {1459-1528), the

father of Baccio Bandinelli

and then

and Paul ni

vii

in

goldsmith

Bologna

of parts,

1540 he worked

in

France.

He

the disposition

was

in

somewhat more than

one hand to support the

cornice,

The

half-relief, lifting

and holding

a thick club

(q.v.).

was

in the other; his face

as a

as sculptor, architect

at the court of Francis

demanded by

fashioned two satyrs, one upon each side.

of these

first

Rome, where he studied the

works of Michelangelo (1475-1564) and Raphael

Between 1529 and 1540 he was principally active
medallist. After

instead of the columns

...

first in

Florence; and from 1523 in the service of Popes

in

Clement

He worked

(q.v.).

fear into the beholders.

and

showed nothing

fiery

and menacing,

Though

them

call

of the satyr except

little

instilling

satyrs,

they

horns and a

left after

goatish head;

the rest of their form

all

was human."*

quarrelling with Primaticcio (1504-1570), returning to

Florence where he carried out commissions for a bronze bust

of

Cosimo

Florence,

in

now

1545,

Museo

in the

and the statue of Perseus

Lanzi. Cellini

is

famous

also

important document

in

del Bargello in

1554

in the

work

may

aspect

and

with an emphasis upon

in sculpture,

richness of detail and variety of surface texture. This former

Loggia dei

fascinating record of his extraordinary, tempestuous

drawing possesses the same highly-wrought

quality as Cellini's

for his Autobiography, an

of Italian Renaissance culture

In style, the

upon

be seen

in the

way

the artist has concentrated

awesome

the representation of the satyr's

carefully delineating the curls of the hair, beard

life.

grimace,

and even the

eyebrows, and exaggerating the expressiveness of the

nostrils

and deeply-set eyes. Such precision

countered

20

in the

work

is

lips,

not often en-

of other artists of the period and seems

to reflect Cellini's training as a goldsmith. Yet in spite of this

Satyr

tendency to

particularise, the figure

conveys the impression

of a well-integrated, harmonious whole.

Pen and brown

ink, with light brown and golden-brown wash, over black

on cream-coloured paper: 414 x 202 mm.
Inscribed by the artist at lower right, in brown ink, alia porta di fontana I

chalk,

hellio di

hronzo pier] pin

I di

dua

voile

vivo blraccie] 7 / eratio dim variali.

il

Several years ago a small version in bronze of the satyr in

Cat.

20 appeared on

Museum,

Malibu.'*

drawing, though

Winner was

his

is

one of the very few drawings by

survived, and of these

is

it is

undoubtedly the

finest.

The

which were

related to the left-hand satyr of a pair,

have

Cellini to

figure

to have

in the

less detailed

agrees in pose and

Getty

than the

the main details.

in

black chalk study for a silver Juno in the Louvre, also

missioned by Francis

as equivalents

i,

to

bozzetti,

comwhich

frequently precede sculptures in wax, stucco and bronze.*

After making a

initial idea, Cellini

first

version of the figure in bronze to test his

explored on paper the possibility of further

which would have been carried out mostly with

ambitious but never-finished scheme planned by Cellini to

surface detail,

decorate the gate with sculpture.' The Porte Doree had been

the chisel

1538 by Gilles Le Breton, and in 1542 Cellini was

commissioned by Francis to make a model which, besides

he would have added the inscription to the drawing, which,

built in

showing the
ture

which

in the
'I

sculptural decoration, also modified the architec-

Cellini

found

faulty. In describing his

own scheme

Autobiography, he alludes to this architecture as follows:

corrected the proportions of the doorway, and placed

above
tions,

it

an exact

half-circle; at the sides

introduced projec-

with socles and cornices properly corresponding.'^ In

the event, Cellini left France with his work unfinished, and
what little had been completed was not put in place.
The elements of the decoration consisted of a bronze relief
in the 'half-circle' above the doorway, representing the Nymph
of Fontainebleau (this

have survived and

and,

is

below the main

is

the only part of the decoration to

now

in

cornice,

were never
were ready

cast in bronze,
for casting

two

the Louvre),

two

and supporting the cornice over

though

when he

or approximately twice
the inscription

The

life

on Cat. 20

figure in the

ITALIAN SCHOOL

Victory reliefs,

doorway
The two satyrs

satyrs flanking the

their heads.'

left

Cellini says that

France. Both the

and the two satyrs were roughly the same

60

now

is

inclined to see the present drawing, as well as a

Royal Palace

This pair formed part of an

smoother and

It is

it

flanked the Porte Doree, the principal entrance to the French

at Fontainebleau.

the art market and

size [dua volte

size,

il

seven

they

Nymph
braccie,

vivo blraccie]

7,

as

states).

Woodner drawing

agrees precisely with

as

on the

final

model.

Once he had

Pope-Hennessy has observed,

is

returned to Florence,

written in the past tense.

Pope-Hennessy, on the other hand, considers the Getty

bronze to be the

final

bozzetto.

Woodner drawing played

stead

it

is

more

in the

He does

a part in the creative process: in-

nature of a ricordo.^ In his view, the

attention paid in the drawing to the

the satyr

shows the

not believe the

shadows projected by
on the figure as

effect of real light falling

was copying it. It is possible, however, that Cellini

on paper for the purpose of judging the effect
on the structure and surface of the final version, copy-

the artist

drew

a modello

of light

ing the small bronze bozzetto in the round and elaborating

details. If that

were the

case, the difference

of procedure, but only of purpose.

its

would not be one

e<V. -.4ii^Il

Provenance: John Barnard (Lugt 1419); Sir Thomas Lawrence (Lugt 2445);
Hans M. Calmann; William H. Schab Gallery, New York.
Exhibitions:

Newark

New

i960, no. 25;

hamton Notre Dame 1970,

no.

7;

York 1965-6,

Woodner

no. 82; Bing-

Collection

i.

New

York

1972-3, no. 51; Ottawa 1973, no. 51;

Los Angeles 1976, no. 26; New York 1981, no. lo; Woodner Collection,
Malibu and elsewhere 1983-5, no. 18; Woodner Collection, Vienna 1986,

and elsewhere 1971-2, no.

Woodner

no. 23;

14: Paris

Collection,

Madrid 1986-7, no.

Munich 1986,

Bibliography: Vitzthum 1966,

110;

p.

Hayward 1968,

1968, pp. 294ff.;

p.

Avery and Barbaglia 1981,

pp. 4o6ff.;

Notes
1 The

p.

project

is

150,

pi.

Heikamp 1966,

fig.

Collection,

pp. 53ff,;

Winner

279; de Gaigneron 1977,

90, no. 33,

Pope-Hennessy 1985, pp.

p.

Woodner

264, no. 11; Parronchi 1969, pp. 43ff.;

Parronchi 1972; Bush 1976, pp. 265ff.,

and Nova 1983,

no. 23;

28.

pi.

p.

i35ff., pis 70, 71; Cellini ed.

64; see also

Woodner

100;

Pope-Hennessy 1982,

11;

Hope

Collection catalogues.

discussed in Pope-Hennessy 1982, pp. 406-12, and in

Pope-Hennessy 1985, pp. i33ff.

2 Cellini ed. Pope-Hennessy 1949,
3 See note 1. The Louvre Nymph

p.

283.

of Fontainebleau

is

reproduced

in

Pope-

Hennessy 1985, pis 7582.

4 Cellini ed. Pope-Hennessy 1949, p. 283.
5 The sculpture was first discussed in Hayward 1968, p. 264, no. 11; see
also Pope-Hennessy 1982, pp. 406-12 and Pope-Hennessy 1985,
72-4.

pis

6 Winner 1968, pp. 294ff.

7

Pope-Hennessy 1982, pp. 409f. and Pope-Hennessy 1985, p. 136. In

this latter he concludes of the inscription: 'either ... it was added by
Cellini to a pre-existing preliminary

or

the drawing

is

study after his return to Florence

a record of an earlier scheme'.

8 Pope-Hennessy 1982, pp. 4oof. and Pope-Hennessy 1985,

62

ITALIAN SCHOOL

p.

136.

Francesco Mazzola, called Parmigianino

Parma, 1503

- Casalmaggiore, 1540

According to Vasari

Parmigianino was trained by his

(q.v.),

uncles Michele and Pier Ilario Mazzola. His decoration of the

two chapels on the left in S. Giovanni Evangelista in

Parma, begun in 1522 or shortly before, already reveals the
influence of Correggio (q.v.), who was at work in the church
at the same time. In c.1523 he decorated a room in the Rocca
Sanvitale at Fontanellato, near Parma, and later went to
Rome where he remained until 1527, coming into contact
first

with the school of Raphael

visited

Bologna and

(q.v.).

After the sack of the city he

1531 he was again

in

Parma where he

in

contracted to decorate the eastern apse of the Steccata, his

most important

late

upon

the

influential

Northern

21

Italy

and

work. Parmigianino' s work was immensely

development of the Mannerist

style in

in France.

Madonna and

Child (recto)

and Standing Figure of a

Bearded
Red

chalk,

on

Man (verso)

light buff paper;

mm.

175 x 149

Inscribed in the upper right comer, in black ink, Parmegiano; on the verso,

near the bottom of the sheet,

2}y- 26

/ c

io perdai

Tthis sensitive
on account of
of Correggio.

in graphite,

VVCi

22 (twice),

K /

study

may be

Not only

dated early

which strongly

its style,

this

is

apparent

chalk, Correggio's favourite

medium

but also in the handling

itself,

the

in

in the

technique of red

of drawing (see Cat. 17),

with

type of the figures to those

career

artist's

reflects the influence

juxtaposition of

its

patches of light tone with firmly-drawn contours.

larity in

cd.,

}7}; and 524.

in

The

simi-

Parmigianino's earliest

works, such as the frescoes at Fontanellato, further indicate

that the

drawing would have been made before the

departure for

Rome

in

The group has so

far

not been connected with any of

Parmigianino's work, although the motif of the

extending her hand towards the Infant Christ

one that Parmigianino was

Roman

artist's

1523/4.

later to

period (1523/4-7), the

in the Seilern collection

and

explore

her side was

in a picture of his

Madonna and

now

at

Madonna

Child, formerly

Provenance: Hanley
in the

collection.

Courtauld Institute

Woodner Collection
New York and elsewhere 19712,
Woodner Collection, Malibu and elsewhere 19835, no. 14;
Woodner Collection, Vienna 1986, no. 22; Woodner Collection, Munich
1986, no. 22; Woodner Collection, Madrid 1986-7, no. 27.
Exhibitions:

Galleries.^

i.

no. 22;

On

the verso, partly cut

away by

the edge of the sheet,

standing figure of a bearded man, likewise drawn

which the

artist

has cancelled with a few

in

lines.

sheepskin wrapped around the figure's waist,

it

is

the

red chalk,

From

Bibliography: see

has been

proposed that the figure may be identified as a shepherd,

possibly the one carrying a lamb which appears in reverse on
the left-hand side of a composition study of the Adoration of
the

Shepherds in the Metropolitan

Museum

of Art,

is

New

1 Rossi 1980, p. 95, no. 31. Variations of the

also seen in

2 This connection

many

differences in detail.

studies for the later

p. 98,

wriggling Christ Child are

Madonna delta Rosa

of

1529-30

at

nos 43^ and 43^.

was made by Michael Miller in the Woodner Collection

Munich and Madrid. The drawing in the Metro-

catalogues of Vienna,

a general resemblance in pose

figures, there are

some

Dresden; see Rossi,

I,

between the two

catalogues.

Notes

politan

York.^ Although there

Woodner Collection

the

Museum

of Art, inv. no. 46.80.3,

no. 297, p. 66, under no. 72,

11,

pi.

is

catalogued

in

Popham

1971,

148; and in Bean and Turcic 1982,

no. 152.

ITALIAN SCHOOL

63

y^

t^

ij

Giorgio Vasari
Arezzo, 1511 - Florence, 1574
Besides being a painter he

was

also an architect a collector

Vasari's attribution of the drawings to 'Filippo Lippi' ap-

a writer on
Arezzo by the French glass painter Guillaume de Marcillat
(1475-1529 or 1537), he moved to Florence in 1524, where

and

the history of Italian

he was a pupil of Bandinelli

(q.v.)

trained in

art. First

and Rosso (1494-1540).

bottom centre of both the recto

and the verso. He frequently used the name for both Fra
Filippo Lippi (c. 1406-69) and his son Filippino (q.v.), but it
pears in a cartouche at the

seems certain that he regarded these drawings

From 1527 he worked in Arezzo and Florence, visiting

Rome in 1532, where he was influenced by Michelangelo
(1475-1564) and the work of Raphael's followers, such as
Perino del Vaga {q.v.). From 1541 he was based in Rome but
travelled extensively, engaged upon various commissions,

younger

using his journeys to compile the notes for his biographies of

as

artists {Le Vite de' piu eccellenti pittori

.);

he

visited,

among

de' Medici, for

whom

in

commissions, including the decoration of the Palazzo Vecchio.

In the last five years of his life

he worked

in

both Florence

(on the decoration of the cupola of the Cathedral) and

Vite,

an indispensable source for the history of

painting, has tended to

overshadow

decorative framework, the style of which, not surprisingly,

is

reminiscent of his architecture.

were the surface of

if it

Italian

his career as a painter.

is

22A and 220,

paper: 567 x

that

on the

verso.

The dominant trompe

Inscribed in cartouche at lower centre of both recto and verso, in

by washing
on each

verso
Vasari's Libro de' Disegni to

most

have

sur-

vived

intact, this is certainly the

effect

depends not only upon the extremely high quality of

beautiful. Its

imposing

the different sheets, varying in colour and type, of which

composed, but also upon the ingenious way

in

it is

which Vasari

has disposed the drawings on the page so that together they

Vasari

was

and harmonious
the

in

entity.

important collector of drawings.'

first

These he preserved

some

eight or

more volumes

of the

same large format as this page (larger in the case of the

volumes of architectural drawings). The Lihro was assembled
as a complement to his famous biographies of Italian artists

He was one of the first critics to regard drawings

documents of the creative imagination, as important in

in the Vite.

as

their

way

refers to
his

as the finished

work

of

examples of drawings

collection of drawings

history of Italian

art,

from

art,

and

in the Vite

he often

in the Libro. Like the

was intended
its

Vite,

to illustrate the

beginnings with Cimabue

([?]i24o-c.i302) and Giotto (1266 or 1276-c. 1337) to

culmination
In his

in the

work

collector,

overcoming what were presumably subjec-

tive preferences in order to

his period as possible.

66

its

of Michelangelo and his successors.

attempts to be representative, he also anticipated the

modern

ITALIAN SCHOOL

document

compared with
features of the

in tone.

is

side are

as

many

schools within

is

by two
angels who are made
flanked

four

which

The

figures in the

two

to appear like sculptures in

still

further emphasise the

monu-

The upper storey

of the

of the panel containing the drawing of a

putto, situated in the

it; it is

made

effect of the centre panel.

composed

The other

of cast shadow.

in areas

a subserviant part.

niches, the cavities of

mental

a pleasing

harmonising

'architecture' of the verso

brown

ink, Filippo Lippi Pitt: Fior:.

form

I'oeil

compared

has determined

swags of fruit which appear, one

on each side, of the large study that takes up almost the
whole of the bottom half of the page. The variously shaped
panels occupy the same narrow plane, with their grounds of

sheets

'f

this

recto are the consoles and

drawings play

light buff

457 mm.

Of the few pages from

are relatively large

pediment to the top and has given greater definition to the

brown and grey wash, on

ink,

the

whole resembles the articulation

The two principal sheets on

with the whole of the rest of the sheet, and

sides

pen and brown

it

more emphatic. This has

been dictated by the frame of the coloured modello by Botticelli,
Cat. 22H. Vasari has reinforced its plasticity by adding a

Libro de' Disegni

in

and builds out from

a wall

that the effeqt of the

the recto. Cat.

The

Page from Vasari'

Decoration

treats the page, or backing,

of a fagade or a triumphal arch.

different pastel colours

22

He

the different treatment of the 'architecture'

Rome

(various commissions in the Vatican). His fame as the author

of the

them with

unify the drawings, Vasari has surrounded

result

Cosimo
undertake numerous

Florence in the service of

he was to

by the

elements that constitute the frames and their ornament. The

other centres, Venice, Parma, Verona, Naples and Bologna.

From 1554 he was back

To

as

artist.^

same

central plane as the modello beneath

small

open

to appear

spaces, filled with silhouetted

on clouds.

For a discussion of the individual sheets and their recent

critical history,

see the separate entries below.

Provenance: Giorgio Vasari (1511-74); Niccolo Gaddi (d.i59i); possibly

Thomas Howard, Earl of Arundel; presumably William Cavendish, 2nd Duke
of Devonshire (16721739); then by descent, Chatsworth (inv. no. 960),
sale,

London,

Christie's, 3 July 1984, lot 46.

Exhibitions: London 1930, no. 450; London 1949, no. 10; Washington DC

and elsewhere 1962-3, no. 36; London 1973-4, no. 36; Woodner Collection, Cambridge ma 1985, no. ^6 (checklist only); Woodner Collection,
Vienna 1986, no. 24; Woodner Collection, Munich 1986, no. 24; Woodner
Collection, Madrid 1986-7, no. 29.
Bibliography: Strong 1902, nos 14 (Cat. 22A), 34 (Cat. 22B, 22c); Vasari
Soc, 2nd Series, vi, no. 6 (Cat. 22A actual size); Popham 1931, no. 50,

22A as Raffaellino del Garbo, 22B and 22c as Anonymous

22D as Filippino Lippi); Berenson 1903, 11, nos 571 (Cat. 22H as
School of Botticelli), y6o (Cat. 22A as Raffaellino del Garbo), 1275 (Cat. 221
as Filippino Lippi), 1276 (Cat. 22D as Filippino); Scharf 1935, p. 122, no. 207
(Cat. 22D as Filippino), p. 129, no. 292 (Cat. 22A as Filippino); Kurz 1937,
p. 14; Berenson 1938, 11, nos 571 (Cat 22H as probably by Raffaellino del
Garbo), y6o (Cat. 22A as Raffaellino del Garbo), 1275 (Cat. 22E, 22F, 22G,
221, 22J as Filippino), 1276 (Cat. 22D as Filippino), 1276A and 1276B
(Cat. 228, 22c as Filippino); Berenson 1961 (same as 1938 edition); Fahy
1968, pp. 32, 37-8 (Cat. 22h); Fahy 1976, pp. 20, 78 and 107 (Cat. 22h);
Ragghianti CoUobi 1974,
p. 85, 11, pis 233-4 (all as Filippino except
pi.

43

(Cat.

Florentine,

i,

Cat. 22A, 22h); de Bayser 1984, pp. 75-6; see also

Woodner

Collection

catalogues.

Notes
1 Vasari's activity as a collector

is

discussed

by Kurz 1937, pp. 1-15,

32-44.
2 Other pages from the Libro with drawings by Filippino Lippi include
those at Christ Church, Oxford (Byam Shaw 1976, nos 33, 36) and the
British

Museum, London (Popham and Pouncey 1950,

no. 131).

ITALIAN SCHOOL

6y

22 recto

22 verso

G
J

22A: recto, upper centre

Filippino Lippi
Prato,

1457 - Florence, 1504

(For biography, see Cat.p.)

artist

has accurately conveyed his dreamy, somewhat sensu-

ous expression. Even though the arms are drawn to a smaller

scale (since a less detailed treatment

than of the

Head of a Youth Wearing a

the

face),

Cap; a Right Forearm with

Clutching a Stone;

almost identical head, but seen

in the

angel

was

attribuired to Raffaellino del

Garbo (1466-1524)
early work by Filippino, drawn when
in the past,

to that of Botticelli
in his career.^
it

clear

at the

{q.v.),

with

The purpose

seems certainly to be an

it

whom

his style

he was

of the studies

is

still

close

in contact early

not known, nor

whether or not the right forearm and

bottom of the sheet were intended

was

left

taken together,

seems
it is

is

same

figure

likely. If all three studies

were

to be

in

little

and

after

Angel

the

in the

1480; also similar in

S.

Michele

Some

at Lucca, of c.1485.^

of

S.

Maria del Carmine

Florence are also close, especially the centre one of three

group of spectators on the right

in the

in the Crucifixion

of St Peter.'

Notes
Berenson 1961 (and

was sold
2

and the

Garbo or

The comparisons were

first

Chatsworth

Filippino Lippi' in the

suggested by Michael Miller

Collection catalogues of Vienna,

from the garzone or studio model. The features of the

face betray the characteristics of an actual individual

edns of 1903 and 1938), no. 760. The drawing

earlier

as 'Raffaellino del

sale of 1984.

is

reproduced

Lucca,

in Scharf

ibid., fig.

1935,

in the

Woodner

Munich and Madrid. The Turin

20; the altarpiece from

fig.

S.

picture

Michele

at

18.

3 See Scharf, figs 35, 40.

Filippino Lippi
Prato,

which

the St Sebastian in the altarpiece of Sts Roch, Sebastian,

is

youths

There can be no doubt that the studies were made from

life

in

be found

in reverse, is to

decoration of the Brancacci Chapel in

may have been drawn

for the executioner in the stoning of a saint.

the

way

hand drawn

for the

possible that they

a hallmark of

the heads in the frescoes that Filippino contributed to the

as the head, as

passages,

the subtlety of the

is

in the centre in the Tobias

Pinacoteca at Turin, datable a

up.

type

the drawing

drawing and so much

hand. Another typical quality

Jerome and Helena in

AiJthough

more freely-drawn

the looseness of touch characteristic of

the highlights have been picked out with the brush.

Metalpoint, heightened with white bodycolour, on mauve-prepared paper:

comer made

is

gradations of light and shade, and the pleasing

An
right

hair,

the care

is

has controlled the outlines and the

Filippino's later style of

his

and a Left Hand Holding a

Drapery
288 X 201 mm. The lower

striking feature of this sheet

artist

hatching. Yet incipient in the

notably the

Hand

the

same model.

with which the

was required of them

probable that they were studied from

it is

223 and

C: recto,

upper

left

and right

1457 Florence, 1504

iq.v.)}

Nude Youth and

Standing

and

Man with a Stick

The

style of the

strongly from the

differs

draughtsmanship

The

drawing corresponds with such a date

more

agitated

manner of

his

later in his career.

figure in Cat. 22c, as Miller has observed,

somewhat

resembles the cowherd in Filippino's Sts Joachim and Anna,

Both works
similarly

dated 1497,

metalpoint, with touches of white heightening, on

in

grey-prepared paper: 195 x 105

trimmed

at the

mm (both measure the same and are

comers).

'oth

drawings are
is

studies, possibly

from the

life.

Their

not known, nor have either of the figures been

directly connected with

The drawings seem

to

any of

Filippino's surviving work.

have been cut from the same

in Cat.

22B with that of

cloak standing on the extreme

left

man

drapery, legs and

Magi

in

in

of Filippino's Adoration of

the National Gallery, London, an early work,

ITALIAN SCHOOL

Procolo and

now

in the

also dates 1497.^

arm of the Magdalen

The

are particularly

nection with Cat. 22B, Miller suggests that Cat. 22c was

with a long

datable 1475-80, which reveals the influence of Botticelli

yo

left

in S.

which Scharf

close to the figure in Cat. 22c. But given the obvious con-

Notes
1

the

in Florence,

probably made well before both painted works.

sheet.

Michael Miller has drawn attention to the resemblance

pose of the figure

Royal Museum, Copenhagen.^ He points

and the Magdalen, formerly

Accademia

purpose

in the

to a further similarity to the figures in the St John the Baptist

Scharf 1935,

2 Scharf,

fig.

fig. 5.

97.

3 Scharf, figs 92-3.

mmmmmmmifiKfti.

,|S'

"-wVi-^

22D: recto, lower half

Filippino Lippi
Prato,

1457 -Florence, 1504

Various Figure Studies

Metalpoint, with touches of white heightening, on ochre-prepared paper:

220 X 328 mm. The borders decorated by Vasari

Or

the

left

agitatedly, with his left

above
which
loop.

is

youth

a figure of a

is

arm

pen and brown

who

leans forward

forearm and hand

left

is shown grasping an object somewhat resembling a

Above the latter is a left leg bent at the knee. To the

youth

is

a study of a seated figure

forward and an alternative study for

of the sheet

is

a seated

man

his left leg.

bending

On the right

holding an orb in his

left

hand

staff in his right.

Michael Miller has noted a

Oxford) for the

connection with three

stylistic

and one

figure studies (two in the Uffizi

in Christ

in the Strozzi

no

Church,

litter-bearers in the Resurrection of Drusiana,

one of the frescoes painted by Filippino Lippi

ever,

ink.

up behind him; immediately

raised

an alternative study for his

right of the

and a

in

Chapel

in S.

Maria Novella

late in his career

in Florence.^

How-

directly corresponding figure occurs in the fresco.

Given the

fluttering draperies

on the

figure,

which have been

picked out with the point of the brush and white heightening,
it is

for

possible that the artist intended to study a female figure

some composition.

Federico Zeri has astutely observed that the study on the

right appears to be a copy, in reverse

and with some

slight

variations, of the figure of Paris in a Judgement of Paris in the

Cini Collection, Venice, painted

workshop around 1485-8.^

Botticelli's

by

Filippino

work, particularly early

therefore not be surprising to find

member
was much

of Botticelli's

him copying

by
would

influenced

in his career

and

it

in this way.-*

Notes
1 The two drawings

in the Uffizi are inv. nos 185E and i86e and are reproScharf 1935, figs 183-4; see also Berenson 1938, 11, pp. i44f.,
nos 1297-8, III, figs 226, 225. The Christ Church drawing is catalogued

duced

in

by Byam Shaw 1976,

fresco
2 Zeri

is

reproduced

et al.

no. 35; see also Berenson,

in Scharf, fig.

p.

in

the

The

1984, pp. 27f., no. 15, figs 31-3.

3 Miller cites other

examples of such borrowings

Munich and Madrid.

tion catalogues of Vienna,

72

152, no. 1354.

11,

117.

ITALIAN SCHOOL

Woodner

Collec-

H'.

tJ

1*"*

hi
1^,

JJ

22E: verso, upper centre

Filippino Lippi
Prato,

1457 -Florence, 1504

Dancing PuHo Holding a

Drapery
Pen and brown

on dark

ink,

205 x 127 mm.

buff paper:

was attributed to Raffaellino del Garbo (14661524)

in the Chatsworth sale catalogue, presumably on the grounds
of its undoubted resemblance to a drawing given to that artist
1

in

his

Museum

the Metropolitan

of Art,

Miller has argued plausibly that

from the same hand

as the

which appears next to

related to Cat. 22G,

ing undoubtedly

It is

by

it

is

left.

York.^ Michael

is

a preparatory study for a paint-

not the same as the

is

studies with angels (Cat. 22F, 22G), but this

isms seen in the

torch,

Filippino Lippi.

is

a result of

The draw-

a difference of intention rather than of authorship.

ing of the putto

and

Filippino Lippi

Cat. 22F.^ This, in turn,

true that the treatment of the putto

two

New

by

drawing of an angel with a

on the

which

is

it

is more of a finished study; but the mannermore summary parts of the figure, such as the

head, arms and drapery, find parallels in other drawings

by

Filippino. Similar putti occur in several of his painted works,

and many have the same coy

set to the eyes, as well as the

so

expression and strange

facial

chubby

much a feature of the figure in

The pose of the lower part of

this

legs

and spatulate toes

drawing.^

the figure corresponds with

Mellon Collection

that of a terracotta in the

in the

National

Gallery of Art, Washington

DC* The authenticity of this

work has been the matter of some debate and its attribution
to Andrea del Verrocchio (c. 143588) is by no means
unanimously accepted.^ If it is by Verrocchio, this does not
exclude the possibility of Filippino having copied

it.

Notes
1

and Child Attended by Angels (Bean and Turcic 1982,

same shorthand method of placing the features on the face

Virgin

in

both drawings, including,

line

among

The
employed

no. 93).
is

other devices, the drawing of a fine

running from the top of the forehead

down

the centre of the face to

mouth and chin. On either side of this line the hollows of the eyes are
drawn; the shadows of the nose and mouth are drawn across it. There is
much to suggest Filippino's late style in the Metropolitan drawing, and
the dilemma would be resolved if it were agreed that it too is by
the

Filippino.

2 See the

Woodner

Collection catalogues of Vienna,

Munich and Madrid

(no. 29E).

3 Miller has cited several works in comparison, in particular the Christ Child
in

the tondo in the Cleveland

Equally close

and John

is

the Baptist in the Galleria

4 The connection was

Seymour 1971,

made by Douglas

may have been made

in

pi.

Pope Hennessy 1971,

According to Seymour, the terra-

78.

left

incomplete

1488.

5 See

74

Lewis. For the sculpture, see

connection with a fountain commissioned

by Matthias Corvinus which was

in

of Art (Scharf 1935, figs 80-2).

Madonna and Child with Sts Stephen

Comunale at Prato (Scharf, fig. 126).

pp. i67f. and figs i6o-6t, and

pp. 295 f., under the entry for

cotta

Museum

the Christ Child in the

Pope-Hennessy, pp.

ITALIAN SCHOOL

295f.,

under

pi.

78.

at the sculptor's

death

22F and

upper

G: verso,

left

and right

Filippino Lippi
Prato,

1457 -Florence, 1504

An Angel

Carrying a Torch

and Two Angels Carrying

Torches
Left:

pen and brown

ink,

mm (maximum

grey wash; 195 x 127

measurements).

brown

Right: pen and

ink,

brown wash: 170

x 123

mm (maximum

measurements).

Both sheets cut irregularly so that the figures are partly silhouetted.

Doth

studies

style of

drawing with the pen, so typical of

illustrate

Cat. 22F, the study

for the torch

Filippino's

on the upper

wonderfully energetic

left,

his late period. In

the several pentimenti

and the working and reworking of the

arm

right

of the figure are particularly revealing of the spirit of freedom

late drawings were made. Both Cat. 22F and
22G seem to have been cut from the same sheet, and both
were evidently conceived as studies for the same composition.

with which his

As Michael
is

Miller has acutely observed. Cat. 22G, which

pricked for transfer,

is

study for two of the angels just

right of centre at the top of the altarpiece of the Mystic

Marriage of St Catherine, with Four Saints in S. Domenico,

Bologna, which is signed and dated 1501.^ Variants of the
figure in Cat. 22F occur in the pairs of angels at the

of the

same

upper

left

altarpiece.

Vasari has arranged the fragments in such a

way

that they

occupy the two empty spaces to each side of the top of the
album page, the centre of which is blocked by the panel containing Cat. 22E, the Dancing Putto Holding a Drapery.

further emphasis to the ethereality of these

Vasari has

drawn

two

To

give

lateral spaces,

pen and ink

around the lower edges of the fragments to indicate clouds.

Note
1

76

Scharf 1935,

fig.

125.

ITALIAN SCHOOL

a series of curved lines in

22H: verso, lower centre

Sandro

Botticelli

Florence, 1445

He was

Florence,

one of his brothers. His

trained as a goldsmith with

teacher

first

1510

he worked

was

in

Fra Filippo Lippi

1465-7. He

del Verrocchio

(c.

1435-1488) and

his early paintings

the influence of Antonio Pollaiuolo

Andrea Mantegna
as an

1406-1469), with

(r.

independent master and worked above

Medici.
literati

He was

show

1432-1498) and
1470 he was established

(c.

143 1-1506). In

(c

whom

continued his training with Andrea

all

for the

circle of humanists and

Angelo Poliziano and Marsilio Ficino.
works include the Primavera of 1477 and

acquainted with the

that included

Botticelli's principal

sheet he has superimposed the inside edges of the flanking

shadow with

niches, as well as strengthening the intervening

He

wash.
to

some

has also apparently added a few touches of white

of the architectural details of the frame, for example

the capitals over the pilasters.

The drawing has

who

attracted varied critical

catalogued

first

from the School of

as

it

comment. Berenson,
Botticelli

'probably done in preparation for the triptych in

Florence', later

changed

mind and claimed

his

it was 'so
manner as
Pouncey (orally)

that

the Birth of Venus of 1482, both in the Uffizi. In 1481/2 he

close to [Raffaellino del Garbo] in his Botticellian

was called to Rome and decorated the Sistine Chapel. He

was much influenced by the preaching of Savonarola.

to

make

probable that

it

by

it is

seems to have been the

him'.* Philip

Botticelli himself.'' Everett Fahy, discussing

the

altarpiece (which he

S. Felice

Antony Abbot, James

the Greater and Catherine

conceivably

artist,

that

was

it

may be

'a

in relation to

it

gave to the Master of Apollo

and Daphne), noted that the drawing

Sts

drawing to

to attribute the

first

and

S. Felice at

is

by

'a

much

superior

about 148590' and suggested

Botticelli,

rejected modello for the commission,

which

awarded to the Master of Apollo and Daphne'.*

ultimately

Michael Miller has compared the drawing with some

of Alexandria

works by

Botticelli carried

and the early 1490s,

Pen and brush with brown wash and gouache, on prepared paper; finished

painted for

out

in the last years of the

example the Coronation

for

Marco and completed

S.

1490 (now

in

This shows the same proportions

1480s

of the Virgin,
in the

in the figures

and

with brownish-grey wash, with touches of white heightening:

Uffizi).'

293 X 255 mm.

a similar treatment of the drapery; the correspondence

Woodner modello. Among Botticelli's

small scale as those in the

ihere

is

much

to

recommend

the view that this beautiful

coloured modello for an altarpiece

is

by

Botticelli.

The

simpli-

undoubtedly authentic drawings. Miller notes

handling with the Faith

parallel in the

is

which are on the same

closest with the figures in the predella,

fication of the forms, the angular treatment of the drapery,

especially in the facial type

the solidity of the figures and, indeed, the very texture of

drapery.'"

and

a particular

in the British

Museum,

the treatment of the

in

the paint, applied criss-cross with the point of the brush, are

suggestive of

some

of his drawings. Particularly reminiscent

of Botticelli are the slightly misshapen jaws which tend to

Notes
be found, for example,

1 Similar features are to

give a lopsided appearance to the faces of the figures.^

The composition

is

drawn

evidently related to the altarpiece of

Antony Abbot, Roch and Catherine of Alexandria in S. Felice

Piazza, Florence, a connection that Berenson had suggested

Sts
in

III,

are,

however, several iconographical, com-

between the two works,

which might indicate that they are not by the same hand,
though the drawing is undoubtedly the better of the two.^
The attribution of the altarpiece has oscillated between Piero
di Cosimo (c.i462-[?]i52i), Cosimo Rosselli (1439-1507),
positional

and

stylistic differences

the School of Filippino Lippi

and,

more

recently, the

(q.v.),

the School of Botticelli,

Master of Apollo and Daphne, though

the general consensus of opinion

now seems

to favour the

pis 200,

(Berenson,
2

long ago.^ There

The

201) and one

11,

no. 569A;

altarpiece

p. 29,

no. 571.

1978,

II,

is

part of

The

its

its

two

Michael Miller

is

inclined to attribute

execution to Botticelli himself.'

original sheet

most of
base,

Botticelli.''

surrounding architectural frame, consisting of a

flanking pilasters and the cornice decorated at the

top with a sequence of ornamental pinnacles. This architectural

He

frame received some

later modifications

integrated the cornice with his

own

from Vasari.

decorative scheme

the three fragments

Pierpont

Morgan

Library,

New

York

202).

in

Gamba

1936,

pi.

187; Berenson 1903,

discussed, with previous bibliography, in

11,

Lightbown

p. 160, no. 29.

3 In the altarpiece St
Greater, though the

physiognomy.

Roch appears in the centre instead of St James the

two figures are clearly similar in general pose and

predella

is

also included, with a scene

each saint divided by two hexagons with the Virgin

from the
in

life

of

one and the

Angel of the Annunciation in the other The pergola or arch seen in

the drawing is substituted in the painting by a simple frame dividing

The modelling of the

more elongated and
compared with the heavier

the space into three arched areas of equal size.

figures

is

also different: in the altarpiece they are

types

in the

have

5 See

more decorative

effect

drawing.

4 See Lightbown 1978,

was drawn with both the modello and

in the

iii, pi.

reproduced

It is

their draperies

School of

in

tempera for an Adoration of the Magi, two in the

Fitzwilliam Museum, Cambridge (Berenson 1938, 11, nos 561A, 561B;
in grisaille

11,

p.

Woodner Collection

160, no. 29.

catalogues of Vienna (no. 24 verso

24 verso d) and Madrid (no. 29H).

6 Berenson 1903, 11, p. 29, no. 571; Berenson 1938,

d),

Munich

(no.

7 His opinion

is

recorded by Miller

in

the

11,

p. 79,

no. 760.

Woodner Collection

catalogues

cited in note 5.

8 Fahy 1968, pp. 32, 37-8; reprinted in Fahy 1976, pp. 20, 78, 107.

9 See note 5 and Lightbown,

11,

pp. 7iff., no. b ^s, for the painting in the

Uffizi.

by adding

pediment, part of which

is

drawn on the original

At the sides of the

sheet and part on the page of the Libro.

7&

ITALIAN SCHOOL

10 See Lightbown,
no. 25.

n, p.

164, no.

d 8 and Popham and Pouncey 1950,

lower

221: verso,

left

Filippino Lippi
Prato,

1457 - Florence, 1504

Woman with

Standing
her

Hands Clasped

in

Prayer
Metalpoint, with touches of white heightening, on grey-prepared paper;
the lines of part of the niche

Ihis drawing

may

drawn

in

pen and brown

ink:

be a study for the Virgin

190 x 80 mm.

in Filippino's

Assumption, painted above the altarpiece of the Caraffa Chapel

in S.

on

Rome; the artist was engaged

chapel between 1488 and 1493.*

Maria sopra Minerva

the decoration of this

in

Besides adding the pen lines of the niche to part of the original
sheet, Vasari has also

added white heightening to the

right

of the figure in order to reinforce the contour of the body,

blocking out some of the original cross-hatching in the

process.

He

has also applied touches of white heightening to

other parts of the figure to give

it

greater

relief.

Note
1

See Michael Miller

in

Woodner Collection

and Madrid. The fresco

80

ITALIAN SCHOOL

is

reproduced

in

catalogues of Vienna,

Scharf 1935,

fig.

64.

Munich

Z21

22]: verso,

lower right

Filippino Lippi
Prato,

1457 - Florence, 1504

Two Draped Women

Standing on Either Side of a

Herm
Metalpoint, with touches of white heightening, on light green-prepared
paper; the lines of part of the niche

190 X t03

drawn

in

It has been suggested that the group

in part

pen and brown

ink:

mm.

may have been inspired

by an antique sarcophagus known

of the Muses,

now in

the Kunsthistorisches

This sarcophagus was

known

to

as the Sarcophagus

Museum in Vienna/
in Rome in the

have been

sixteenth century, and possibly before. Filippino might have

seen

while he was engaged on the decoration of the Caraffa

it

Chapel

in S.

Cat. 221).

ing

is

Maria sopra Minerva, Rome, from 1488-93

The lower

part of the

similar to that

on the extreme

while the position of her arms

same

figure.

be based,

The

woman on
is

left

the

on

(see

the draw-

of the sarcophagus,

a free adaptation from this

head, on the other hand,

in reverse,

left in

that of the third

However, the general resemblance

is

would appear

Muse from

the

to

left.

not sufficiently close to

exclude the possibility of an intermediate source.

woman on

the

right of the sheet with her back turned to the spectator.

No

such figure occurs on the Vienna sarcophagus

any

other

source remains to be identified for the

known sarcophagus

of this type.

been suggested by the masks

by Muses

in

that are

or,

indeed, in

The herm may have

sometimes seen held

such works.

The drawing may be dated towards

the end of Filippino's

Roman period (c. 1488-93) and seems

much the same time as Cat. 221.

to

have been made

at

Note
1

Michael Miller noted the resemblance

in the

Woodner

Collection cata-

logues of Vienna, Munich and Madrid. For the sarcophagus, see

1966, pp. 88f., no. 228,

82

ITALIAN SCHOOL

pi.

1 1.

Wegner

<:
;^

...

ii
221

Niccolo deH'Abbate
Modena, c.1512 - Fontainebleau, 1571
Taught by

his father

Giovanni and by the sculptor Antonio

been carried out

perhaps

at a later date,

1547 he worked in Modena,

where he painted the frescoes in the Palazzo del Comune as

more

well as those of the Rocca del Scandiano, and later in Bologna,

The freedom

in the Palazzi Torfanini, Poggi and Leoni. After 1551-2 he

was the assiduous collaborator of the Bolognese painter and

however, seem to be of the same period

decorator Francesco Primaticcio (1504/51570) at the French

but

Begarelli (1^00-1556). Until

The work

court.

of Correggio

(q.v.)

where

flourished for

it

known

style

Mannerism

as

some decades.

in

Primaticcio and Niccolo

it is

Yvonne Tan Bunzl

less finished. It is triangular in

which might indicate

that

it

London,* does,

in

as the present sheet,

format and squared for

was intended

as a design

which Ganymede appears nude except

cap,

is

New

virtually identical in composition. This

York,'

Phrygian

for his

drawing

is

preparatory study for Carpi's painting in Dresden, which

work

a
is

document of 1544.* There the artist turns both

body of Ganymede appears parallel to the
background picture plane. The present drawing is nearer to
recorded

and mythological themes, landscapes,

religious

of touch of another drawing of Jupiter and Juno,

of Ganymede, in the Krautheimer Collection,

dell'Abbate were the principal painters of the decoration of

embraced

is

A drawing by Girolamo da Carpi (1501-1556) of the Rape

to France,

the Galerie d'Ulysse at Fontainebleau. Dell'Abbate's

1550s, and

for a ceiling decoration.

He was

one of the founders of the so-called Fontainebleau School,

which brought the

in the

handling;^ the elaborate classical drapery

in the collection of

transfer,

(c.1490 1542) affected his style and his later work reveals
{q.v.).

its

hardly agrees with the 'contemporary dress' of Ganymede.

and Dosso Dossi

the unmistakable influence of Parmigianino

precise in

in a

figures so that the

designs for tapestry, enamelwork and ephemeral decorations.

Carpi's study than to his painting,

Niccolo saw the former and used

it

and

it

possible that

is

as the basis for his

own

composition. Both drawings derive from an invention of

23

Parmigianino, which

The Rape of Ganymede

the covers of a
California.'

Pen and brush with

is

recorded

in the

in a

drawing found between

Huntington Library, San Marino,

Thus Parmigianino's composition could have been

the link in the chain and there need not have been any direct

grey-brown wash, heightened with white, on

down on a support with a border made of leather

dark,

dark buff paper; laid

book

contact between Niccolo and Girolamo da Carpi.

stamped with gold: 384 x 286 mm.

Inscribed at the upper centre, in brown ink, Ganimede; and on the old
support, in the hand of Richardson Sr, in brown ink, Perino; and an
indecipherable inscription in graphite.

Or

by Niccolo dell'Abbate illustrating

Jupiter. Ganymede was a young

'ne of several drawings

the erotic adventures of

whom Jupiter feU

shepherd with

him

as an eagle, Jupiter carried

became cup-bearer
boy, the

artist

Olympus where he

off to

to the gods. In this representation of the

has wittily

costume of the

passionately in love. Disguised

artist's

shown

own

the youth wearing the fancy

day, complete with stockings,

plumed hat and sword.

The drawings in the group differ somewhat from each

breeches,

other

in style as

transfer

well as in finish, while

and others not.

were not necessarily conceived

drawn over

a period of

commissions and

some

are squared for

therefore seems probable that they

It

as a series, but rather

some years and

in relation to separate

is

good example

pictorial style of the artist's early period,

of the febrile,

which culminated

the frescoes of the Palazzo Torfanini of 1548-50.

indeed pre-date these frescoes and

seems to resemble

Subject at the

It

as other

in

may

may have been made

same time

early as c.1545, roughly the

it

11

Christie's,

May

1908, lot 85;

sale,

Woodner

in the British

as

Bibliography: see

London,

Woodner

Collection catalogues.

Notes
1

drawings

no. 6317; Popham and Wilde 1949, no. 1122, as 'anonymous

Modenese School'.
The drawings are inv. nos 1895-9-15-678 and 1945-11-10-1 reInv.

spectively. In the Christie's sale catalogue of

the

that the

Woodner drawing

two

Museum

British

Cat. 23, both

first

drawings are cited

Jupiter

Museum,

and Juno

in the

were

6 July 1976, under

Jupiter

attributed to

and Semele and

this

example.^

Louvre seems to have

is

of the two, the Jupiter and Semele, on a greenish-

at

at the

upper edge, similar to that of

one time attributed to Perino

pp. 86ff.,

6 Mezzetti 1977, no. 35,

7

Popham

Rome

discussed in

Domenico Zaga

Canedy 1970,
1971,

1,

lot 90,

in relation to the present

del

Vaga

(q.v.).

3 Inv. no. RF 572.

ITALIAN SCHOOL

sale,

6 July 1976,

Woodner

drawing. The

Jupiter Embracing a Nymph, are clearly related to

84

Christie's,

Collection,

4 The drawing

drawing of

London,

Collection, Malibu and elsewhere 1983-5, no. 17;

Vienna 1986, no. 26; Woodner Collection, Munich
1986, no. 26; Woodner Collection, Madrid 1986-7, no. 32.

Exhibitions:

such as the Legendary

in style,

The finished technique suggests

was intended for presentation.

mount stamped

possession of Lord

lot 90.

Royal Library, Windsor Castle.'

drawings

in the

Yarmouth); Jonathan Richardson Sr (Lugt 2184); John Clayton,

prepared paper, bears an inscription

Two

collector (his

those of drawings formerly

in gold, similar to

projects.

The present drawing

which

were

Provenance: unidentified eighteenth-century

fig.

(/?.

1981-2,

11,

p.

196,

where

it is

154381).

34.

pi. xvi.

no. 571,

pi.

352, where

it is

dated after 1535.

*i?

Taddeo Zuccaro
S.

Angelo

in

Vado, 1529 Rome, 1566

Rome where he taught himself to

by copying from early masters. He was particularly

In C.1543

paint

he arrived

in

Vaga {q.v.) and Polidoro

da Caravaggio (i49o/i500-[?]i543). In 1553-6 he painted
influenced

by

work

the

the Mattel Chapel in

S.

of the Passion, and in

S.

Marcello

of Perino del

Maria

Consolazione with scenes

della

1558-9

the Frangipani Chapel in

show

Corso. Both decorations

al

highly

his

High

individual variant of the then prevailing style of

Mannerism. In 1561 he began work on the decoration of the

Famese

Caprarola.

villa at

He was

also

employed by Cardinal

Ranuccio Farnese to complete the Sala dei Fasti Famesiani

the Palazzo Famese,

left

Salvati (1510-1563).

in

unfinished at the death of Francesco

He was

the leading exponent of the

Late Mannerist style of painting in

Rome

after the

middle of

the sixteenth century.

24

Alexander the Great and

Bucephalus
Pen and brown

ink,

AlJexander

is

He was much

and brown wash; ij8x zzy nun.

seen about to

Indian campaign,

Porus

at the

mount

his charger Bucephalus.

attached to this animal and when, during his

expired during his great victory over

it

Hydaspes,

now

the river Jhelum (326 bc), he

founded the town of Bucephala

in its

memory

at the place

where he had crossed the river before the battle. In the left
foreground of the drawing a river god reclines accompanied
by a semi-nude woman, which may be an allusion to the
foundation of the town. The moment depicted in the drawing
could be that shortly before the battle (though

scenes from the

of Alexander, which were recorded

life

Vasari as having been painted on the fagade of

which no

Tinta,^ but of
that the
print

by

first

trace remains.

three of these scenes

CM.

Metz (17491827)

S.

by

Lucia della

Gere has suggested

may be reproduced

in a

in the Schediasmata seleda

ex archetypis Polidori Caravagiensis of 1791.*

must be

it

admitted that Alexander seems ill-prepared for the event).

The scene

certainly to be distinguished

is

from Alexander

Subduing Bucephalus, the subject of one of the scenes from

the

of Alexander in the Palazzo Caetani in

life

Rome

of

c.1559-60.^ There Alexander's soldiers watch as their leader

breaks in the horse, which, unlike that in Cat. 24,

John Gere has suggested that the drawing

c.i550,'^ that

is

some years before

Alexander painted
series of

in the

unsaddled.

may be

the scenes from the

Palazzo Caetani in

almost the same date

is

Exhibition:

sale,

London,

Woodner

of

Odescalchi at

no. yg (checklist

Notes
1

Gere 1969, pp.

94?.,

215, underno. 254,

pi.

127a.

2 See Christie's sale catalogue, cited in the 'Provenance' section above.

3 Gere, pp. 94f., pis

A drawing at Christ Church, Oxford, also showing Alexander

and Bucephalus,
it

is

is

very close

in style to the

composition of

almost certainly of the same

drawing Alexander

is

Woodner

many more

date.''

enthroned and

is

sheet,

figures,

it

is

in the scene,

6 Gere,

Church

Paris),

surrounded by

figures,

after

to the right.

ITALIAN SCHOOL

122a 123b.
1976,

1,

p. 151, no.

532.

185, under no. 162. In cataloguing the drawing from which the

was engraved

series of prints
is

in

an album

Byam Shaw

d'Alessandro

are

related to a series of six

pis

Byam Shaw

in

(the entire series of preparatory

the Lugt Collection, Institut Neerlandais,

questioned the possibility that the three scenes were

Taddeo Zuccaro and suggested instead that they could be after a

facade painted by Polidoro and Maturino, also recorded by Vasari: storie

antichi

The Woodner drawing may be

p.

drawings

In the Christ

being led away by a

124a 129b, and

p. 185, no. 162, pi. 4;

5 Vasari ed. Milanesi, v, p. 79.

Metz

most of them women, pleading with him. Bucephalus plays

only a subsidiary part

86

Cambridge ma 1985,

Bibliography: none.

4 Gere,

groom

Collection,

dated
life

Bracciano.^

and, though

Christie's, 5 July 1983, lot 62.

only).

Rome and another

in the Castello

Provenance:

Magna

nella quale figurarono

(Byam Shaw 19833,

now

11,

pp. igf., no. 23).

attributed to Cherubino Alberti (see

and Turner 1984,

p.

212).

il

Nilo

e'l

Tebro di Belvedere

The drawings in the album

Byam Shaw 1983b, p. 552,

'JBI

Federico Barocci
Urbino, probably 1535

- Urbino, 1612

A painter, engraver and prolific draughtsman, he was

by Battista Franco (c. 15 10-1561) and
Bartolomeo Genga (1516-1558). He worked in Urbino,
Rome, Perugia and Genoa. His models were Raphael {q.v.),
the Venetians and, above all, Correggio [q.v.). The most
important work of his early period is the Madonna del
influenced

Popolo of

in the Uffizi in Florence, in

1579

and there

are almost baroque in pose

is

which the

figures

a great sense of

movement. The new pathos of the Counter-Reformation

can also be seen, for example, in the Martyrdom of S. Vitale
of 1583 in the Brera, Milan. His work exerted a considerable
influence on that of such artists as the Carracci and Rubens.

2s

The Presentation of the

Virgin in the Temple
Black chalk and brush,

brown wash, heightened with white and grey

bodycolour, and some touches of pink: 396 x 338

Inscribed at the lower

left, in

brown

ink,

Ba

mm.

....

preparatory study for the altarpiece of the Presentation of

the

Virgin

in

the

Nuova

Temple in the Chiesa

painted between 1593 and 1603 (the latter date

is

in

Rome,

inscribed

on the painting).^ Although for some reason left unfinished

by the artist, the drawing was evidently conceived as a
small-scale modello for the painting. There are several differ-

ences between the painting and the drawing, for example in

the pose of the summarily-sketched figure of the shepherd
in the

lower right corner of the drawing, hardly visible

reproduction.

Many

in the

variations also occur in the draperies of

the figures; but generally the

two works correspond

closely.

Nevertheless, the differences, together with the similarity in

technique to that of a drawing formerly at Chatsworth of the

Entombment, confirm the attribution to Barocci.^

both drawings

is

an area

left

Common

to

blank except for a few light

touches of the chalk. This almost empty space contrasts

markedly with the elaborate, highly-finished technique of

the rest of the drawing.

Pillsbury suggests that the

drawing could once have belonged

to a local seventeenth-century collector

Giorgio Lavalas, and that

mentioned

in a letter

Medici as the

Madonna

artist's

it

of 21

might be

from Urbino, named

identical with that

August 1673

to

Leopoldo

de'

Cartone grande delta Presentazione delta

(large cartoon for the Presentation of the Virgin).^

Provenance: possibly Giorgio

mark, lower

left

Lavalas, Urbino; unidentified collector (his

comer, similar to Lugt 2883); William H. Schab Gallery,

New York.
Exhibitions:

New

York 1974,

no.

1;

Cleveland-New Haven 1978,

no. 67;

and elsewhere 1983-5, no. 24; Woodner

Collection, Munich 1986, no. vi; Woodner Collection, Madrid 19867,

Woodner

Collection, Malibu

no. 35.

Bibliography: see

Woodner Collection

catalogues.

Notes
1 The drawing was first published by Pillsbury in Cleveland-New Haven
1978, no. 67. The painting is reproduced in Olsen 1962 (1st edn 1955)
no. 46; and in Bologna 1975, no. 255.

2 Sale, London, Christie's, 3 July 1984, lot

3 Cleveland-New Haven,

88

ITALIAN SCHOOL

p. 89.

2.

Jacopo Ligozzi
Verona, c.1547 - Florence, 1626

Probably the son of the Veronese painter Giovanni Ermanno

Ligozzi (1572/88-before 1605) and brother of the painter

Francesco Ligozzi (before 1635). From 1575 Jacopo worked

in Florence where he was court painter to the Medici, serving

under Francesco

He

i,

Ferdinando

specialised as a miniaturist

and animal

subjects.

He

i,

Cosimo

and as

and Ferdinando

11

draughtsman of plant

also painted altarpieces

for various churches in Florence.

11.

and frescoes

His most famous works are

perhaps the fifteen lunettes with scenes from the Franciscan

legend painted

in

1600

for the

monastery of Ognissanti

in

Florence.

26

The Massacre of the Innocents

Pen and brown wash, heightened with gold, over black

chalk:

400 X 262 mm.

Signed with

brown

monogram and

dated

in the centre of the left

1609 (written above a cancelled date)

ink,

joined with a bar over the centre of which

lower right corner,

ihis

is

finished

in

brown

a particularly

pen

is

two

in

letters

a cross). Inscribed in the

is

ink, 4.

good example

of the type of highly

its

very

fine condition.

It is

Here Ligozzi's

of drawing can be well observed: the handling of the

characteristically delicate, the application of the

fastidiously controlled

- sometimes

areas,

sometimes applied

brush

- and

the

washes

floated in with large

The

Birth of the Virgin in S.

and the Martyrdom of

(1611)

show

ings, the

Maria del Sasso

at

Bibiena (1607)

Croce

St Lawrence in S.

special affinities with this drawing.^

most comparable

is

the

Martyrdom

in

Florence

Of his draw-

of a Saint in the

Uffizi, Florence.'*

even

as hatching with the point of the

whole composition

the exquisite touches of gold that

It

margin,

(the

drawing of which Ligozzi was such a master.

also exceptional for

method

/ l-L

is

brought together by

make up

the highlights.

has been suggested that such a technique of drawing

depends
those

for

made

have been

its

upon chiaroscuro woodcuts, particularly

Germany, with which Ligozzi is known to

origins

in

familiar.^

The drawing seems

to

have been made

with no ulterior purpose and must have been conceived as a

work

of art in

its

own

right.

Composition drawings by

Ligozzi unquestionably related to paintings are invariably

squared for transfer: such a device would have impaired the

effect of a

For the

drawing intended to be admired

Italian

his

its

own

sake.

the

theme of the Massacre

was frequently used

as a pretext to display

Renaissance

of the Innocents

for

artist,

powers of compositional invention, using many

different

poses, a variety of foreshortenings, and novel figure groupings.

In this

example, Ligozzi's technical virtuosity predominates

to such a degree that the horror implicit in the subject

somehow

is

purged, and the scene becomes a vehicle for the

chiaroscuro woodcut by Andrea Andreani

1584-

1610) after Giambologna's (1529-1608) famous sculptural

Bibliography: see

group of the Rape

Notes

Florence,^

of the Sabines in the

may have been

Ligozzi in the

relates to altarpieces painted

same period when,

worked according

ITALIAN SCHOOL

Loggia de' Lanzi,

the source for Ligozzi's drawing.

Moreover, the composition

90

(//.

by

Kenseth 1975,

B.

XXI, p. 94,

3 Kenseth,

in

his full maturity,

he

to the dictates of the Counter-Reformation.

P.

&

D. Colnaghi,

Woodner Collection, Vienna 1986, no. 27; Woodner

Munich 1986, no. 27; Woodner Collection, Madrid 1986-7, no.
Exhibitions:

artist's self-expression.

Provenance: Abbe Desneux de la Noue (Lugt 3015);

London; Jean-Luc Baroni, London.

fig.

11,

11,

Woodner

p.

129;

Collection,

33.

Collection catalogues.

in, figs

133a and

b.

no. 4.
pp. 93-5, no. 42;

ii8.

Inv. no. 1913F.

111,

fig.

111;

11,

pp. 102-4, no. 46;

111,

Agostino Carracci
Bologna, 1557 - Parma, 1602
Painter and engraver, he

1597 and

was the brother of Annibale

(1560-1609), cousin of Ludovico (1555-1619), and father of

Antonio (c.1583-1618). His work was formed under the

influence of Prospero Fontana (1512-1597), Pellegrino

programme which demonstrates the reciprocal

nature of love.^ The decoration was commissioned by Cardinal Odoardo Famese, possibly to commemorate the marriage

Duke of Parma, and MarThe decoration of the Gallery

Tibaldi (1527-1596), and Bartolomeo Passerotti

of his brother Ranuccio Famese,

(1529-1592); and he was much affected by the work of

gherita Aldobrandini in 1600.''

With Annibale and Ludovico he founded in

1580 the Accademia degli Incamminati at Bologna. In 1582
and 1588-9 he was in Venice and in 1584-5 he travelled
with Annibale to Parma. He was an important engraver,
reproducing in his prints the work of Tintoretto (1518-1594),
Veronese (c. 1528-1588) and Correggio. Together with his

and the Camerino, Cardinal Odoardo's study, are

Correggio

(q.v.).

Palazzo Fava (1584), Palazzo

that sur-

all

vive of a vast decorative commission which the Cardinal

envisaged for the family palace

in

which he resided

Rome.

in

What was finished of the commission, incomplete though

may be, is the high point of Annibale's brilliant career as

it

painter.

At the beginning of 1595, six years after the building of

the Palazzo Famese was completed. Cardinal Odoardo, then

brother and his cousin he painted frescoes in Bologna: the

Magnani (1588-91) and

Palazzo Sampieri (1593-4). In 1597 he joined his brother in

only twenty-two years

Rome, where he helped him decorate the Palazzo Famese.

The ceiling decoration illustrating the theme Omnia vincit
amor in the Palazzo del Giardino in Parma was painted in

with the decoration of the Sala Grande of the piano

C.1600.

the exploits of Cardinal Odoardo's father, the famous

old,

ambitious project which,

room was

to

decided to entmst the Carracci

in the end,

came

an

nobile,

to nothing.

The

have been decorated with scenes representing

whose

Alessandro Farnese,

2^

'Loves of the Gods', a complicated

illustrates the

iconographical

campaigns

successful

Duke

in

the

Netherlands had been one of the most significant military

Cephalus and Aurora

triumphs of the

Roman Church

in the period following the

Reformation. Having received this important commission,

Black and white chalk slight traces of red chalk,
red and black chalk): 282 x

Watermark: possibly

W within

Inscribed on the recto, at upper

right, also in

brown

verso, at upper

left,

ink,

on grey-blue paper

(verso:

430 mm.
a circle.
in

left,

the Carracci brothers

number
brown

120 = and at lower

ink, hi.

works

went back

there,

to

on the

end of 1595. He began work

Rome

until 1597,

Rome

at the

by decorating the
Agostino did not retum

in the palace

Camerino with mythological scenes.

to

light).

Bologna to complete

Annibale retuming to

Anibal Carracqo a Romla/el] a Fame

64 (visible under ultra-violet

of

when Annibale had

already

moved on

to

the next project, the decoration of the ceiling of the Gallery.

i rom

seem

this

style,

its

to be

drawing might

spirited

by Agostino's brother Annibale, to

traditionally ascribed.

But

at first sight

The

whom

and Annibale was a source of speculation even to contemporary

it

was

spite of the resemblance to

in

Annibale's work, the attribution to Agostino can hardly be

doubted since the more

his,

but the drawing

sition of Cephalus

is

delicate handling

also a

Rome.' The

rest

not only evidently

idea for Agostino's

and

Scylla) shortly

Famese Gallery

before i6oo on

Palazzo Famese in

in the

of the decoration Annibale carried out

himself. Agostino's finished cartoon for the

Aurora

is

in the

compo-

and Aurora, one of two scenes he painted

(the other being Glaucus

the ceiling of the

first

is

National Gallery, London, as

Cephalus and
is

the pendant

is

from Ovid, Metamorphoses,

vii.

According to

Ovid's account, Cephalus was recently married to Procris,

whom
fell

he loved passionately. Aurora, the goddess of dawn,

the scene represented in this

love.

away

love with Cephalus and carried him

in

The

ally to

in

drawing - but he

result of Cephalus's scorning of

her chariot

rejected her

Aurora was eventu-

destroy his loving relationship with Procris,

killed

mistakenly while out hunting. The

lower

left

of the drawing

is

man

whom

he

asleep at the

Tithonus, Aurora's aged husband.

After the Sistine Chapel ceiling by Michelangelo (1475-

1564) and the decoration of the Vatican Sianze by Raphael

{c\.v.),

the frescoes of the ceiling of the Farnese Gallery are

widely considered to be one of the great achievements

history of Italian painting.

92

ITALIAN SCHOOL

writers. Ludovico,

in the

The decoration was begun

in

between Agostino

Agostino and Annibale had established

their reputation in Bologna as fresco painters through a

complex collaborative effort, involving roughly equal shares

three. It is not exactly clear how and why, in

Rome, Annibale should have become the dominant partner.

between the

As

the present sheet demonstrates,

Agostino played a conspicuously

in

the decoration of the ceiling

it

cannot be said that

inferior role.

was

Yet

small: only

his share

two scenes

have been unanimously attributed to him, the Glaucus and

Scylla (previously identified as Galatea)

Aurora. Agostino

cartoon for the Glaucus and Scylla}

The subject

precise nature of the collaboration

left

his brother, possibly

in

Rome

in

1600

and the Cephalus and

after a bitter quarrel

with

concerning the allocation of responsibility

the decoration.
In the organisation of space into flat adjacent planes

and

decorative and rhythmic treatment of the

the

in the

Woodner drawing agrees

for Agostino's

two

perfectly in style with other studies

frescoes.

It

appears to be his earliest sur-

viving study for the Cephalus and Aurora.

Aurora and Cephalus

Adam

in

line,

(the latter derived

Michelangelo's Creation of

The

figures of

from the figure of

Adam on

the ceiling of

the Sistine Chapel) and the chariot and horse are arranged
frieze-like in the

upper part of the composition. Unlike the

finished result, Tithonus sleeps in the lower

lower right there

is

left,

and

in the

an extensive landscape. Procris, with her

hands raised heavenward, runs

after her

husband

who

has

J:

IJ*.-'
/." -

'^

->*
:"^

"i^^

^
';

i-i'

0:

^'*

"/v^V^-

%:
^^rr.^--ifd.

\;

:s|^*r-^

>N

.,,

^'^'
/'I

v-.V-'".-,.,

.V

?>.

^^-^

^y'vv

a^;;.

m^m^^^^i^)
1

A*

.4'

'4.

v..

"^.Is.

l#-^,

-;\
>

'

M^^-;'1
'^i

''^3y

ts

been snatched from

study for the figure of Tithonus

her. In a

in the

Fogg Art Museum, Cambridge ma/ he

to the

left,

but the pose

is

less

is still

turned

Michelangelesque and closer

to that of the final figure. In another study for the figure of

Tithonus, in the Louvre, Paris,* Agostino reverses the figure,

working closely from the

On

the verso of the

live

model.

Woodner drawing

are studies of feet

and of drapery covering the shoulders of a half-length figure.

The

studies of feet have

been related to one of four studies

in

black chalk and pen on the verso of a drawing in the Louvre,'

which includes a study of Aurora, as well

of

Polyphemus

in the fresco of

the right foot in

Polyphemus
is

in

one of the figure

Polyphemus and Acis, one of

the scenes attributed to Annibale.

studied on the verso of the

as

The pose of

Woodner drawing

what appears

is

the foot

not unlike

to be a study for the legs of

the Louvre drawing. In this study the figure

seen with both feet on the ground, rather than with his

knee resting on a rock as

in the final

left

painted result.

Even though the Polyphemus and Acis was painted by

by

Annibale, the verso of the Louvre drawing must be

Agostino: not only

the main study

is

is

the handling undoubtedly

for the figure of

corresponding with that

in

Aurora

the fresco.

in a

The

his,

recto of the
it

carries

an early compositional idea for the Triumph of Bacchus, the

central scene in the ceiling, painted

94

ITALIAN SCHOOL

by Annibale.

Woodner Collection, Vienna 1986, no. 28; Woodner CollecKoa

Munich 1986, no. 28; Woodner Collection, Madrid 1986-7, no. 36.
Exhibitions:

Bibliography: see

Woodner Collection

catalogues.

Notes
1 The drawing was recognised as the work of Agostino Carracci by,
among others, Konrad Oberhuber, John Rupert Martin, Diane DeGrazia
and David Stone; the present abbreviated entry is based on that by
Michael Miller in the Woodner Collection catalogues of Vienna, Munich
and Madrid. The fresco is discussed and reproduced in Martin 1965,
pp. i03ff., 212-13, fig- 592 Inv. no. 147; see Martin, p. 259, no. 80, fig. 190. The cartoon for
Glaucus and Scylla (previously identified as Galatea), inv. no. 148,

but also

pose closely

Louvre drawing must also be by Agostino, though

Provenance: unknown.

discussed and reproduced in Martin,

3

full

p.

260, no. 82,

fig.

discussion of the iconography of the ceiling appears in Martin,

passim.

4 For

is

194.

this

aspect of the iconography, see

Dempsey

1968, pp. 36374.

5 Inv. no. 1975, 91; see Los Angeles 1976, no. 89.

6 Inv. no. 7339; see Martin,

p.

259, no. 79,

7 Inv. no. 7185; see Martin,

p.

252, no. 53, figs 158, 188.

fig.

189.

i
r

1
-

<

4^

^'
II

27 verso

-"V

jiL.

"\^

Guido Reni
Calvenzano, 1575 - Bologna, 1642

A painter and printmaker, he was already a pupil of Denys

1540-1619) by the age of nine; but in 1595 he
Accademia degli Incamminati, the academy
of the Carracci in Bologna. In 1599 he was a member of the
'Consiglio della Congregazione dei Pittori' in the same city.
Calvaert

(c.

transferred to the

He

travelled to

Rome

in

1602 with Francesco Albani

{15781660). returning to Bologna

in

1611, where he

until the end of his life, apart from short journeys

Rome, Naples, Genoa and Ravenna. In Bologna he took
charge of the Carracci workshop after the death of Ludovico
Carracci (1555-1619) and was a significant influence upon
the development of Bolognese painting until well after the

remained
to

middle of the seventeenth century.

28

Two

Head

Studies for the

of Christ
Black, red

and white

chalk,

on grey-green paper

(verso: red-chalk border):

376x278 mm.
Inscribed

on the

+ Z./75 (within a circle).

verso, in graphite, S

oth studies are for the head of Christ

of 1623,

The

now

in the Kunsthistorisches

principal study, evidently

Baptism of Christ

in the

Museum,

drawn from

the

life

Vienna.^

and made

before the slighter study in the lower right comer, well

trates the artist's individual

the

shadows and

illus-

handling of the chalk, in which

drawn

principal outlines are

while the highlights and a few flesh

in black chalk,

picked out with

tints are

occasional touches of white and red. Rather than suggesting

form by the creation of carefully contrived, closely interrelated

areas of tone of different value, or

by

the fastidious control

of outline, Reni achieves a sense of plasticity

means, constructing a sequence of

tonal value,

by more

abstract

'staccato' accents of different

which impart a strongly textured

finish to the

whole.

According to Malvasia, Reni sent

Christ to a silversmith

1623; Jacobs

was

a painting of the Baptism of

named Giovanni

Jacobs in Flanders in

the founder of the Flemish College in Bologna

and a friend of Reni,

who

'cherished

him

heartedness and sincerity'.^ This painting,

had

earlier

collection

for his

now

in

good-

Vienna,

belonged to the Duke of Buckingham, from whose

it

was sold

drawing

at the

in

1648.^

Royal Library, Windsor Castle,* for the

Provenance: George John, 2nd

Sotheby's, 8

December 1972,

Exhibitions: London 1973d, no. 68,

Woodner

compares well

Collection, Vienna

with the present example but does

not possess quite the same vitality and forcefulness.

Spencer (Lugt 1532);

no. 29;

Collection,

Woodner

Woodner

fig.

52;

Vienna 1981,

Malibu and elsewhere, 1983-5, no.

1986, no. 29;

Collection,

Bibliography: Pepper 1981,

Woodner

Collection,

Madrid 1986-7, no.

p.

Pepper 1981,

p.

Duke

245, no. 86, colour

pi. viii.

p. 84.

of Buckingham, sale 1648, p. 12, no. 3.

4 Kurz 1955,

p.

p.

Stein,

140, no. 97;

28;

118, no. 345; Vienna 1981,

p.

Woodner

Munich 1986,

245 under no. 86 (Drawing, no.

Collection catalogues.

2 Malvasia trans. Engass 1980,

ITALIAN SCHOOL

London,

37.

Notes

96

sale,

Loma Lowe, London; Adolphe

Paris.

angel on the right of the pair in the middle of the picture,

in style

Earl

lot 34;

140, no. 98.

2);

see also

<:<^^,.

.*?;

4-'"^

/-',-.

m4i

Giovanni Benedetto Castiglione

Genoa, 1609 - Mantua, 1670
Called

Grechetto', he

'il

He

subjects.

was

The influence of Poussin is not merely generic. The arrangement of the figures strongly resembles, in reverse, that of

principally a painter of animal

studied with Giovanni Battista Paggi

(1554-1627) and Sinibaldo Scorza (1589-1631). The work

of Flemish painters settled in Genoa, such as the brothers
Lucas and Cornelis de Wael (1591-1661 and 1592-1667)
and Jan Roos (1591-1638), further affected his style. But the
Flemish painter who was the most influential upon him was

Anthony van Dyck (1599-1641),

Castiglione

is

in

whose

studio at

Genoa

reputed to have worked. Castiglione travelled

widely and was active

Genoa, Venice,

in

Rome

works of

religious themes.

draughtsman and printmaker and was the

technique of brush drawings
technical virtuosity

and

in oil

He was

carrying a basket appears at the rear of the group of shepherds

and the foremost shepherd crouches forward

oil

to exploit the

works of

experiment with media

art in their

own

right

figures

made

largely as

It

has been suggested

example may have been made about 165060,

possibly at the

same time

of the Shepherds in the

belongs to
of his

the

and are only rarely connected

with his document-ed commissions.

that this

monotype.

much

colour on paper are

hard to date since they seem to have been

a great

in

same pose. Also in both works the space behind the

is partly closed by the monumental fluted columns.
Castiglione's brush drawings in

colour on paper. His

his desire to

led to his invention of the

first

work generally dated c.1637.^ In both the painting

by Poussin and the drawing by Castiglione a standing figure
London,

and, from

1651, Mantua. In addition to his paintings of animals, he

carried out several

Poussin's Adoration of the Shepherds in the National Gallery,

life,

drawing of the Adoration

as a similar

Royal Library, Windsor Castle.'

work, towards the end

a period of Castiglione's

when

It

his figures frequently display intense religious

An example of the type is the God the Father with

Two Angels Appearing to the Virgin and Child in the Fogg Art
Museum, Cambridge ma." The figure of the Virgin in this
latter drawing and that in the Woodner drawing seen
looking ecstatically at two angels - are closely similar in type.
emotion.

29

The Adoration of the

Shepherds
Brush and reddish

oil

down on an
410 X 607 mm.
laid

Inscribed

his

on

mount

(the

brown

the old mount, in

ink. Bene. Castigli.

a particularly striking

is

tinctive

tint and gouache, on light bufif paper,

comers damaged and repaired):

pigment, sepia

old

example of Castiglione's

and unusual method of drawing with the brush

colour on paper.'

It

was

dis-

in oil

by the oil sketches of the

Van Dyck, both of whom had

inspired

Flemish painters Rubens and

worked in Genoa. The subject of the Adoration of the Shepherds,

of which several versions exist, enabled the artist to combine
his liking for pastoral themes, in

which animals and

figures

appear together, with the more elevated religious message

of divine mystery and spiritual inspiration.

Provenance: C.R. Rudolf,

Woodner

so often the case in Poussin's work, Castiglione has here

catalogues.

disposed the figures

Notes

if

The composition

in a frieze.

two

plane parallel to the surface, as

is

also divided vertically into

left

facing

In

provided

is

is,

of the classical form of the composition,

by

contrast,

wholly baroque

in its

Blunt 1954,

p. 8,

who made

and arrived

at the results

experiments

in

Blunt describes.

seems to have been the

first

to point out the relationship with the National Gallery picture (see

the

Woodner Collection, Malibu and elsewhere 1983-5, no. 30, and subsequent Woodner Collection catalogues). It is there further suggested
that Castiglione may have depended for his borrowing on Etienne

freedom and

Picart's

(1632-1711) engraving

composition

(for the

after the painting,

which reverses the

engraving, see Wildenstein 1955, no. 37, pp. 148-9).

Wildenstein dates the print before 1690.

times suggesting the texture of the flesh of the figures,

sometimes the

in

written on the basis of advice provided by Sir Gerald Kelly, a

is

imitating Castiglione's technique

drawn areas of brown paint indicating shadow

are contrasted with more evenly applied patches of blue paint
signifying sky. The smudged areas of brown pigment, some-

It

therefore seems unlikely that

would have been made before Castiglione's death in 1670.

This dating was first proposed by Eunice Williams. For the Windsor

Picart's print

fur or fleece of the animals, are the

mid-tones
3

merge with the untouched

up the highlights.

98

interesting account of this technique

former president of the Royal Academy,

vigour. Rapidly

that

Woodner

Collection,

2 Blunt 1966, no. 40, pp.32f. Eunice Williams

spite

handling

An

which

Holy Family appears in one

the shepherds in the other group on

the right.

lot 107.

Bibliography: de Gaigneron 1977, pp. 74-5; see also Woodner Collection

distinct parts, so that the

group on the

London, Sotheby's, 4 July 1977,

Collection, Malibu and elsewhere, 1983-5, no. 30;

Vienna 1986, no. 31; Woodner Collection, Munich
1986, no. 31; Woodner Collection, Madrid 1986-7, no. 39.

Exhibitions:

The clarity of the design reveals the influence of Poussin

iq.v.) whose austerely classical style deeply affected many
artists active in Rome in the mid-seventeenth century. As is
in a single

sale,

ITALIAN SCHOOL

areas of paper which

make

drawing of the Adoration

4

Inv. no. 1965.373.

of the Shepherds, see Blunt 1954, no. 178, p. 40.

Giuseppe Galli-Bibiena
Parma, 1696 -Berlin, 1757
Architect, painter, decorator

and stage designer, he was the

son of Ferdinando Galli-Bibiena (1657-1743), whose work

he continued and developed.

He was

principally active outside

Vienna he was entrusted with the organisation of

Italy. In

entertainments and the decoration of theatres; and he was

nominated

later

first

'engineer' of theatres.

He was charged

with organising the celebrations for the marriage

in

Dresden

1719 of the future Augustus in. Elector of Saxony and

King of Poland, with Maria Josepha of Austria. In 1727 he
in

directed the decoration of the city of Prague for the

ceremonies marking the Elector's coronation. In 1740 the

Maesta

Arcliitetture e prospettive, dedicate alia

Imperalor de' Romani

was published

engravings after his designs.

1744

He

in

di Carlo Sesto,

Augsburg with

fifty

transferred to Stuttgart in

order to proceed with the reconstruction of the

in

Residenzschloss. Together with his son, he decorated the

interior of the

^o

new

theatre at Bayreuth.

Architectural Composition

with Christ Presented

to

the People
brown
606 X 399 mm.

Pen, grey and

finished preparatory study for the engraving

Andreas
pt 3,

with grey and brown wash, on buff paper:

ink,

(1674-1748)

Pfeffel

pi. 8,

published

in

in

Augsburg

Arcliitetture
in

example of the type of drawing of

in

Europe

in the

theatrical treatment

is

It is

touched

prospettive,

with the pen.

an excellent

architectural fantasy in

Good

The date

of neither the engraving nor the drawing

two, such as the inclusion in the print of a proscenium, which

explained by the drawing's presumed

Fridays in the Hofburg-Kapelle at Vienna,

at the Imperial

shows

drawing was made

clearly that the

thought that the plates

first.

It is

usually

in the Arcliitetture e prospettive all

date

from 1740, on the strength of the date found on the frontispiece; but it now seems that this is not necessarily the case,

Court.

and the question of the development of

The scene is constructed according to a perspectival system

much favoured by the Bibiena family: the architectural structure

remains to be studied

in depth.'

Provenance: unidentified

collector,

the page

certain.

eighteenth century. The patently

where Giuseppe Galli-Bibiena was long active

filling

is

Furthermore, there are a number of differences between the

specialised,

connection with a theatriim sacrum, a form of religious play

enacted on

with the brush and the precise outlines drawn

in

and which was so

which the Bibiena family

popular

1740.

by Johann

this great project

oriented diagonally in order to create an

is

impression of vast space. In a grandiose courtyard of ornate

architecture,
at the

people.

which dwarfs the narrative, Christ

moment immediately
The sense

before

He

is

is

represented

delivered to the

of general animation in the

crowd

is

Paris (Lugt S.

183

in red ink at

lower

possibly A. Tardieu (1818-1879),

left

corner).

by the great variety of pose that the artist has given the different figures. These would in fact appear somewhat puppetlike were it not for the sense of atmosphere conveyed by the
light grey and brown washes. Indeed, the drawing depends
for much of its effect upon these spirited washes: freely

Woodner Collection
New York and elsewhere 1973-4,
Woodner Collection, Malibu and elsewhere 1983-5, no. 33;
Woodner Collection, Vienna 1986, no. 33; Woodner Collection, Munich
1986, no. 33; Woodner Collection, Madrid 1986-7, no. 41.

applied though they are, they enhance rather than dissolve

Note

the main architectural structure which, because of

drawn with precision. A

between the impressionistic

nature, has to be

therefore exists

100

created

ITALIAN SCHOOL

its

very

subtle balance

areas of tone

Exhibitions:
no.

11,

75;

Bibliography: see

Saxon igOg.

Woodner

pi. 2, p.

Collection catalogues.

112. Eunice Williams has discovered

with early ideas for the drawing

Bibiena

new

in

light

the

on

Houghton

this

question

Library,

when

in

two sketches

an unpublished sketchbook by

Harvard University, which

she publishes her findings.

will

throw

Giambattista Tiepolo
Vienna, 1696 -Madrid, 1770
Pupil of Giorgio Lazzarini. His

work

displays

i:he

influence of

Federico Bencovich ((r.1677-1753), Giovanni Battista

Piazzetta (1683-1754) and SebasHano Ricci (1659-1734).

From 1716 he was

active in the decoration of Venetian

churches and palaces and was also a successful painter of

1720s Giambattista worked

altarpieces. In the

and other North

ceiling of the staircase of the

in

Udine, Milan

1750-53 he painted

Italian cities. In

Residenz

at

the

Wiirzburg, helped

by his son Domenico {q.v.). In 1762 he transferred to Madrid

and painted frescoes in several rooms of the Royal Palace.
Giambattista's work marks the final high point in the
development of Venetian decorative painting, which had its
beginnings in the work of Veronese (15281588).

31

Head
Red

chalk,

Inscribed

Young Man

of a

mm.

heightened with white, on light blue paper: 241 x 168

on the verso,

in

brown

ink:

No. }799c\l]

Xrs

4.8

[Xrs

an

is

abbreviation for kreuzers and clearly represents the price of the drawing].

o,

'ne of a group of drawings

by Giambattista Tiepolo and his

The head

school, formerly in the Bossi-Beyerlen collections.

is

related to that of a figure studied

length in a drawing

full

by Giambattista at Stuttgart,^ though this figure does not

occur in any of Giambattista's paintings. The drawing has
been dated

c.

1742 -3.

Giovanni Domenico Bossi (1767-1853), to

once belonged, was

and

it

Domenico

Tiepolo.^

and court

a professor

conceivable that he

is

height of his powers.

The

is

is

Munich,
pupil of

an excellent example of

when

surface

the drawing

artist in

may have been

The drawing

Giambattista's use of red chalk

whom

the artist

rich in

was

at the

nuances of light

and shade and the eyes possess a great intensity of expression.

Knox,

who

suggested the connection with the Stuttgart

study, has also noted versions of the latter

by Domenico

and Lorenzo Tiepolo (1736-1776) in the Martin von Wagner

Museum, Wurzburg, and formerly in the Adolphe Stein
collection, Paris.'

The resemblance of

the study in Stuttgart

in the

way

the head

is

is

strong
set,

in

and

the present sheet to

the overall
in

last two features may be more fully observed in a

copy of the Woodner drawing by Lorenzo Tiepolo, also in
the Martin von Wagner Museum, Wiirzburg."

of the drawings can be related to

though Knox has observed

any known

that figures in similar

painting,

costumes

by Giambattista, the Banquet of Cleopatra

(Arkhangelskoye Museum, near Moscow) of c.1743.' A more
appear

in a

painting

secure basis for dating

may be found

in a

drawing of

man's

for a

Ashmolean Museum, Oxford, made in preparation

fresco in the Villa Cordellina, Montecchio Maggiore, of
in

1743."^

the

As

drawing

Parker

first

observed, the verso of the Oxford

carries an offprint of the present

the accidental result of the

in

102

an album.

ITALIAN SCHOOL

Dr Hans

Woodner Collection New York and

Woodner Collection, Malibu and elsewhere
1983-5, no. 32; Woodner Collection, Vienna 1986, no. 34; Woodner
Collection, Munich 1986, no. 34; Woodner Collection, Madrid 1986-7,
Exhibitions: London 1930, no. 34;

drawing, probably

two pages appearing consecutively

11,

elsewhere 19734, no. 68;

no. 42.

Bibliography: Parker 1956,

fig. 9;

Knox

under no.

1980,
343,

no. 1080; see also

II,

p.

p.

536, under no. 1080;

p.

284, no.

287, under no,

Woodner

Notes
1 Knox 1980,
p. 252,
2 Byam Shaw 1962, p.
1,

head

Carl C.F. Beyerlen;

Bossi;

physiognomy,

the form of the collar.

These

None

Provenance: Giovanni Domenico

Wendland, Lugano; Savile Gallery, London, 1930; Sir Thomas Barlow;

Huntington Hartford, sale, London, Sotheby's, 1 July 1971, lot 63.

no.

629, also

662;

family. See also

4 Knox,
5 Knox,
6 Knox,

Macandrew

1980,

p.

167, no. c 19 (Wurzburg),

I,

p.

178, no. h 73.

I,

pp. 251-2, no.

I,

p.

Macandrew 1980,

comments upon

p.

1976,

v, p.

35,

p.

314, under

343.

19, n. 2

I,

287, no.

Knox

178, under no. h 73, p. 251,

Collection catalogues.

group of drawings by the Tiepolos

3 Knox,

p.

that

the possible history of the

had belonged to the Bossi

314, under no. 1079.

and

p.

218, no.

76

(ex-Stein).

343.

662; Parker 1956,

p.

536, under no. 1080.

Giambattista Tiepolo
Venice, 1696 -Madrid, 1770

j,i

The Meeting of Antony and

Cleopatra
Pen and brown

ink, light

brown wash, over

black chalk,

on buFf paper:

355 X 261 mm.

Thhis

Wrightsman Collection
the Metropolitan Museum of Art, New York,' which

in

may
at

is

study for an

in its

turn be preparatory for the large picture of 1747

Arkhangelskoye near

lection). ^

sketch in the

oil

Moscow

closely related drawing, slightly larger in size,

Museum.'

also in the Metropolitan

two

In arranging the

is

compo-

has chosen to represent the encounter between

sition, the artist

the

(formerly Yousoupoff col-

by showing Antony

figures

bending submissively to

kiss the

in full military

gear

hand of Cleopatra.

35 BC, after he had captured booty from the Armenians

and taken King Artavasdes prisoner. Antony's offering of his
in

conquered riches
sacrifice

taken place

in

Provenance:

E.

by the creation of contrasting

shadow. The glimmering

lights

as a just reply to the

her pearl. (According to

had scorned the banquets presented

by Antony and had determined to spend 10,000,000 sesterces

on a single feast. It was during this meal that she deliberately
dropped a pearl earring into a goblet containing vinegar,
which dissolved the pearl, and then she drank the liquid.)

yet delicate, articulating the forms and determining their

internal relationships

Knox

made with

Pliny's account, Cleopatra

Knox advances

are excellent examples, are

considered by

Cleopatra had

wash drawings, of which this and the following

some of his most pleasing
and characteristic work. In them one sees the sunlight, strong
Tiepolo's

two

is

the hypothesis that Tiepolo's

and heroic treatment of the couple's love

could have been inspired by

some opera

more sumptuous
for each other

or play that had

Vicenza around 1740.

areas of

and transparent dark areas are

so expertly achieved as to distract from the want of definition

and conciseness of drawing

In the

1740s Giambattista made

Antony and

the subject of

penwork.

in the

a series of

works devoted to

Cleopatra. This group, which

consists of frescoes, oil paintings

and

oil bozzetti,

as well as

preparatory drawings, has been the subject of

much

detailed

examination, including that of George Knox,

who

has not

only advanced different datings for some of these works, but

has also proposed certain adjustments to their relationship

Knox

with one another.''

two hypothetical

sees the series as beginning with

decorations, the Meeting of Antony and

Cleopatra and the Banquet of Antony and Cleopatra, for the

newly-built Palazzo dei Conti Vecchi (now Romanelli) in

Vicenza, which
to his view, the

was under construction in 1742-9. According

Wrightsman oil sketch and its pendant in the

National Gallery, London,'^ reflect a decorative scheme intended

The

for this palace.

great Banquet at
in

would seem to continue with the

Melbourne" and other canvases, culminating

the famous frescoes of

744

in

If

these works the story has been reduced essen-

to the

description

Plutarch's
in

is

to

be believed,

the present drawing

Meeting

the

would not show

encounter between the protagonists

the

first

41
was Cleopatra who had arrived by sea
and Antony, far from playing a subservient role, was 'enthron'd
th' market-place'." As Knox appears to argue, what seems

on

that occasion

at

Tarsus

in

bc,

it

i'

to be occurring

104

12 April

Woodner Collection, Cambridge ma, 1985, no. 82 (checklist

Woodner Collection, Vienna 1986, no. 35; Woodner Collection,
Munich 1986, no. 35; Woodner Collection, Madrid 1986-7, no. 43.

only);

Bibliography: de Bayser 1984,

see also

p. 79;

Woodner

Collection cata-

logues.

Notes

represented

for

Christie's,

the Palazzo Labia in

same two episodes: the Meeting of Antony

and Cleopatra and the Banquet of Antony and Cleopatra.
tially

London,

Exhibitions:

1
all

sale,

series

Venice.^
In

Calando (Lugt 837);

1983, lot 98.

ITALIAN SCHOOL

is

Antony's triumphal return to Alexandria

Fahy 1973, pp.

2 Morassi 1962,
3

New York

2i9ff., no. 24.

pi.

313.

1971, no. 110.

4 Knox 1974, pp.

378ff.

The

topic

is

also discussed, with

ferent conclusions, in Fahy, pp. 226ff.

somewhat

dif-

and Levey 1965, passim. The most

recent discussion of the problem appears in the illuminating chapter

'Palazzo Labia and the
pp.

i43ff.,

in

Theme

of Cleopatra and Antony'

which, however, the complicated and

in

Levey 1986,

now somewhat

confusing matter of the related drawings could not bc treated extensively.

5 Morassi 1955, text

fig.

31;

Levey 1965.

6 Morassi 1955, text fig. 28; Morassi 1962, p. 23.

7 Morassi 1955, pis 46-9; Morassi 1962, p. 59.
8 Knox,

p.

385.

A/L^r >

r
.-"

W.

^',

Giambattista Tiepolo
- Madrid, 1770

Venice, 1696

33

The Assumption of the

Magdalen
Pen and brown

ink, light

reddish-brown wash, over black chalk, on buFf

335 x 261 mm.

paper:

AcLccording

by Jacobus de Voragine

to the Golden Legend

Mary Magdalen

(C.1230-C.1298),

spent the

last thirty

years

his

pen-and-wash drawings. They seem to date from

of her

was working

there

and

life in the desert, fasting and expiating her sins. Since

was neither food nor water in the desert, seven times a
day, at the canonical times of prayer, she was lifted up to
Heaven by angels in order to receive spiritual nourishment.
The story of her elevation to Heaven - widely believed as a

result of the

medieval legend - was particularly popular

after his

return to Italy, possibly around 1757, the year in which he

in the

in the

Palazzo Valmarana-Trento at Vicenza^

nearby Villa Valmarana.

in

the Baroque period.

drawing the level of the ground

In the

is

lower right corner and by the

skull that lies in the

by the
shadow

indicated

this

symbol of death had been one of the

principal objects of the

Magdalen's earthly contemplation.

from

that extends

The

saint

is

lifted

three angels,

it:

gently upwards on a cloud by a putto and

whom

one of

with a cloth. The

artist

drawing of the right leg of the putto,

in the

body
some difficulty
since some lines

begins to cover her naked

evidently experienced

shadow occur in the faulty drawing below the

right knee. Such moments of uncertainty - unusual in Giambattista's work - are almost reassuring with a draughtsman
cancelling the

of his

and confidence.

skill

considerable

number

of drawings

originally preserved in albums.

to have

in his workshop expressly to be sold to

The present drawing originates from one such

album,

known

whose

collection

it

by Giambattista were
of the drawings seem

been made

collectors.

history

Many

is

as the Orloff album,

from Prince Alexis Orloff,

was dispersed and sold in 1920.* Its earlier

not known: the Prince himself could have acquired

or else one of his ancestors, probably Gregory Vladimirovitch

Orloff (1777-1826),
painting.

If

the

first

who wrote

possibility

a general history of Italian

is

correct,

it

one of the nine famous Cheney albums sold

The Orlof? album was diverse

date from every period of the

and function. Only

paintings.

five

is,

artist's life

have been

1880s.

The drawings

and

differ in

type

identified as relating to

of 'autonomous'

drawings undertaken as works

in their

own

without any apparent ulterior purpose: thirty-three

right,

Provenance: Prince Alexis

Woodner Collection, Cambridge ma 1985, no. 83 (checklist

Woodner Collection, Vienna, 1986, no. 36; Woodner Collection,
Munich 1986, no. 36; Woodner Collection, Madrid 1986-7, no. 44.

Exhibitions:
only);

Bibliography: Knox 1961,

Woodner

independent work.

coherent group of finished studies,

judging from their

style,

this

and

all

its

drawings must have been made sometime

stay at Wiirzburg (1750-53)

ITALIAN SCHOOL

of

two companion
after the artist's

when he achieved new

effects in

Georges Petit, 29-30

August Laube, Zurich.

Orloff, sale, Paris, Galerie

April 1920, lot 114; Paul Proute, Paris 1983;

them drawn
between 1725 and 1735. The present drawing is one of three
versions of the Assumption of the Magdalen, each of them an
form

106

in the

in content.

A large part of the album consists

drawings, that

could have been

p.

275, no. yi; Proute 1983, no. 19; see also

Collection catalogues.

Notes
1

Knox
Knox

1961, pp. ibgff.

1975, pp.

4ff.

3 Orloff sale, Paris, Galerie

Knox

1961,

p.

Georges

4 For drawings preparatory

nos 75-6.

Petit,

29-30

April 1920, lots 112-14;

275, nos 70-72.

to

this

cycle,

see

Cambridge ma 1970,

1,-K^

kuJ
v

Giambattista Tiepolo
Venice, 1696

}4.

- Madrid, 1770

Venus and Adonis

Pen and brown

ike the

light

inic,

reddish-brown wash, over black chalk, on

408 x 285 mm.

off-white paper:

Assumption of

the

Magdalen

not related to any painting and has

finished

drawing intended

(Cat. 33), this sheet

all

is

the appearance of a

for presentation.

The whole of Giambattista's genius as a narrator of dramatic

themes is concentrated upon his low-key, almost laconic
interpretation of the subject,
the

more moving

line, light

which

is

which

in its

sobriety

is

somehow

and eloquent. In Cat. 34 the artist has united

and surface to achieve a delicate and sensual image,

at the

same time

full

of compassion. Here the strokes

of the brush express volume, space and even

mood.

In his

search for a calmer tempo, Tiepolo has thus considerably

reduced the exuberant rhetoric of

as the Meeting of Antony

earlier

and Cleopatra

compositions, such

(Cat. 32). This narrative

subtlety as well as the transparency of the washes and the

freedom of touch indicate

draughtsmanship reached

The mourning putto

is

that appears in the Apollo

Provenance: Artemis

Ltd,

a date after 1759,

its

when

Tiepolo's

greatest maturity.^

an adaptation,

and Daphne

in reverse, of a figure

in the

Louvre, Paris.

London.

Woodner Collection, Cambridge ma 1985, no. 84 (checklist

Woodner Collection, Vienna 1986, no. 37: Woodner Collection,
Munich 1986, no. 37; Woodner Collection, Madrid 1986-7, no. 45.

Exhibitions:
only):

Bibliography: see

Woodner Collection

catalogues.

Notes
1 Cf. Cambridge ma 1970, nos 84-6, 89-91 and
2 Morassi 1962,

10&

pi.

237.

ITALIAN SCHOOL

93.

Giandomenico Tiepolo
Venice, 1727

The

- Venice, 1804
eldest son, pupil

Tiepolo
to,

(q.v.).

As

and collaborator of Giambattista

young man Domenico,

was commissioned

1747-9

Christ,

is

referred

to paint Scenes from the Passion of

(Venice, San Polo).

and brother Lorenzo (1736-1776)

and

as he

He worked
in

with his father

Wiirzburg, 1750-53,

Madrid, 1762-70. From 1780-83 he painted the

in

ceiling frescoes of

San Lio

Venice and was president of the

in

1791 he decorated the family villa at Zianigo

which
are now in the Ca' Rezzonico, Venice.
with frescoes,
Besides his activity as a painter, Domenico was also a prolific

Accademia.

who

etcher,

In

reproduced both

his father's

work and

his

own

designs.

35

The Resurrection of Tabitha

Pen and

light

brown

with yellow-brown wash, over black chalk, on

ink,

377 mm.
Watermark: radiant sun above FGA (not
off-white paper:

Inscribed

on

487

verso, in graphite, at upper

identified).
left,

A IX 40(7); and at upper

right, 61.

ihe

subject

is

the raising of Tabitha, a miracle related in the

Acts of the Apostles (Acts

rected Tabitha, a

who

had

woman

fallen sick

ix,

'full

and

36-42)

of

died.

which Peter

in

resur-

good works and almsdeeds'

Although the

followed the Biblical text precisely, the

artist

has not

moment shown

is

which picks out so

to arise:

'saints

and widows', commands Tabitha

'And she opened her eyes: and when she saw

Peter,

movement

ticipation of the intensity of

mood

The drawing probably comes from

the celebrated series of

is

as

its

much

sought by so many of the

Romantic painters of the nineteenth

The technique employed

finished drawings in

begun by roughing

is

the

flat

century'.

characteristic of the artist's

pen and wash, which were invariably

in the outlines in

typical qualities of such drawings

she sat up'.

of the figures. In

belated reflection of Counter-Reformation fervour as an an-

evidently that in which Peter, standing in the 'upper chamber'

surrounded by the

clearly the

display of religious emotion, the composition

is

black chalk.

One

of the

the richness of texture of

areas of dark wash, cleverly contrasted with the

Monsieur
was dispersed at

and highlight. Rather than using the usual technique of

auction in 1921. This series, together with the larger group

applying white heightening over wash to indicate the high-

eighty-two

Biblical

subjects once belonging to

Roger Cormier of Tours, whose

of 138 sheets in a
principal surviving
all

of

them

volume

in

collection

the Louvre, Paris, are the

drawings by Domenico of

in large, vertical format.^

They

Biblical scenes,

irregular shapes of the figures rendered

lights,

Domenico

preferred the

more

mostly

difficult

in

mid-tone

device of leaving

parts of the paper blank.

reveal the artist's

great originality and sensitivity as an interpreter of sacred

themes.

As

draughtsman, Domenico Tiepolo was perhaps more

accomplished than
Cat. 31-34).

He

his

better-known father Giambattista (see

certainly used the

medium

of drawing

more

than his father to express his inventions and to create finished

drawings as works of
figure compositions
in series

- and he

art in their

own

right.

- which he made both

has been seen as the

last

He

excelled in

individually and

exponent of the

great narrative tradition in Italian painting.

Provenance: possibly Roger Cormier, Tours.

The

artist

has divided the sheet horizontally into two,

filling

the lower half with the agitated figures that surround the

two protagonists and the upper half with the noble and
regular forms of the monumental architecture. This generous
spatial setting lends grandeur to the scene. The excitement
caused by the miraculous event is conveyed by the gesticulation
of the figures and is further enhanced by the dramatic lighting.

110

ITALIAN SCHOOL

Woodner Collection
New York and elsewhere 1973-4,
Woodner Collection, Malibu and elsewhere 1983-5, no. 35;
Woodner Collection, Vienna 1986, no. 38; Woodner Collection, Munich
1986, no. 38: Woodner Collection, Madrid 1086-7, no. 46.
Exhibitions:

no.

11,

73;

Bibliography: see

Woodner

Note
1

Byam Shaw

1962, p. 37.

Collection catalogues.

Giandomenico Tiepolo
Venice, 1727 -Venice, 1804

}6

Punchinellos Shooting at

egg, which has been tended by a devoted turkey.

Waterfowl

activities

life

of Punchinello himself

with golden-brown wash, over black chalk, on

ink,

on

Inscribed

upper

recto, at

left,

in

lower

brown

in graphite, 2 (to

right, in

ink, 3;

brown

ink,

proposed:

Domo

Tiepolo

and immediately to the right of

form the number

tries his

hand

from peddlar to painter,

f.;

and

at

his

(1)

at

manner

all

exotic.

and professions,

of trades

tailor to tightrope walker,

may be

Broadly, the narrative

off-white paper: 347 x 470 mm.

Watermark: three diminishing crescent moons.

be followed from

and adventures, many of which are highly

Punchinello
Pen and golden-brown

may

The adult
numerous

and so on.

Byam Shaw

subdivided as

has

the ancestry, childhood, and youthful amuse-

ments of Punchinello;

various trades and occupations;

(2) his

this figure,

(3)

32).

adventures

his

in strange countries;

and

his social

(4)

and death. None the less the

whole narrative, if indeed one exists,
be discovered, and the internal sequence of the

official life; (5) his last illness

precise source for the

o,

'ne of a group of 104 drawings iOustrating the

ello,

the series of drawings for which the artist

life

is

of Punchin-

undoubtedly

best known.' They were made around 1800 when Domenico

was already an old man. In them may be seen various motifs
that occur not only in his earlier work, most notably in his
frescoes showing scenes from the daily life of Punchinello,
formerly in the Camera dei Pagliacci of the Tiepolo family

Zianigo and

villa at

also in the

work

now

in the

of his father,

which had

its

of

Commedia

origins to the

Italy in the sixteenth

- he was

sly, lazy, secretive,

suits

by

their

hunched backs,

their loose-fitting

with matching sugarloaf hats, and by their black

masks, with long, beaked noses: they tend to be

tall and thin,

though some boast paunches. Punchinello's ridiculous and

on the individual sheets

one of three scenes representing

is

Punchinellos hunting. The Stag Himt^ and

both derived

Tlie

Boar Huni^ are

from etchings by Stefano

in part

Byam Shaw

della Bella

has pointed out, for details as

Domenico made

free use of

models, especially at this late stage of his career.

These comprised not only

own

his

earlier ideas

but also

those of his father and others.

Vetroq* has noted that

and

opportunistic and lewd. In the drawings he and his companions

are recognised

white

The present drawing

well as entire compositions

owes his
heyday in

character

that occurs

who had made drawings

seventeenth centuries. Punchinello epitomised the weaker

human

numbering

clearly could not correspond with their original arrangement.

earlier

the Venetian Carnival,

aspects of the

since the

remains a matter of conjecture,

series

(1610-1664). As

disreputable hero Punchinello, a much-loved figure in

deU'arte,

drawings within the

Ca' Rezzonico in Venice, but

Punchinello.

The

has yet to

in the case of Punchinellos

two

Waterfowl, the motif of the

at

Shooting

flying birds appears

identically in another of the artist's drawings, Ayi Oriental

Rider and Another Figure, which

series.'

is

not from the Punchinello

She has also observed that the subject of the hunting

of waterfowl occurs in a painting from a series of seven

by

Pietro Longhi (1702-1783) in the Galleria Querini Stampalia

in

Venice.

highly varied antics, be they inherently tragic or comic, are

portrayed with great humour. They provided Domenico with

a perfect

opportunity to exploit his great narrative

skills

and

compositional inventiveness, besides allowing him to indulge

his highly varied
In this

handling of the pen and brush (see Cat. 35).

drawing three Punchinellos, clambering over

shore with their guns, have

come upon

rocky

flock of

duck

most of them oblivious to

two of the birds are
put up by the dogs, while above two straggly specimens are
already airborne. One of these has been struck by the shot of a
Punchinello, who has already lowered his gun after firing. The
dramatic representation of the scene depends for its success
upon the compositional arrangement, with the silhouetting
splashing in the water on the

danger and one of them

left,

up-tailed. But

Provenance:

Woodner

Collection,

and the empty expanse of

Bibliography:

in the

critics

have seen

probably the most

the

political

or even patriotic meanings

drawings, the simplest explanation of their purpose

amusement

page of the

likely,

namely

that they

were created

of children, hence the inscription

series, Divertimenti per

li

ragazzi.

The

on the

is

for

D. Colnaghi,
lot k;

New York.

Woodner

Collection

11,

New

York and elsewhere

p.

Munich 1986,

Byam Shaw

1962,

no. 39;

p. 55;

128; Gealt 1986, no. 62; see also

Woodner

Collection,

de Gaigneron 1977,

Woodner

p.

Madrid

103;

Knox

Collection catalogues.

Notes
1

Byam Shaw

1962, pp.

szff.

2 Private collection, usa; Gealt 1986, no. 64.

3

Fogg Art Museum, Cambridge ma; Gealt 1986,

no. 63.

title

story begins

with an ancestor of Punchinello hatched from an enormous

ITALIAN SCHOOL

&

16 June 1967,

1973-4, no. 71; Bloomington 1979, no. 18; Woodner Collection, Malibu
and elsewhere 1983-5, no. 36; Woodner Collection, Vienna 1986, no. 39;

1986-7, no. 47.

While some

lot 41; P.

Paris; sale, Paris, Palais Galliera,

Exhibitions: Paris 1921;

of the three figures against the abstractly patterned water

sky.

London, Sotheby's, 6 July 1920,

William H. Schab Gallery,

1983,

112

sale,

London; Richard Owen,

4 Bloomington 1979, no. 18.

5 Pierpont

Morgan

1976, no. 139.

Library,

New York, Janos Scholz Collection; see Scholz

,^^v^.M;,,j

ifrA,
>)VA

^^H*^
?^*

^.

>\';

^
"^^^iii;-^

>>

v -

<^'

\'

r >^,

'kM

^^f/^"^^-

Giovanni Battista Piranesi

Mogliano, 1720 -Rome, 1778

He was an engraver and

Venice. In

architect studying architecture in

740 he travelled to

Venetian embassy and

etchings with the

title

Rome

in

the retinue of a

1743 published there a series of

in

Prima pmrte

di architetture e prospettive.

With the exception of a short stay in Venice from 1744-5,

he worked exclusively in Rome. He took Roman topography,
with its splendid ancient and modern buildings and
archaeological remains, as the subject of his etchings:

Le veduie di

Roma

of

1748-74 (135 Roman views)

as well as

Le antichita romane of 1756. During his stay in Venice, in

1745, he

made

the Carceri

d' invenzione a series

,

of imaginary

architectural structures of often colossal proportions.

^y

View of the

Portico of the

Rome

Pantheon

in

Pen and dark brown

210 X 295 mm.

grey and reddish-brown wash, over red chalk:

An

ini^,

indecipherable inscription on the verso in red chalk.

Ar

Ln early preparatory

sketch for

pi.

xva of Le antichita

in Piranesi's

approach:

that of the artist

who

wishes to give

romane, showing a view of the portico of the Pantheon.^

expression to his imaginative powers by embroidering and

Given the carefulness of the

and

elaborating what he sees, and the archaeologist

Yet

what he

finished print, the boldness

fluency of touch of the preparatory sketch

even with

was

this pictorial

and sketchy

is

surprising.

sees,

who

records

and no more.

style of drawing, Piranesi

able to capture the grandeur of architectural space. In

such drawings Piranesi also reveals his Venetian background:

wash over red chalk, so much

was one much employed in the

the colourful use of pen and

favourite technique,

his

drawings of Venetian painters of a slightly

earlier generation.^

The Pantheon, one of the most noble of Rome's ancient

monuments, was built in 27 bc by Marcus Agrippa and after
was substantially restored
was subsequently converted

several additions and modifications

under the Emperor Hadrian;

it

for use as a Christian church. In representing the interior of

the splendid portico, Piranesi has treated his subject in such a

way

as to increase

its

monumental

scale

still

further. This

is

achieved by the exaggerated perspective, by the diminutive

scale of the

figures,

and by the concentration upon the

architectural elements of the portico alone, to the exclusion

of the immediate surroundings.

more

has the appearance

The

result

is

that the structure

of a closed interior than of an

open

colonnade.

The monumental
is

already incipient

effect of the
in

whole scene

the drawing. Yet

in the

one

View of

deeply-coffered barrel vaults

actual building

Provenance:

art

Exhibitions:

Woodner

significant dif-

print the cornices are

a

the cornices, whereas in the

topped by arcades which

wooden framework supporting

might be taken as

114

two is striking. In the drawing,

- which are not a feature of the

- appear above

ITALIAN SCHOOL

illustrating the

in

turn carry

the roof. This difference

two

Pantheon

in

Rome. Engraving

in Le antichita romane,

market, Switzerland.

engraving
lection,

ference in detail between the

the Portico of the

1756

conflicting tendencies

Woodner

Bibliography: see

Notes
1 The

print,

Pantheon,

Collection,

Munich 1986,

no. xiv;

Woodner

Col-

Madrid 1986-7, no. 48.

which

is

is

Collection catalogues.

inscribed with the

listed in Focillon

Good examples
(1689-1767).

are

1918,

title

Veduta interna del Pronao del

p. 22, no. 171.

Antonio Molinari (1665-1727) and Gaspare Diziani

GERMAN AND
SWISS SCHOOLS

Austrian or Bohemian School

(?)

C.1340

Page from a Modelbook:

The

closest stylistic links

Austrian

art,

do appear

to be with

Bohemian and

which during the early fourteenth century com-

bined precisely these same diverse international elements.

}8

Two

Studies of St Christopher

Carrying the Christ Child and

The
the

celebrated Bohemian
Abbess Kunigunde (now

in the

once

belonging

to

National and University

Library in Prague)/ dating from c.1320, offers several telling

comparisons, notably

a Study of an Aedicule (recto)

and Sketches of Flowers

Passional

in the

stem expressions, the awkward

attachment of the limbs to the bodies, the fullness of the

draperies and the sharp contrast

These same

between

light

and dark.

stylistic features characterise the four

painted

panels forming part of the famous Verdun altarpiece in the

(verso)^

monastery

at

Klostemeuberg. The altarpiece

structure, incorporating twelfth-century

of
Pen and black ink, grey wash, on vellum: 152 x 216 mm.
Inscribed at upper right, in brown ink:
Propensius, fesiinanter

Propyciatorium, ain pethauss vel gnadhauss vel stad

cetera

[?]

adverhium

[?]

originally attached to

commissioned paintings
altarpiece.'*

The

to decorate the back of the

601318/19) can be observed

similarities in style

si

etlicher iveiss
et

dum

new

in these panels.'

The general

between the Woodner drawing and these

outstanding examples of early Bohemian and Austrian

art

do

quidam dicunt extemplo [word deleted]

statim uhi

not allow a specific attribution, but they do give an indication

Tempus non timpus saltem

dices neque sallim

the ambo.

influence of both Giotto and Duccio (c.1255/

Quodsi, set

Quodammodo,

composite

Eiiam pro ergo ponitur;

Quominus, quosque

ExHmplo, suhito

At the beginning of the fourteenth century, after the ambo

was damaged by fire, the enamels were reassembled as a
triptych, and in 1324-9 the abbot, Stephen von Sierndorf,

Propensus, extensus velfesHnus

Quamobrem, quare ei
commune [?] est [?]

Verdun which were

is

enamels by Nicholas

of the direction in which future research might be usefully

Extemplo non extimplo

docet artis amicus

carried out.

[illegible line inserted]

Apud per [?] denarium

[?]

escrihitur sicut

apud presentem

[?]

Ad per denarium.
Various

illegible inscriptions

he sheet

reflects a

is

from

on the

verso.

modelbook, which almost by definition

wide variety of

stylistic

and iconographic ideas

existing concurrently within a single

is

workshop

tradition.

It

thus not surprising that very different suggestions regarding

the attribution of the sheet have been made. Several noted

scholars of medieval manuscript illumination have perceived

English and French influences in the style of the drawing.^

For instance the striding figure of St Christopher seen

left half

in

the

of the page, with his sharp profile and squarish head,

has been likened to English manuscript illumination of the

Provenance: Estate of Hans M. Calmann.

Exhibitions:

Woodner

Woodner

Collection,

Malibu and elsewhere 1983-5, no. 37;

Collection, Vienna 1986, no. 40;

1986, no. 40;

Woodner

Collection,

Woodner

Madrid 1986-7,

Collection,

Munich

no. 49.

fourteenth century,' while the swaying, twisted pose of the

smaller study of St Christopher in the lower right corner has

Bibliography: Oberhuber 1983, pp.

78, 80; see also

Woodner

Collection

catalogues.

tradition.

Most

writers have agreed that the monumentality of the

main

been compared with the French manuscript

representation of St Christopher together with the architectural

style of the aedicule betray Italian influence, especially that

of Giotto (1266 or 1276-^.1337), which

throughout Europe

in

the

first

was

fairly

Notes
1 The verso

reproduced

in

Woodner

Collection, Malibu and elsewhere

as

English.

widespread

half of the fourteenth century.''

is

1983-5, p. 97.
2 Otto Pacht, Gerhard Schmidt and Ulrike Jenni regard the drawing
3

Comparison has been made with the

Psalter of Robert de Lisle in the

Arundel 83 11), for which see Sandler 1983. The

illuminations by the second hand in the Psalter (the so-called Majesty
British Library (ms

The

inscription dates

from slightly

and seems to be derived from

includes

words

in

later

a medieval glossary.

an Austrian-Bavarian

suggests not only that the drawing was

during the fourteenth century, but that

have been drawn

118

GERMAN AND

than the drawing

there.

SWISS SCHOOLS

dialect,
in that

it

It

apparently

which strongly

region sometime

could also conceivably

Master) are comparable: they date from the 1330s and are influenced by
Jean Pucelle.

4 Pacht 1943, pp. 51-70, and Prokopp 1983.

5 Drobna 1956, pp. 24-7, figs 1-12.
6 Pacht 1929, pp. 5-7,
7 Prokopp, pp. 31-3.

figs

1-3.

lip

if?'-

/,

(5

1^

Martin Schongauer
Colmar, c.i450-Breisach, 1491

The son of a goldsmith,

visits to the

1471.

Colmar, where he opened a workshop

life in

Only towards

the end of his

He was

Breisach where he died.

der

from Augsburg. After

Netherlands, Burgundy and Spain, Schongauer

spent most of his

in

originally

Weyden (1399/1400-1464), and

admired by Albrecht Diirer

panel and

(q.v.).

Many

did he

move

to

by Rogier van
own work was much

his

Schongauer painted on

Cathedral at Breisach).

in fresco (the

extremely important engraver,

prints.

life

influenced

who produced

of his drawings were

made

He was

also an

at least

115

as preparatory

studies for his engravings.

39

Woman with
Clasped
Pen and

Prayer

in

brown

light

140 x 93

ink:

Inscribed at lower right corner, in

i he drawing

Hands

her

mm.
brown

ink, 60.

relates to a figure occurring in the representation

by

of Paradise from the Last Judgement painted in fresco

Schongauer
]udgemeni

is

in the

Cathedral at Breisach in 1491. The Lasi

depicted on the west wall with Paradise adjoining

on the south wall and Hell on the north wall. These frescoes,
which were rediscovered in 1932, are Schongauer's most
extensive work. He died while painting them at the time
when the young Diirer was travelling to see him (see Cat.
44). The correspondence between the drawing and the figure
in the fresco

close, but,

is

even allowing

for restoration,

woman

in Cat.

39 exaggerated

intensity of the stare

is

in size

and emphasising the

characteristic of Schongauer's female

types,* while the hands are comparable to those occurring in

a

Woman

drawing of a

delicacy of the

penwork

studies in Leipzig

the

Woodner

is

Praying, also in the Uffizi.^

The

similar to that used for full-length

and Oxford.* Like the drawing

in the Uffizi,

sheet might only have been conceived as a

half-length study, as the lines taper

away

at the waist

and

elbow.

it

can be seen that the angle of the head and the position of the

hands

in relation to the

Young

Wearing a

Girl

body differ
Hood in the

slightly.'

A drawing

Uffizi, Florence,

of

which

is

comparable

in

style to the present sheet, appears to have

been drawn

in

connection with another of the figures

in the

fresco of Paradise}

The
that

Woodner drawing

style of the

found

in

many

is

less elaborate

of Schongauer's drawings.

The pen

is

than

used

here rather lightly with the outlines thinly, almost tentatively,

drawn and the hatching has

because the drawing
a print.

Only

in the

is

feathery quality, perhaps

preparatory for a painting instead of

back of the headdress, where there

greater concern for texture, does the

resolute and the cross-hatching

Buchner was the

first

more

to associate the

penwork become more

drawing with the fresco

Although Rosenberg was of

as only a

it

belonged,

of 1923.' Winzinger, to

initially

after studying

it

included

in

it

as a

copy by

whom
copy

from

his

the drawing once

in his corpus,

but

greater detail revised this opinion and

reinstated the sheet as an authentic preparatory drawing

by

the master himself.

The

120

treatment of the eye socket

GERMAN AND

SWISS SCHOOLS

Bibliography: Buchner 1941, p. 149; Winzinger 1962, p. 107, no. 98;

Winzinger 1979, pp. 24-8; Bernhard 1980, p. 231; see also Woodner
Collection catalogues.

a similar opinion for a

time, he subsequently omitted the sheet altogether

monograph

Woodner Collection, Cambridge ma 1985, no. 86 (checklist

Woodner Collection, Vienna 1986, no. 41: Woodner Collection,
Munich 1986, no. 41; Woodner Collection, Madrid 1986-7, no. 51.
Exhibitions:
only);

systematic.

of the Last judgement, but he referred to

a follower.

is

Provenance: A. Grahl (Lugt 1199); A.O. Meyer, Hamburg, sale, Leipzig,

Boemer, 19-20 March 1914, lot 433; F. Winzinger (Lugt S. 2600^).

Notes
1 The drawing and

the relevant portion of the fresco are reproduced in

Buchner 1941, pp. 150-51, figs &-J, 88. See also Winzinger 1979, figs 1-3.
2 Winzinger 1962, no. 9. See also Winzinger 1979, pp. 26-7, figs 4, 6.
3

The drawing was apparently included in

Handzekhnungm, Munich, 1923, p. 8i.

Cf., for

his

unpublished

thesis,

Schongauers

example, Winzinger 1962, nos 22-6.

5 Winzinger 1962, no. 31, and for a detail of the hands, see appendix no. 17.

and dilated pupil of the

6 Winzinger 1962, nos 38, 39.

Swabian School
c.1485-90

40

Study of a Knight in Armour,

Holding a Halberd
Pen and black

ink,

grey wash, heightened with white, on pinkish-brown-

mm. The upper comers

prepared paper: 288 x 122

.he
Th
in

the

drawing

executed study, no doubt done

a carefully

is

workshop from

arched.

posed model. The precise highlighting

coming from the left through a

biforium window, the outlines of which are reflected on the
reveals that the light

left

is

side of the figure's helmet.'

armour were made

in

Such studies of knights

in

connection with the staffage figures

depicted in the backgrounds of large religious paintings of

the period in

Germany.

It

is

amply supplied with drawings of

On

this sort.

the basis of the type of armour,

soldier

shown here

is

workshops were

likely that

is

it

clear that the

almost certainly not a Landsknecht

more likely that

combat in a
duel. His mobility would have been enhanced by the short
and fashionably designed half-armour worn over a short
(footsoldier), as previously suggested;

it

is

the drawing depicts a knight dressed for foot

coat of fluted mail.

The evidence provided by

importance

in situating

armour is also of considerable

workshop responsible for the

the

the

drawing. The Italianate aspects of the armour, notably the

raised visor attached to the helmet, suggest an origin in

southern Germany. Comparisons can be

made towards
as

made with

the

armour

the end of the fifteenth century in such centres

Augsburg, Nuremberg, Landschut and Innsbruck and by

such important armourers as Lorenz Helmschmid.^

Cat.

40

is

one of several known studies of

armour, of which a study

at a table

the

same

is

in the

of greatest relevance since

suit of

soldiers in

Albertina of a soldier seated

it

appears to depict

armour.' Comparable in both technique and

handling, the study in Vienna seems to have been

the

same workshop

did not

know

the

drawn

as the present study. Winzinger,

Woodner

Tyrolean School(?), Study of a Knight

Vienna

in

Armour, Seated at a Table, Albertina,

in

who

drawing, argued unconvincingly

that another, less closely related study in a Swiss private col-

showed such an accurate rendering of the armour that

must have been made by a harness-maker rather than a

Provenance: H.W. Campe.

lection
it

Exhibitions:

Woodner Collection, Vienna 1986, no. 43; Woodner

no. 43; Woodner Collection, Madrid 1986-7, no.

Munich 1986,

Collection,

52.

painter.''

Bibliography: Detroit 1983, under no. 47; see also Woodner Collection
catalogues.

Notes
1

This observation was

made by

Christiane Andersson

in

Detroit 1983,

underno. 47.
2 See

Thomas

3 Tietze

et al.

1964,

pi. 10.

1933, no. 14. The other drawings, less closely related, are as

et al.

follows:

one

another

in

in

the

Kunstsammlungen der Veste Coburg

the Louvre, Paris

(Demonts 1937, no.

(Detroit, no. 47):

262): and a third in a

Swiss private collection (Winzinger 1980, pp. 27-9).

4 Winzinger,

p.

Detroit 1983.

122

GERMAN AND SWISS SCHOOLS

29.

The argument

is

rightly rejected

by Andersson

in

Master of the Strasbourg Chronicle

c.

1492/3

Two

Pages from the

Strasbourg Chronicle:
4.1

Maximilian, Duke of Austria,

on Horseback, within a
Border of Coats of Arms
(f.

62W)

Pen and black ink, over black chalk: 386 x 260 mm (design image).
Watermark: bull's head (cf. Briquet 146824, 1492335).
Variously inscribed throughout the sheet and dated at lower right,

brown ink,

4.2

The

in

1492.

Crucifixion, with

St Peter, the Virgin, St John

the Evangelist

and

Pope Gregory Standing at the

Foot of the Cross, above a
Landscape with Johann von

Hungerstein Kneeling and

Praying with his Wife and

Family (f. iiov.)
Pen and black ink, over black chalk: 387 x 265
Watermark: same as above.

ihis manuscript,

known

mm (design image).

is

temporarily reversed the declining status of the Hungerstein

based mainly upon the Weltchronik of Jacob Twinger von

family; the manuscript also includes an account of the part

Konigshofen (1346-1420), printed

played by the Hungerstein family

as the Strasbourg Chronicle,

Augsburg

14 76 by
Johann Bamler.^ The printed source, however, was edited
and expanded in the present manuscript by Johann von

Hungerstein
Alsace; he

(d.

was

1503), a

member

in

r.

of an important family from

also the principal scribe, according to the

colophon dated 14

May

1493

(f.

120),

He

is

represented

in

the scene occupying the lower half of Cat. 42, with his wife

Agathe

Reiffs (d. 1498),

in

1489, and

by

their coats

whom

he had married

124

Strasbourg

Roman

life

of Maximilian

Emperor), the subject of Cat. 41,

GERMAN AND SWISS SCHOOLS

(14^9-

who had

events concerning the

The portion of the manuscript relating to the fifteenth

century was written by at least three other hands in addition
to that of Johann von Hungerstein. The remaining text, which
continues up to the seventeenth century, is the work of
several other scribes.

The manuscript's binding

is

seventeenth

century.

The manuscript has

their three children.

chronicle highlight incidents in the

1519, Holy

in

The couple are separated

of arms. The additions made by Johann to the

in

Habsburgs between 1468 and 1479.

five

marginalia towards the end

not on view
(f.

17)

drawings
(ff.

in addition to

some

21539). The three drawings

are: the Tree of Jesse

(f.

3),

the Slorming of Troy

and the Armorial Coat of Arms of Maximilian, Holy

mmmmBmt^sfssfsmi

ji.r

._ J.

^^^''^^

TTT
\

41

K^^

r,

I-

Roman Emperor (f.

63V.). All the drawings,

of the weaker Storming of Troy, are

recognisable hand, which was

with the exception

by an

unidentified but

also responsible for a double-

sided sheet in Berlin with The Creation on the recto and

another representation of the Coats of Arms of Johann von

Provenance: Biblioteca Kiinastiana, Denmark, 1667
cover); sale, London, Christie's, 28 June 1972, lot 31.

Hungerstein and his Wife Agathe Reiffs on the verso.^

The main

stylistic features of

these drawings

the clear, neat

penwork, regular hatching and the silhouetting of forms reflect the

work

of Martin Schongauer

The figure types

two pages on exhi-

(q.v.).

and certain compositional aspects of the

bition are dependent upon Schongauer, whereas the drawing
in Berlin

seems to have more

in

common

with the work of

1450-67). Comparisons can be found in

Schongauer's work for the figure of Maximilian on horseback^
the Master E.S.

{fl. c.

Woodner Collection 11, New York and elsewhere 1973-4,

Woodner Collection, Malibu and elsewhere 1983-5, no. 39; Woodner
Collection, Vienna 1986, nos 44, 45; Woodner Collection, Munich 1986,
nos 44, 45; Woodner Collection, Madrid 1986-7, nos 53, 54.
no.

1;

Bibliography: Berlin 1973, under no. 10 (entry by

also

Woodner

Notes
1 The most

in

one of Schongauer's emblematic

engravings.'

Anzelewsky has pointed out similarities between the sheet

in Berlin and designs by the glass painter Peter Hemmel,
who was active in Strasbourg between 1422 and 1501.* Two
other designs for similar coats of arms, related in style to
the drawings found in the Strasbourg Chronicle, have been

connected with the

Hemmel workshop.^

It

seems

SWISS SCHOOLS

catalogue of 28 June 1972, lot 31, and in

York and elsewhere 19734,

this chronicle for

IV,

pp.

German

no.

1.

for him.

Woodner

For the

signifi-

history and literature, see Langesch

535-43.

KdZ 26132; see Berlin

figs 16, 17.

Cf. the

engravings of The Crucifixion

(b.

22, 24, 25), reproduced in

Baum

1948, pis 14, 18, 17 respectively.

5

B.

103; Baum,

pi.

105.

6 For Hemmel, see Wentzel 1964, pp. 211-19, especially the armorial
glass made for Jakob Beger and Agnes Marx, dating from 1492, in the
Wiirttembergisches Landesmuseum, Stuttgart (reproduced

was influenced by Hemmel or perhaps even worked

GERMAN AND

New

11,

1973, no. 10.

3 Cf. St George and the Dragon in Colmar, reproduced in Buchner 1941,

likely that

the draughtsman of the four folios in the present manuscript

126

1953,

2 Inv. no.

Anzelewsky); see

detailed technical descriptions of the manuscript can be found

Collection

William Schab has observed, the coat of arms of the Hunger-

F.

Collection catalogues.

in the Christie's sale

cance of

seems to occur

on upper

Exhibitions:

as well as for the scene of the Crucifixion.'* Furthermore, as

stein family

(inscription

opp.
7

in

Wentzel,

p. 211).

The drawings are

Anzelewsky 1964,

in

pp.

Vienna and Karlsruhe; both were published

43-53,

figs 1, 2.

in

42

School of Nuremberg
c.

1490-1520

43

A Farmstead in a

Wood

Pen and brown ink, with watercolour, on vellum: 457 x ^^6 mm.
The drawing comprises four separate pieces of vellum joined together
and backed by paper.

.he drawing
Th

should perhaps not technically be classified as

a pure landscape.

more

The

bird's-eye perspective, for example,

is

closely allied to the cartographic or topographical tra-

Nuremberg at the close of the fifteenth

Comparison may be made with the maps of Erhard

dition practised in

century.

Etzlaub

1460-1532)^ and the views of towns

(c.

chronicarum (1493) of

Hartmann

in the Liber

Schedel.^ Indeed, Walter

Strauss has suggested that the drawing might be a portion of

map by Etzlaub, dating from 1507, which depicted the

domain of Hauseck, recently acquired by the city of Nurema lost

berg, including

meadows, and

'all

the landed properties, woods, arable land,

fish ponds'.^

A comparison may be made with

Etzlaub's Reichswalder, a

view of Nuremberg of 1516 which

concentrates specifically

upon

the outlying forested areas of

the city's territory.^

Stylistically, there

drawing was made

in

can be

little

doubt that

this

Nuremberg. There are close

imposing

affinities in

the rendering of the tree trunks and the foliage with works

Hans Pleydenwurff

(d.

1472) and Michael

15 19), the master of Albrecht Diirer

circle.'

Wolgemut (1434/7-

(q.v.),

and Wolgemut's

Landscape drawings by Wolgemut and

Erlangen are comparable not only

by

in the

his circle in

handling of natural

forms, but also in the character of the penwork.*

Wolgemut

was also closely involved with Schedel's Liber chronicarum, in

which there are similar steeply-pitched roofs in the buildings
on the right of the view of Nuremberg and similar gnarled
tree-trunks in some of the landscape views.'

When
two

by Boemer's in 1930 the drawing was divided into

which have since been joined. Further subdivisions

sold

parts

of the vellum are apparent in the lower

an inscription are evident

that the artist

in the

upper

half, just, as traces

left

of

corner, indicating

might have reused several pieces of vellum

originally forming part of a manuscript.

The

tradition in

which

be seen as the basis of the

tradition

found

in

this

drawing was conceived

much more

Woodner Collection, Cambridge ma 1985, no. 93 (checklist

Woodner Collection, Vienna 1986, no. 47; Woodner Collection,
Munich 1986, no. 47; Woodner Collection, Madrid 1986-7, no. 56.

Exhibitions:
only);

Bibliography: Rave 1938, pp. 84

reverse), 186; see also

may

sophisticated landscape

Durer's paintings, drawings and prints.

Provenance: Archduke Ferdinand, Vienna; then by descent to Archduke

Friedrich (formerly Albertina, inv. nos 1970 and 1971); Dr E. Czeczowiczka,
Vienna, sale, Berlin, Boerner und Graupe, 12 May 1930, lot 6.

Woodner

(detail

from

left

part reproduced in

Collection catalogues.

Notes
1

For

this

cartographer, see Schnelbogl 1966a, pp. 11-26; and Austin

1983, pp. 90-91.

2 For convenient reference, see

3 Schnelbogl 1966a,

Schramm

1934, nos 408576, pis 155271.

p. 20.

4 Germanisches Nationalmuseum, Nuremberg; reproduced

in

Schnelbogl

1966b, pp. 56-7 (detail only); see also ibid. 1966a, p. 20.
5 Stange 1958, ix, figs 73 (Pleydenwurff), 75-7 (Master of the Loffelhotz
Altarpiece), 92-8, 101-5 (Wolgemut).
6 Bock 1929, nos 139-42.
7 For the

view of Nuremberg, see Schramm, no. 479,

pis

204-5, where

the group of buildings outside the city wall in the lower right
directly comparable.

Of

the

many examples

foliage in the Liber chronicarum, see

most recent account of

1986, no. 87.

128

GERMAN AND

SWISS SCHOOLS

this

Schramm,

famous book

comer

is

of the treatment of trees and

is

in

no. 410,

pi.

157.

The

New York-Nuremberg

Albrecht Diirer
Nuremberg, 1471 -Nuremberg, 1528

The

leading figure of

German Renaissance

After

art.

training as a goldsmith with his father, Diirer

initial

was apprenticed

Wolgemut (1434/7-1519). Although

with Nuremberg throughout his life, Diirer

to the painter Michael

closely associated

and 1505-7) and to the

travelled to Italy twice (1494

Carnation and St Dorothea,

Diirer

made during

drawings by

the early 1490s exhibit similar stylistic

those found

traits to

Berlin.^ Several

all in

in

the present sheet, notably the double-

sided drawing of the Virgin and Child (London, British

Mu-

seum), the Holy Family (Erlangen), the Holy Family (Berlin),

Netherlands (1520-21). Apart from his numerous important

the Virgin and Child with Angels (Paris) and the Youth Kneeling

painted altarpieces and portraits, he was also a prolific

before a Potentate (Oxford).'^

draughtsman and print-maker.

engravings and woodcuts that
in

Europe.

art,

He showed an

It

was primarily through his

became widespread

his influence

who

paid him an

annuity from 1515, and humanist scholars, such as Willibald

Pirckheimer, with

whom

a reflection of the

pose of

Diirer

may have been dependent upon

a specific prototype,

perhaps one by Schongauer, but no relevant example has sur-

writing treatises on perspective and proportions. His

i,

is

of the Virgin and Child with the Pear.^

interest in the theoretical aspects of

patrons included the Emperor Maximilian

There

the figure, although in a different context, in the engraving

he travelled to Switzerland in 1519.

vived.

Even

pose of

this

so, there

is

correspondence between the

a certain

Virgin Armunciate and the painting by Schongauer

of the Virgin and Child at Basel.*

He does

not seem to have

repeated the subject in later works, although there

is

draw-

ing of the Virgin Reading of 1521 in the Albertina, Vienna,'

which was no doubt inspired by

4.4.

The Virgin Annunciate

Cat.

44

is

not widely known, although

Inscribed
in

by

a later

blue-grey

his

is

hand with the

XII.5).

monogram,

at

lower

right,

ad

ink,

a fine

artist's

example of

Diirer's early

drawing

Netherlands

it

has been in the

was first exhibited in

Nuremberg in 1971. There has been some discussion about
the monogram, which appears to be a later addition by a
different hand and not redrawn over an existing monogram.
literature since

Pen and light brown ink: 163 x 143 mm.

Watermark: a high crown (similar to Piccard 1961,

his visit to the

of that year.

Lippmann's volumes.

It

dating

style,

almost certainly from the very beginning of the 1490s, per-

haps 1491-2. Following

his apprenticeship

(1490-94) when he

Diirer travelled for four years

in

with Wolgemut,

Colmar, Basel and Strasbourg. During

his

recorded

is

Wanderjahre he

studied the work of Schongauer (q.v.) and that of the Housebook Master (c. 1470-1500), artists of totally differing styles
but whose combined influence was instrumental in Diirer's
development. The style of the present sheet is closely related
to the drawings of Schongauer, who, like Diirer, was the son
of a goldsmith. On setting out from Nuremberg in 1491, it

had been

Schongauer

Diirer's intention to visit

but the older

artist

Colmar,

in

died shortly before Diirer arrived. Diirer

was nevertheless well received by Schongauer's family and

appears to have been given some of the master's drawings.
The vibrant penwork forming a web of intricate yet varied
lines has a crispness

ing, .a

system of
lit

and

clarity that

medium from which

dots, dashes

flicks,

from the

left

is

with cross-hatching, whereas

is left

derived a whole

and curves. The figure

so that the right side

knees, the paper

associated with engrav-

in fact Diirer

is

is

sharply

more heavily worked

in areas of highlight, as

blank. Apart from displaying

on the

how

skil-

fully Diirer

could adopt Schongauer's idiom, the drawing also

hints at the

emergence of the

example,

the curls of hair falling over the shoulders, break-

artist's

own

Provenance:

E,

Desperet (Lugt 721),

1865, lot 2x5; C. Paravey,

E.

de Beumonville,

sale,

sale, Paris, Feral,

sale, Paris,

Paris,

Clement, 7-13 lune

13 April 1878, lot 110; Baron

Clement, 16-19 February 1885,

Martin Le Roy; Marquet de Vasselot,

sale, Paris, Palais Galliera,

lot 147;

March

1967, lot 57; private collection, Bavaria.

Exhibition: Nuremberg 1971, no. 134.

/. 1909, pp. 177-8, no. 36 (entry by A. Lemoisne);
no. 26; Flechsig
Lippmann 1883-1929, vi, no. 617; Tietze 1928-34,
1928-31, II, pp. 399, 555, no. 203; Winkler 1936-9, I, no. 36; Panofsky

Bibliography: Leprieuref

personality, as, for

i,

in

ing the silhouette of the figure, in the

ment of the hands, and above

all in

more summary

treat-

the elegant line of drapery

cutting diagonally across the legs.

1943, no. 708; Winkler 1957,

the penwork, the

facial features,

most

drawings are the Angel

130

GERMAN AND

the folds of drapery and

comparisons

Cahriel, the Virgin

SWISS SCHOOLS

in

Schongauer's

and Child with a

Winzinger 1962, nos

2 Winkler 1936-9,
3

effective

35; Schadendorf 1969; Strauss 1974,

Notes
1

For the rendering of

p.

1491/7.

B.

I:

1,

12, 33 and 37 respectively.

nos 22-3, 25, 30, 35 and 42 respectively.

Hollstcin, German, vii, no. 33.

4 Baum 1948,

pi. Ill

5 Winkler,

no. 885.

iv,

and

fig.

179.

i,

no.

Albrecht Diirer

(?)

Nuremberg, 1471 -Nuremberg, 1528

4^

Woman

Study of a Pensive
Pen and dark brown ink: 174 x 118 mm.
Watermark: bull's head with flower above and
14871-4 and Piccard, 11, 1-3, 731-878).'

triangle

below

(cf.

Illegible inscription (or unidentified collector's

mark)

lower

right.

at

Briquet

i he inventive pose, the long, fine pen strokes, the curvilinear

modelling of rounded forms and the treatment of the sleeve
reveal a growing independence in Diirer's style beyond the
influence of

Schongauer

iq.v.),

as seen in the

drawing of The

Virgin Annunciate (Cat. 44).

Although

it

ing C.1600

was

attributed to a late follower of Diirer work-

when

sold at auction in 1981, Winzinger has

argued that the sheet

dating from 1493.

with the

He

Self-portrait,

Metropolitan

supports his attribution by comparisons

dated 1493,

Museum

drawing of hands

in

an original drawing by the master

is

of Art,

Lehmann

in the

New

York,^ and with the

the Albertina, Vienna.'

out that the contemplative pose was one

Diirer at this early

stage of his

life.

He

further points

first

The

explored by

Self-portrait

Man now

Erlangen," the Study of a Sleeping

Collection,

in Berlin,'

at

and

the quick study of the artist's wife Agnes, also in Vienna,*

are comparable in this respect. But the

of his treatment of the theme occurs

most famous example

engraving

later, in his

Melencolia /of 1514.^

Provenance: sale, London, Sotheby's, 11 June 1981,

(possibly his mark at lower right, Lugt S. 2600'').

lot

47;

F.

Winzinger

Woodner Collection, Cambridge ma 1985, no. ^y (checklist

Woodner Collection, Vienna 1986, no. 51; Woodner Collection,
Munich 1986, no. 51; Woodner Collection, Madrid 1986-7, no. 60.
Exhibitions:

only);

Bibliography: Winzinger 1982, pp. 229-32; see also

Woodner Collection

catalogues.

Notes
1 The watermark is reproduced in Winzinger 1982,
comment, see Strauss 1974, vi, p. 3278.
2 Winkler 1936-9,

i,

nos 27

(recto)

and 32

fig.

(verso); Strauss,

2.

1,

For

fijrther

nos 1493/6

and 1493/7.
3 Winkler,

i,

no. 47; Strauss,

no. 1493/8.

1,

4 Winkler, 1, no. 26 (on the verso of no.

1491/8 respectively.
5 Winkler,

1,

no. 46; Strauss,

6 Winkler,

1,

no. 151; Strauss,

132

B.

74: Hollstein,

GERMAN AND

Germim,

2.3);

no. 1494/2.

1,

1,

vii,

no. 1494/7.

no. 75.

SWISS SCHOOLS

Strauss,

1,

nos 1491/9 and

Albrecht Diirer
Nuremberg, 1471 -Nuremberg, 1528

4.6

Study of a Nude Male Figure

Holding a Mirror (recto) and
Study of a Nude Male Figure
with a Lion (verso)
Pen and brown

ink;

the paper has been pricked in several places with the

points of a pair of compasses:

Signed with the

artist's

267

monogram on

145

mm.

the verso at lower

in

left,

brown

ink,

AD.

owards 1500 Diirer began

in

take

to

strong interest

anthropometry, the theory of human proportion, which

culminated
1504.'

well-known engraving of Adam

in the

He was

initially inspired

by

North

the

Italian artist

whose

Jacopo de' Barbari (f.i44o/50-c.i5i6),

and Eve of

and

prints

may have known by

the late 14905.^ By 1500,

Nuremberg,
came
to
the two artists certainly
when Jacopo
knew each other personally, and Diirer has recorded the
occasion when Jacopo showed him drawings of a man and a

drawings he

woman

'made according to measure'. But apparently Jacopo

refused to disclose the principles of his canon, so Diirer turned

to other sources, primarily Vitruvius,

writings of

da Vinci

Leon

iq.v.).^

Battista Alberti

and the

theoretical

(14041472) and Leonardo

A number of drawings exploring the Vitruvian

canon of human proportions preceded the famous engraving

of

1504 and reveal

Diirer's

knowledge of

classical

the outlines of the figure

on

the artist traced

left foot,

to the verso.

The

sheet

the

is

male counterpart of a similarly 'constructed' female nude

study on the recto and verso of a drawing

in the Sachsische

Landesbibliothek, Dresden.*

The iconography

Woodner drawing
the figure

of the figures

on both

of considerable interest.

is

on the recto

is

sides of the

The pose

based on the statue of Hercules

Borghese Collection, which,

in Diirer's time,

was

of

in the

in the col-

lection of Cardinal Francesco Piccolomini in the Quirinal,

Rome. The sculpture

Escurialensis,'^

Codex,

it is

is

recorded

in a

drawing

in the

Codex

but since Diirer did not have access to the

likely that copies of the

were circulated

in Italy

mirror held in the

left

drawings contained

and then taken north by

hand of the

figure

may

artists.

in

it

The

be a conflation

of the attributes (disk and sceptre) of Sol (the Sun god) with

and sources." These are essentially 'constructed' studies made

whom

with the help of a stylus and a pair of compasses. Diirer's

also represent Sol, insofar as the lion

researches into anthropometry continued through the second

sign," but the figure could equally well be equated with the

decade of the sixteenth century and were

Old Testament

finally

Vier Bikher von menschlicher Proportion (Four

Proportion), which appeared in 1528,

his death.

believed
trayed

By

some

published

Books on
six

in

Human

months after
no longer

the end of his career, however, Diirer

in a single ideal

in his first

The Woodner

of classical beauty, as he had por-

investigative drawings, but rather in the

variety of types presented

by the human body.

sheet seems to be the earliest of

proportion drawings by Diirer.'

differs

It

'constructed' drawings of male figures,

all

the male

from the related

whose proportions

follow the Vitruvian canon, according to which the head

is

one eighth of the whole. By

is

seven heads

compressed

tall

contrast, the figure in Cat.

the legs.*
it

early in the sequence of studies of

the date

1500

Indications of
cernible

is

46

and the torso seems disproportionately

in relation to

muscular proportions suggest that

now

The

squatter and

more

should be placed

fairly

human

proportion, and

generally accepted.^

measurements and horizontal guidelines,

on the upper

dis-

part of the recto figure, confirm that

was constructed with the aid of compasses and a

134

prototypes

adjusting the placing of the figure's

GERMAN AND SWISS SCHOOLS

ruler.

it

After

the figure

is

generally identified.^"

figure of

the original prototype.

Samson

is

The verso may

his related zodiacal

or, quite

simply, Hercules,

Provenance: Prince Heinrich Lubomirski {1770-1850): Lubomirski Museum,

Lemberg (now Lvov, Poland); Dr and Mrs

Vitale Bioch, sale, London,

Sotheby's, 28 June 1962, lot S7; private collection, Nuremberg.

Exhibitions: Nuremberg 1928, no. 359; London 1957, no. 27; Manchester
1961a, no. 113: Nuremberg 1971, no. 480;

Woodner

Collection,

Madrid

1986-7, no. 61.

Bibliography: Reitlinger 1927, p. 159; Gebarowicz and Tietze 1929,
5; Lippmann 1883-1929, vi, nos 739 and 740 (reversed); Tietze

no.

1928-34, nos 169, 170; Flechsig 1928-31, 11, pp. 145, 195-6, 568, nos
493-4; Winkler 1936-9, 11, nos 419, 420; Winkler 1942, under no. 8;
Friend 1943, pp. 43-9; Panofsky 1943, pp. 86, 262, 266, nos 1596, 1597,
I,

Winkler 1957, p. 146, n. i;

11, nos 1500/36,

under no. 1627(6); Frohlich-Bum 1956,

p.

Schadendorf 1964: Rupprich 1966,

37; Strauss 1974,

1500/37; see also

Woodner

11,

p.

10;

Collection catalogues.

Notes
1

B. 1;

HoUstein, German,

vii,

no.

2 Diirer's engraving of Apwilo

no. 64)

The

is

1.

and Diana

(b.

68; Hollstein, German, vii,

derived from Jacopo de' Barbari's print of the same subject

(b.

16).

between Jacopo de'

Barbari and Diirer is in Levenson 1973, pp. 3447, and under no. 141.
3 For a general account, see Panofsky 1943,
pp. 26073.
4 The most distinguished of the drawings, the study of Apollo in
best discussion of the artistic relationship

i,

Museum

the British
no. 1501/7),

was

5 Friend 1943,

p.

(Winkler 1936-9,

clearly

made as

1,

no. 261; Strauss 1974,

11,

the basis for an engraving.

48.

Ibid., fig. 8.

7 Earlier critics,

of

c.

Winkler and Flechsig

in particular,

favoured

a later

date

1506, but the arguments against such a date are marshalled

by

Panofsky, no. 1627.

8 Winkler,

11,

nos 415, 416; Strauss 1974, 11, nos 1500/31, 1500/32. The
first noted by Gebarowicz and Tietze 1929. The same

drawing was
writers also

drew

(Winkler 1942, no.

attention to a drawing
8),

which

is

by Schaufelein in
on the verso.

Paris

similar to the figure

fig. 5. The dating of the Codex Escurialensis is complicated: a

summary and bibliography is given in Bober and Rubinstein

9 Friend,
brief

1986,

p.

456.

10 Panofsky, no. 1596, discusses the attribute and

by Hans Sebald Beham and Erhard Schon.

cites

other representations

11 Strauss has pointed out the similarities with Diirer's engraving Sol
Justitiae (b.

with a

136

79; Hollstein,

German,

lion.

GERMAN AND

SWISS SCHOOLS

vii,

no. 73),

where Sol

is

depicted

/-

Albrecht Diirer
Nuremberg, 1471 -Nuremberg, 1528

4.y

Illumination in the Idylls

other

Works by

and

Theocritus

[Aldus Manutius, Venice,

February 1495/6]
Gouache, heightened with

The miniature

is

and gold, on vellum: 311 x 202

silver

down on

cut out and laid

the printed

mm.

page of Greek

text.

he friendship between Albrecht Diirer and the humanist

Willibald Pirckheimer (1470-1530)

is

one of the most

cele-

art.^ Although from

two men shared both an interest

Rieter

May

17

1504)

whom

he had married

in

1495.

The

are also illuminated,

initial letter

brated in the history of Renaissance

although presumably not by Diirer since they form so integral

different backgrounds, the

a part of the original printed book.^

in the revival of

humanist teaching and

ability,

Diirer admired Pirckheimer's enthusiasm for

ancient literature.

The

artist

While

a love of Italy.

Pirckheimer respected Diirer's innate intelligence and

artistic

art

and

gained an important patron and

memorably recorded
number of the most prestigious books in
his library decorated by Diirer. When Pirckheimer was meant
to be studying law at the universities of Padua and Pavia, he
developed a passion for Greek literature. In 1504 he boasted
to Conrad Celtis,
have every Greek book printed in the
whole of Italy.' Diirer is known to have searched for books
on behalf of Pirckheimer during his second visit to Venice in
Pirckheimer, in turn, had his likeness
for posterity^

and

'I

1505-7.'

The
was

attribution of the decoration of the Idylls to Diirer

convincingly advanced by Rosenthal and has been

first

widely accepted.

The most important

printer of

Greek texts

in Italy at the

Venice, and

it

was on

his

in

Aldine Press that the present edition

of the Idylls of Theocritus

Theocritus represent the

was

first

printed.
fully

The

rustic idylls of

developed examples of

bucolic or Greek pastoral poetry; they were a fundamental

source of inspiration for

Woodner volume

Roman

of Theocritus

is

poets such as Virgil.

The

one of twenty books from

Pirckheimer's extensive library that were illuminated

by

Diirer,

Of the
now known

What

most probably a seventeenth-century

is

transcription of an early inscription ascribing the decoration

to Diirer

is

inserted opposite the illuminated page and reads

as follows: Albertus Durerus I Noricus fecit I In

As

Strauss has pointed out, Diirer seems to have been

inspired

by

the decorated border in a late-fifteenth-century

and others.' The mise-en-page and iconography are very

half

on

provide the main decorative motif

either side of the text;

below the

the tree

on the

in the

margins on the lower

shows

illumination

a pastoral

scene with Thyrsis (possibly a self-portrait of the

seated on the

left

artist)''

playing a viola da braccio and a goatherd

standing on the right playing a set of panpipes. In the centre

distance

is

a hilly

landscape with a stream and a valley.

Sheep can be seen to the

are

shown

right

on the

hills,

while two goats

fighting in the middle distance at centre.

Two

heraldic shields are suspended from the branches of trees

either side

of the composition:

on the

left,

on

the arms of

Pirckheimer, and on the right, the arms of his wife Crescentia

GERMAN AND

SWISS SCHOOLS

the

right

is

a seated goatherd playing panpipes;

wooded

of the pastoral scene in the Italian manuscript are

two dancing

is

a distant

one playing

satyrs,

replaced these

standing on

its

landscape.

tambourine; interestingly, Diirer has

two goat-footed

creatures with a real goat,

hind legs to reach some vegetation on the

leafy outcrop.
Diirer's decoration of this

copy of the

of arms are found together

The

left is

the far right

at centre

the finest."

down

on the

lower

At

and

carried out before 1504, since

half of the printed page.^

tree

in the

seated figure of Thyrsis playing a viola da braccio and below

twenty books decorated by Diirer, twelve are

and Cat. 47 is the most elaborately decorated and arguably

has been cut out and laid

Bilibaldi I

manuscript of poetry by Lorenzo de' Medici, Angelo Poliziano

eleven of which were printed by Aldus Manutius.

Diirer's decoration, illustrating the first idyll of the text,

honorem

pirkeijmerij amici sui oplimi. I 1524..^

similar: trees

beginning of the sixteenth century was Aldus Manutius

138

(d.

ornamental headpiece and

it

is

Idylls

known

must have been

that Pirckheimer

never used his wife's coat of arms after her death. Both coats

Diirer's

Warsaw

in

other instances, for example, in

bookplate for Pirckheimer'" and

in

drawing

in

intended as a design for another bookplate which,

however, was not developed further." The Warsaw drawing

is

usually dated 1503 and accords well with the present

lumination, as does an elaborate landscape drawing

which

is

executed

often dated to

in

in

il-

Vienna,

pen and watercolour and which

is

also

1503.'^ Rosenthal and Hofer preferred a

slightly earlier date, c.1500, for the decoration of Cat. 47,

the former pointing out the similarities

Thyrsis and the figure of King David

between the pose of

in a printed edition of

the Officium Beatae Mariae Virginis (1493).''

In

1634 Pirckheimer's

heirs,

the

Imhoff family,

sold.

0EOKP1TOY oyVnr h q ah
JEIAYAAION PPfiTON.
0y'P1S

H d^H*

AvTlJ no ^iBveAo^A

TifO^ ddhOV

HSIU A'TFt

et'TptStt'

AtKXThvi^iMK.S^ee.ov Jet

s
v-^
'0%:

lAi X-*

Tsft* Atcorat<

7f

Oi lJk.JtJ fio^

cc^vnXH-

^fo

>.

Amq tf>Tt -mv

y\)iji(^ai\i

A>(r

cu-tpM -Thh K.et^|df

xQ.(ino\LocTDe>^'n^TO\i'TDyiu)Mcpo^cc'nix\j^iL(U,
2v&<<;Av.TBC(5'

>1

AI'Ou

9t/U^f

Ci5

')%

^1;

'

J^'our^Q^^u cvTwJiiioiJikaw-,

TPi/J-Xvii

UiX<ni.l^^(iA\l

^i^ fxiK ^ ^^jA.

'-^

wrn

IV

k^^^:i-^.__:

v^

-^V^

''-y

-?

^:h
'

J>

:%'!.

J,ftiVp(te'(

m^^^

j^^-^j^:

>-'-it.

other items, fourteen volumes illuminated by Diirer

among

Overbeck of Leyden. The

to Matthaeus van

items recorded

first

of which

the transaction are the fourteen books,

in

present copy of Theocritus

the

12.'''

no.

is

Provenance: Willibald Pirckheimer (1470-1530); then by descent, possibly

through Pirckheimer's
daughter,

Barbara Straubin

sister,

1560), to his eldest

(d.

by descent to Hans
Matthaeus van Overbeck (d. 1638),

wife of Willibald Imhoff; then

Felicitas,

whom

Hieronymus Imhoff: by

sold to

1634; Earl of Sunderland (library shelfmark, 84:36, on inside front cover),

London, Puttick and Simpson, 16 March 1883,

sale,

Howell
from

whom

sale,

London, Sotheby's, 3 June 1919,

acquired

presented by Yates
sale,

lot

by Yates Thompson

Thompson

lot 29
London

to the

London, Sotheby's, 14 June 1966,

1897):

in

12,345 (to Quaritch):

831 (to Quaritch,

Henry Yates Thompson,

London, Sotheby's, 11 July 1894,

Wills, sale,

lot

and subsequently

in

(bt

Library);

London

lot 66; private collection,

Library,

Nuremberg.

p. 194, no. 23 (lent by Yates Thompson);

296-1; Woodner Collection, Vienna 1986, no. 48;
Woodner Collection, Munich 1986, no. 48; Woodner Collection, Madrid

Exhibitions: London 1906,

Nuremberg 1971,
1986-7, no.

no.

^"j.

Bibliography: London 1897, no. 307; Rosenthal 1928, pp. 3, 6-14; Tietze
1928-34, II, 1, no. 260a; Rosenthal 1930, p. 176; Offenbacher 1938,
pp. 245, 254; Panofsky 1943,

no. 1714: Hofer 1947, p. 73;

11,

and Thorlacius-Ussing 1958-9,

Imhoff 1971, pp.

85ff.;

p. 118; Pilz

Strauss 1974,

11,

1970,

no. 1502/26;

Strieder 1982, pp. 180-81: Strauss 1982,

Supplement

Magnussen
von

Eckert and

p. 96;

Lowry 1979,

275;

p.

no. 1502/26.

2,

Notes
1

Panofsky 1943, pp. 7-10,

There

the basic introductory account for the

is still

between the two men, but see

friendship

see Rupprich 1972, pp.

no. 103) and a

1974,

White 1971,

no. zj.

Pirckheimer:

380-435.

2 See, for example, the engraved portrait

drawn

(b.

portrait (Winkler

106; Hollstein, German,

1936-9,

11,

1928-34,

Lowry 1979,

11,

pt 2, no.

275-6.

pp.

vii,

no. 270; Strauss

no. 1503/4), which formed the basis of a medal dated

II,

(Tietze

also

now a considerable body of specialist literature on

is

1517

a 442).

On

Pirckheimer's library, see Offenbacher

1938, pp. 241-63.

4 Eleven are listed by Panofsky, nos 1712-22, and the twelfth was published by Hofer 1947. Most of the books have a limited amount of
illuminated decoration, often

by

of arms, supported

the form of

in

cupids, figures

Pirckheimer's library and

its

pp. 1-54; Offenbacher, pp.

dispersal

initials

or elaborate coats

and animals. The history of

is

traced

by Rosenthal 1928,

241-63: Hofer, pp. 66-75: and

Pilz

1970,

pp. 93-110.
5

Although the painted decoration has been carefully trimmed to fit

around the text (in one instance a leaf from the tree on the left squeezes
neatly in between two lines), in several places the artist has had to
transcribe on to his design the printed Greek letters now obscured by

First

the illumination.

suggested by Offenbacher,

p.

245.

7 Panofsky, in particular, counselled caution regarding the illuminated

headpiece and

initial.

London 1906, p. 194, no. 23.

9 The manuscript, which dates from
8

r.1490,

is in

the Biblioteca Laurenziana,

Florence (ms Plut. 41.33). See Strauss 1982, Supplement

Strauss has also noted that Diirer

manuscript, since he

had died
10

in

1494

was very

well have

2,

known

no. 1502/26.
this particular

interested in the poetry of Poliziano,

just before the artist arrived in Italy.

who

The manuscript

was exhibited in Florence 1979-80, no. 158.

B. App. 52: Hollstein, German, vii, no. 280.

11 Winkler,

11,

12 Winkler,
Strauss,

no. 329; Strauss,

11,

11,

14 The

list is

11,

no. 1503/2.

no. 296; see also Koschatzky and Strobl

no. 1503/22.

13 Reproduced in Rosenthal,

140

may

p. 10, fig. 4.

transcribed in Rosenthal, pp.

GERMAN AND

SWISS SCHOOLS

49-50.

1971, no. 26:

,1'

r'

,',>

j^nCQ

C-hnf

'

Ml fhir (frmtJl trntlMtrfn.

'

/'/''

C't'ttinri nf)

"Bt Tier Ji

nrpsrhJ li ly> tf pru^^e

hu orMia.^ rfi

iCyft*-'

1 'im^inJuitttTtrnJ ff-iH'iJ fUrff-

>
<p
yriae

^^mM

Italian school, c.1490,

Margiiml lUustrahon of a Page from a Manuscript of

and Others, Biblioteca Laurenziana, Florence

Poetry by Angela Poliziano

Albrecht Durer (school

of)

Early sixteenth century

4.8

Head

Boy

of a

Point of the brush and black ink, heightened with white, on blue-green -

prepared paper; 268 x 208

Inscribed at lower

left,

marks; and with the

On verso,

at

drawing

mm.

black ink, 150S, followed

artist's

upper edge,

L/iirer's second
in his

in

visit

in

monogram

at

lower

by two indecipherable
right, in black ink, ad.

red chalk, ziy.

to Venice {1505-y) led to a

style in

development

which he made more use of the brush

have been made

in his

by

a lost original

studio and might well be a

copy

after

the master.

on blue Venetian paper. This broader style of drawing, with

its greater emphasis on pictorial qualities, corresponds with the
looser painting technique adopted by Diirer while in Italy,
and
to

it

was

to remain a feature of his drawings after he returned

Nuremberg.

The study has

often been loosely associated with the figure

of the youthful Christ in the painting of Christ Disputing with

Thyssen

the Doctors (Lugano,

1506 and, according to an

completed

in

which dates from

on the panel itself, was
Rome.' Diirer's painting of

Collection),

inscription

only five days

in

Christ Disputing with the Doctors

may have been

by Cima da Conegliano's treatment of the theme

(1504-5);^ and Wolfflin
in the

a painting

by Cima

in

Warsaw

in

perceived that the pose of the

first

drawing resembled

boy's head

influenced

that of a female saint in

Milan (Museo Poldi-Pezzoli),^ which

Diirer used again for a Portrait of a Girl with a Red

Berlin." Interestingly, the

Hat

in

volumetric sense of form and the

strong, clear outlines in the present drawing are indeed

echoes of the principal features of Cima's

style.

also be a connection with depictions of the

young

Christ as the Salvador

There

may

theme of the

Mundi which occur

in

Venetian

painting and in northern Europe during the fifteenth and early

would make sense of

the parapet behind which the figure is placed. The effect, too,
is not unlike the bronze heads of the young St John the Baptist
attributed to Antonio Lombardo (c.i458-[?li5i6).*
sixteenth centuries.' This possibility

B. Hertz; John Malcolm (1805-1893); the Hon. Alfred GathomeHardy (d. 1918); Geoffrey Gathome-Hardy (1878-1972); the Hon. Robert
Gathome-Hardy (1902-1973); sale, Amsterdam, Sotheby Mak van Waay,

Provenance:

May

1976, lot

8.

(lent by John Malcolm); London 1906,

Manchester 1961a, no. 116; London - Oxford 1971-2, no. i; Woodner

Exhibitions: London 1869, no. 145

no.

5;

Collection, Malibu and elsewhere 1983-5, no. 41: Woodner Collection,

Vienna 1986, no. 49; Woodner Collection, Munich 1986, no. 49; Woodner
Collection, Madrid 1986-7, no. si'-

Bibliography: Robinson 1869, no. 520 (2nd edn 1876, no. 327); Lippmann

18831929,

Another version of the drawing, executed

in

pen and

ink, is

Munich.^ Dodgson published the present sheet as an

original

in

in

by

Diirer, but later

changed

mind, describing

his

it

as

copy of the drawing in Munich, which Tietze and Flechsig

him regarded as the original. Winkler upheld the authenticity

of the

Woodner

drawing. Strauss has stated that the present

evidence precludes coming to a definite decision. All other

authorities conclude that both the

Woodner and

drawings are copies on the basis of the

more decorative treatment

Neither

is

of

line,

less lively, flatter,

mouth

by Diirer of that
Apostles drawn in 1508 for

in studies

those of the

The present

sheet

is

Munich
and

especially in the hair.

the handling of the eyes and

charged as

the

as emotionally

period, for example,

p.
p.

so far as the date in the lower

Diirer's style of that time.

142

GERMAN AND

left

1974,

As Panofsky

SWISS SCHOOLS

suggested,

it

could

1898,

11,

vii, p.

Dodgson

7;

Gathome-Hardy 1902,

1911,

p.

pp. 453, 571; Tietze

62; Wolfflin 1920,

1928-34,

11,

pt

1,

II,

no. 1508/22;

Matteson 1983,

p.

386; Oberhuber 1983, pp. jy, 80;

pp. 53, 124, under no. 88; see also

Woodner

Collection

catalogues.

Notes
1 Anzelewsky 1971, pp. 202-5, no. 98.
2 Humfrey 1983, pp. 52, 164-5, "O- 161.
3

Humfrey,

p. 124, no. 88.

4 Anzelewsky, pp. 207-8, no. 102.

5 Ringbom 1965, pp. 171-9.

An

example

is

in the

Ashmolean Museum, Oxford (Lloyd 1980,

no.

5).

For another example and other related bronze heads, see Planiscig 1937,
pp. 114-15-

contemporary copy
corner accords with

137; Flechsig 1928-31,

Humfrey 1983,

in

Dodson

under no. 381; Winkler 1936-9, 11, no. 437; Panofsky 1943, no. 1063;
Winkler 1957, p. 191; Anzelewsky 1971, p. 208, under no. 102; Strauss

the Heller altarpiece.*

in all probability a

no. 749;

VII,

40, no. 108, Wolfflin 1905, p. 137;

The drawing has not been widely

1928-34, II, pt 1, no. 199, p. 381.

8 Winkler 1936-9, 11, nos 448-54.

published.

It

is

reproduced by Tietze

Albrecht Diirer
Nuremberg, 1471 -Nuremberg, 1528

4^

Wing

Left

Pen and dark black

189 X 238 mm.

ink,

of a Bird

watercolour and bodycolour, on vellum;

Inscribed at lower right, in black ink, with the artist's

monogram and

date,

AD 24; apparently over traces of an earlier monogram and date.

15

J_/urer's studies of animals and plants, like his landscapes,

extent that the scapular feathers are no longer parallel to the

among the most remarkable drawings in European art.

Few artists possessed the skills required to combine a totally

top edge, but

spontaneous response to nature with

feathers are concealed.

are

that allowed an accurate portrayal of

a technical proficiency

forms.

its

Many

of these

studies, which span Diirer's working life and are executed in

mixed media of pen and ink, watercolour and bodycolour,
were inspired by journeys undertaken by the artist. Common

to

all

the drawings of animals and plants

combine

a basic

is

the ability to

understanding of form with minutely detailed

made

observation of surface texture. The studies were not

a spirit of scientific enquiry, so

much

in the

None

Vienna.

standing quality of these drawings

an important position

as in the desire to record

famous drawing The Great

fresh visual sensations, as in the

Piece of Turf in the Albertina,

in

is

the

less,

the out-

such that Diirer holds

evolution of ornithological and

the

wing

is

laid along the right edge. Thus the splay of

more compressed and some of the smaller primary

No

other example of this particular

view of the wing has come to

Of the

light.

versions of the distinguished Albertina sheet, one in

Bayonne has been

attributed to Diirer himself

with a proposed dating of

c.1500.''

Bayonne

for the studies of birds' wings:

Woodner

(1512) and

(1524).

There

when

sheet:

Vienna

traditional support

Accordingly,

mixed media.

it

and one that

is

requires greater

less

many

of the

noteworthy.

It is

absorbent than paper.

skill

in

the application of

On the other hand, the colours retain their purity

(c.1500), Albertina

however, no general

it

Woodner

was displayed in the important exhibition in

it was done so under the name of Hans

1985

in

Hoffmann,

who made many

copies of Diirer's drawings (see

however,

is

is,

drawing, and doubts have also been cast on the

Cat. ^&, ^g)7 For the attribution to

vellum instead of paper for

of such

consensus of opinion regarding the attribution of the Bayonne

The present drawing is a study of the upper side of the left

wing of a European blue roller (Coracias garrulus). In 1512
Diirer made a study of a dead roller lying on its back, and in
the same year he made a further study of the upper side of the
left wing of the same species.^ Both these drawings are in the
Albertina, Vienna, and each spawned a number of copies or
variants by Hans Hoffmann {cf.v.) and other artists.^
Diirer's choice of

The acceptance

an attribution suggests the following chronological sequence

botanical illustration.'

ornithological and botanical drawings

by Oberhuber

it

Hoffmann

to be plausible,

has to be assumed: that a prototype by Diirer

once existed; that the monogram and date on the

exists or

drawing are not convincing as

drawing

is

Diirer's

own; and

that the

substantially later in date than has so far been

thought.
has already been stated that no other drawing showing

It

wing from

the bird's

of such a sheet
portantly,

sheet

it is

in

not

angle

is

known. While the absence

conclusive proof, more im-

is

in itself

not inconceivable that the style of the

compatible with Diirer's

is

monogram
ment

is

this

later

Woodner

drawings and that the

authentic. Seen in this light, the overall argu-

favour of an attribution to Hoffmann

is

not particularly

Woodner drawing

and glow more ardently on vellum than on paper. The choice

strong and the high quality of the

of vellum and the high finish of the drawing perhaps indicate

also to be taken into account. In general Hoffmann's use of

that the plant

and animal studies were made by Diirer especially

The provenance

for presentation.

traced back with a

of the present sheet can be

degree of confidence to the eighteenth

fair

century" and in the saleroom

it

seems always to have been

on vellum of

paired with a drawing

dead blue

roller,

now

in

colour

is

revealed

has

considerably less sophisticated, his weakness being

in

the flatness of the modelling and the

more

general-

ised tonal values.*

The Albertina and Woodner drawings share a freshness

marked contrast to the copies and derivations

colour, in

of
of

the wing, which reveal a degree of fading, especially in the

a private collection in Paris.'

blue pigment, that suggests the use of poorer materials. In

Cat.
in

49

is

of the

left

wing of

the drawing dated

a different bird

1512

in

evidence suggests that the wing

in

younger bird than the one chosen

for the present study, since

the Albertina

here the tips of the primary feathers are

colours, although

the

still

GERMAN AND

is

the upper side of the

on the page has been

SWISS SCHOOLS

from a

more ragged and

bright, are slightly less glowing.

Woodner drawing shows

of the bird, the position

144

from that shown

Vienna. The ornithological

the

While

left

wing

altered to the

the Albertina drawing there

is

a greater

dependence on

line,

particularly in the range of white highlights; but these stylistic

features are typical of Diirer's draughtsmanship at the beginning

of the second decade.^

By 1520

system of modelling both

in

Diirer

had adopted

smoother

chalk and with the pen, where

shorter, neater strokes spaced further apart create a

more

evenly modelled surface with quieter, less agitated rhythms

and

less

dramatic lighting.'"

The Woodner drawing

is

notable

?vWfc.:*j^l'Tra^r,<s

^"i^J^."-^ L-':*^>'..

more restricted but no less skilful use of line and for its
subtle, more suffused modelling, accompanied by a sense of
order that is apparent in the repositioning of the wing on the
for

its

page.

The

calm, delicately controlled draughtsmanship

characteristic of the ageing Diirer."

tina

If

the dates of the Alber-

and Woodner sheets are accepted

given such a time span, certain

stylistic

the drawings are to be accepted.

is

at face value, then,

modifications between

Provenance: Revd Matthew William Peters (1742-1814), sale, London,

Christie's, 5 February 1773, lot 26: Dr Charles Chauncey and Nathaniel
Chauncey, sale, London, Greenwood, 11 May 1790, lot 29 (to the dealer
Philippe);

William Esdaile (Lugt 2617),

London,

sale,

June 1840, lot 511; Alfred Morrison (1821-1897);

grandson. Lord Margadale of

London,

Islay, sale,

18-25

Christie's,

ttien

by descent

to his

6 July 1982,

Christie's,

lot 107.

Exhibitions: London 1869, no. 131

(lent

by Alfred Morrison);'^ Woodner

and elsewhere 1983-5, no. 42; Vienna 1985, no. 24;

Woodner Collection, Vienna 1986, no. 50; Woodner Collection, Munich
Collection, Malibu

1986, no. 50;

Woodner

Bibliography: Thausing 1882,

Winkler 1932,
Supplement 2,

p. 86;

Madrid 19867,

Collection,
11,

p. 54, n. 2

Winkler 1936-9,

iii,

no. 59.

(2nd edn 1884,

p. 56, n. 2);

11,

under no. 614; Strauss 1982,

p. 6, Appendix 2:7a; Matteson 1983, p. 387; Oberhuber

1983, pp. 76-7; Straus's 1985, pp. 61-2; see also Woodner Collection

catalogues.

Notes
1 The drawings

of animals and plants were the subject of an exhibition

held in 1985 at the Albertina in Vienna, with an extensive catalogue

by

Fritz

Koreny.

2 Inv. no. 3133 (d 105), Vienna 1985, no. lo; and

Vienna, no. 22.

inv. no.

3 For versions of the dead bird, see Vienna, nos 11-13,

4840

and

(d 104),

for versions

of the wing, see the discussion on pp.

4 The

early part of the provenance

Russell.

The

Peters sale

late in a public character at the

and consigned here under the Direction of Mr.

entry

Lady Victoria Manners published

activities in Italy.) In

on the second day:

bird, big as

life,

is

the

Court of Parma,

Peters.' (Neither the

National Biography nor the

in the Dictionary of

about Peters's

Francis

described as follows: 'This collection

is

property of a Nobleman,

is

70-73 and nos 23-6.

based upon the researches of

monograph by

1913 provides any information

the sale there were two relevant lots
in

'A fine miniature on vellum, of a beautiful

lot 25,

painted with most amazing nature and high finishing,

and perhaps one of the most envious performances of the kind ever
done,' measuring '11 in wide

by 9 in high', and lot 26, 'The wing,

extended of the same bird of equal merit to the former, the plumages
imitate nature, almost to a deception
fix'd to them,'

sold

'11 in

measuring

- Alberto

wide by 9

on the eighth day of the Chauncey

bird, and a wing by Albert

'Two, a curious

\sic]

in high'.
sale,

is

described as follows:
Durer, very

[sic]

cypher

Diirer's

The drawing was

fine.'

Both

were bought by the dealer Philippe.

5 Vienna, no. 14.

An

opinion

first

recorded

in

and subsequently repeated

Koschatzky and Strobl 1971, under no. 33,

in

Woodner

Collection catalogues.

Hoffmann made a number of such drawings for the Imhoff collection in

Nuremberg before becoming court artist at Prague.
8 Cf., for example, Hoffmann's two drawings of a Dead Blue Roller,
7

both signed and dated 1583, one

in

1890-5-12-156; Vienna,

and the other

Museum

no.

13)

the British

Museum
in

(inv.

no.

the Cleveland

of Art (inv. no. 46.217; Princeton and elsewhere 1982-3,

no. 26).

9 For instance, Winkler 19369,

111,

in

iii,

nos 519, ^^y and 590 (Strauss 1974,

nos 1511/3, 1514/31, 1511/15) have a similar intensity and dynamism

the use of

10 Winkler,

iv,

line.

nos 886, 891-2; Strauss 1974,

iv,

nos 1522/8, 1524/4,

1524/5.
1

This point about Diirer's

Collection, Malibu

late style

was made by Oberhuber; see Woodner

and elsewhere 1983-5, no. 42.

12 Morrison lent two items to the Burlington Fine Arts Club exhibition of
1869: 'No. 131.

The Wing

of a King Fisher, highly finished

Dated 1518 [corrected to 1524

Museum

Library].

From

in the

GERMAN AND

SWISS SCHOOLS

in

From

in

colour.

the Victoria and Albert

the Esdaile collection. No. 132.

Kingfisher, highly finished in colour.

146

copy

The Back

the Esdaile collection.'

of a

Albrecht Darer,

Left

Wing

of a Bird, Albertina,

Vienna

Lucas Cranach the Elder

(circle of)

Kronach, 1472 -Weimar, 1553

Bom

Upper Franconia, he travelled at an early date through

Bavaria to Vienna where he remained between 1500 and
1504, coming into contact with the circle of humanist scholars
in

Low

1508 he visited the

there. In

Wittenberg

Countries before settling

in

Saxony, where he was court painter to Frederick

in

the Wise, Principal Elector of Saxony. Cranach's activity as a

painter

was considerable and he

meet the

ran a large studio to

demands of his many commissions. He held high public office

in Wittenberg and eventually retired to Weimar. Alongside
his religious pictures,

which

reflect the

Reformation ideas of

Luther, his oeuvre includes mythological subjects

SO

and

portraits.

Portrait of King Christian II

of Denmark (14.81-1559)
Pen and dark brown

with gouache, on vellum: 118 x 94 mm.

mount with an old attribution to Hans Holbein.

ink,

Inscribed on the former

Ki,
..ing

Norway and Sweden was the

of Norway and Christina of Saxony. He acceded

Christian

son of John

11

of Denmark,

11

to the throne in 1513

Eventually both
Christian

11

and by 1520 had annexed Sweden.

Sweden and Denmark

rebelled against him.

surrendered his throne to Frederick

finally

Holstein in 1532 and spent the rest of his

The

features of the Danish

life in

of

prison.

King are well known.' He was

Copenhagen
Antwerp in 1521.^

painted by Michel Sittow (14691525) in

in

1514^ and again by Diirer

In

1523,

when

[q.v.)

was forced

the king

in

Stockholm

into exile after the

Massacre, he stayed for a short time

at

Wittenberg, according

to tradition, in the household of Lucas Cranach the Elder,

who

executed

The

exiled king then

his portrait in oil

one woodcut."

in at least

moved on to the Netherlands where

Mabuse (c. 14 78 1532), made a further

Jan Gossaert, called

portrait.'

and

All these images are interrelated

and served as

prototypes for further replications. The fact that

versions

show

been an

'official'

many

of the

same pose suggests that there must have

which served as a model for the

the

portrait

different artists.

Provenance:

F.

Corman,

Godeau), 8 March 1984,

The Woodner drawing, which seems

slightly earlier age,

to an

anonymous

History),

gouache

which
in

is

to

show

portrait at Frederiksborg
in

Christian

closely related in both pose

turn

(Museum

may have been

11

at a

and costume

the

of Natural

basis

a private collection in Switzerland,

of a

which has

been attributed to Susanna Horenbouts (1503-1545)."

Visible in the gouache in the Swiss collection is a medallion

on the

king's hat,

which

is

also present in the

Exhibitions:
lection,

Woodner

Madrid 19867,

Bibliography: see

sale,

Paris,

Nouveau Drouot (Binoche and

lot 80.

Collection,

Munich 1986,

no.

ix;

Woodner

Col-

no. 63.

Woodner Collection

catalogues.

Notes
1 Kai Sass 1976, pp.

Ibid., p.

The painted
is

Woodner

163-84.

165.
portrait

in the British

is lost,

Museum

but the drawing

(Winkler 1936-9,

made on

iv,

the

same occasion

no. 815; Strauss 1974,

iv,

no. 1521/33).

drawing although
is

it

has been painted over.

The

present image

unfinished, but the close attention to detail in the rendering

of the face and the silhouetting of the head with

black hat against a patch of green are features to

its

4 Friedlander and Rosenberg 1932, no. 127. For the woodcuts of Christian
11
by Cranach, see Koepplin and Falk 1974, nos 160 and 238, and
Hollstein, German, vi, no. 124.

striking

some extent

The

portrait, in the

pen and brown

suggestive of Cranach's style.

DC-New York
6 Kai Sass,

148

GERMAN AND

SWISS SCHOOLS

p.

ink.

Lugt Collection,

Institut Neerlandais,

is

drawn

in

See Florence-Paris 1980-1, no. &y, and Washington

1986-7, no. 68.

171B and 171c respectively.

'

t?ggf!;n-

Hans Burgkmair

(circle of)

Augsburg, 1473 -Augsburg, 1531

The son of the Late Gothic painter Thoman Burgkmair

(14441523), Hans travelled to Alsace in 14889, where he
was probably taught by Martin Schongauer (q.v.). Apart
from

a short trip to Italy,

he remained

Among

experimented with chiaroscuro woodcuts.

numerous woodcuts are the Goiealogy

of

the Triimiplial Procession of Maximilian

I.

III

where he pursued

his

11,

include Frederick

son Maximilian

iii.

and

He

gradually

retired to Linz,

his intellectual interests.

his

Maximilian

and

Emperor

Portrait of the

Frederick

Pope Pius

ceded power to

Augsburg, where he

in

became a leading painter. In his early years he worked as

book illustrator for the Ratdolt Press. From 1508-10 he

51

in the life of

(14.1514^^)

Black chalk, with coloured chalks, heightened with white: 258 x 218 mm.
Watermark: crown surmounted by a cross.

Ihe vigorous

style of this portrait, characterised

bold outline of the

and the

modelling of the face

profile, the forceful

lively black chalk lines differentiating

texture of hair and

was

fur,

creates an imposing image.

traditionally attributed

by the

between the

The drawing
(1460/1-

to Bernhard Strigel

1528) and the sitter identified as Emperor Maximilian Halm

was the first to relate the bold draughtsmanship to the circle
of Hans Burgkmair and to compare the features of the subject
with those of Maximilian's father, the Emperor Frederick in.
The manner, as Halm recognised, is somewhat too clumsy
i.

(note the drawing of the eye) to allow an attribution to

Burgkmair himself, but the portrait could have been done by

someone working

in the artist's circle in

Augsburg c.1515-20.

Halm's tentative identification of the

was

at first

met with

sitter as

a certain scepticism,

but

it

Frederick in

can

confirmed on the basis of documented portraits

Ursula Timann has kindly drawn attention to an

medal of Frederick

iii

in

Corpus of

Italian

a fur hat

and

Medals of
is

III,

medals.

the Renaissance before Cellini.^ In

left,

wearing

in

pose was, of course, usually reserved

some rank or eminence;

it

was thus

entirely

the case of the present portrait of Frederick

in,

of the

to his possessions.

Two

of the frescoes

by

L.

Rosenthal, Berne;"

L.

Randall, Montreal; L.M. Backus,

Woodner Collection
New York and elsewhere 1971-2,
Woodner Collection, Vienna 1986, no. 55; Woodner Collection,
Munich 1986, no. S5; Woodner Collection, Madrid 1986-7, no. 67.
Exhibitions:

i.

SWISS SCHOOLS

Bibliography: Halm 1962, pp. 148-9, 162; see also

Woodner

Collection

catalogues.

Notes
1
Medal
2

Of

inv. no. 107.

the medals catalogued

by

Hill,

the most comparable

is

the specimen

attributed to Bertoldo (Hill 1930, no. 912; Hill and Pollard 1967, no. 249).

3 Cf. the

Pintoricchio, in

the Piccolomini Library (Siena Cathedral), recounting incidents

GERMAN AND

Provenance:

Seattle; L'Art ancien, Zurich.

no. 52A;

Habsburg emperors. He was elected Holy

Roman Emperor in 1452 and was the last to be crowned in
Rome. He married Eleanor of Portugal, united Upper and
Lower Austria and successfully added Bohemia and Hungary

150

of Frederick

listed in Hill's

usually seen in profile to the

classical profile

first

Medal

fur-lined coat, as in the present drawing.

for persons of

the

1591, Vienna), Portrait

anonymous

and Renaissance medals.

appropriate

be

The profile pose was often favoured by Burgkmair and his

workshop for portraits, even though it was somewhat oldfashioned by the beginning of the sixteenth century.' The
mode was inevitable, however, for portraits based on classical
The

(f.i538, Riva

the Germanisches Nationalmuseum,

Nuremberg;' other medals of the Emperor are

these Frederick in

in

now

Antonio Abondio

Germanisches Nationalmuseum, Nuremberg

two woodcuts,

Hollstein, German, v,

and 53 {Head of Christ).

4 According to Halm 1962,

p.

148.

nos 316

(Portrait of fulius

11)

Hans Baldung Grien

Schwabisch-Gmiind, 1484/5 - Strasbourg, 1545

From 1500 he trained in the tradition of Martin Schongauer

iq.v.) in a workshop in Strasbourg. Between 1503 and 1507
he worked in Nuremberg, where he studied for some time
with Diirer (q.v.). With the exception of a period in Freiburg
im Breisgau from 1512 to 1517, he lived and worked for the
rest of his life in Strasbourg, where he became a master in
1510. He was active as a painter, engraver, book illustrator
and designer of stained

glass.

His broad style and innovative

manner of representation is matched by the variety of his

subject-matter, which includes detailed accounts of witches'
activities for which he became well known.

$2

The Lamentation
Point of brush and dark

ink,

heightened with white, on brown-prepared

270 x 185 mm.

paper; the surface varnished:

Watermark:
Inscribed at upper

brown

ink.

left, in

black chalk, 15 15

Variously inscribed on verso,

gewerckt u tan I Tie hat I Jost von; and

(?);

illegibly at

Mein freudlkh gru

liehen in I ich loss dich wissen das ich I jug\\'i\ch

and further

upper right

in ink, Tie hat ]ost

...

in

von kreissen
I

(?)

zu vor herz

imd noch gesund

Mein /.;

illegible inscriptions.

Daldung began

to experiment with chiaroscuro

during his earlier years

drawing

Nuremberg when working with

in

Albrecht Diirer {q.v) from 1503-7, and he adopted

this

method more regularly in subsequent decades. The contrast

between light and dark on a warm-toned preparation brushed
on to the paper creates strong colouristic effects. Many of
these drawings were

done

for presentation

works of

own

right,

art in their

theme.* In addition, he represented the same subject

early

woodcut

in

an

dependent on Diirer,
well known, and an il-

ic.15057), also strongly

an engraving (c.1512), which

lustration for a

book

is

less

entitled Horiulus animae, published in

Strasbourg in 1511.''

and were therefore

but Baldung also sometimes

favoured the chiaroscuro style for preparatory drawings.

The

mood

of the present drawing

make an

comparison with the Virgin and Child

(Cat. 53),

subject and

interesting

but what

is

common

to both

is

Baldung's strong compositional

sense dependent in each case on a centrally placed pyramidal

shape.

Provenance: Gottfried Winkler,

Leipzig;

W.

Hauth, Frankfurt

am

Main,

1924; A. Strolin, Lausanne, acquired 1926.

The composition
Griinewald

(c.

fuses

elements from Diirer and Mathis

1470/80-1528). The placing of the group of

figures at the foot of the cross beside a ladder

is

by
where

inspired

from the engraved Passion (1507),

there are similar motifs of the Magdalen with her hands
clasped above her head and St John the Evangelist supporting
DiJrer's Lamentation

the

body

of Christ under the arms.'

emotional impact of the scene

is

On

the other hand, the

derived from Griinewald,

whose Isenheim altarpiece dates from c.i5i3-]5.^

The drawing is comparable to Baldung's own woodcut of

Exhibitions: Karlsruhe 1959, no. 145,

more
dramatically than in the present instance.' If the date on the
Woodner sheet can be read as 1515 (as opposed to 1518),"
then the drawing must have been made in Freiburg im
Breisgau,

where the

artist lived

between 1512 and 1517, during

which time he also made two paintings of the Lamentation

152

GERMAN AND

SWISS SCHOOLS

49;

Woodner Collection, Cambridge

1986-7, no. 65.

p. x, no. 5: Koch 1941,
Mohle 1942, pp. 215, 218; Mohle 1959, p. 125; Bemhard
von der Osten 1983, p. 138, under no. 40; de Bayser 1984,

Bibliography: Swarzenski and Schilling 1924,

p. 27,

no. 37;

1978,

p.

179;

pp. 769; see also

Woodner Collection

catalogues.

Notes
1

B. 14; Hollstein,

The

German,

Haven 1981,
3 B.

5;

vii,

influence of Griinewald

see the observations

The Lamentation, usually dated c.1515-17, which also combines

the influences of Diirer and Griinewald, perhaps even

pi.

MA 1985, no. 89 (checklist only); Woodner Collection, Vienna 1986, no. 53;
Woodner Collection, Munich 1986, no. 53; Woodner Collection, Madrid

Mende

no. 14.

on Baldung

is

made by Alan Shestack

much-debated issue, but

Washington DC-New

in

pp. 14-15.

1978, no. 40. See also

Washington

DC-New

Haven, no. 49.

4 Swarzenski and Schilling 1924, p. x, no. 5, reproduce an old photograph

of the drawing and give the date as 1518.
5

Von

der Osten 1983, nos 21 (Innsbruck, Tiroler

deum), 41

6 Mende, nos
last,

Landesmuseum Ferdinan-

(Berlin).

see also

4, 339 and 546 (reproduced in reverse). For the

Washington DC-New Haven, nos 8 and 35.

first

and

Hans Baldung Grien

Schwabisch-Gmund, 1484/5-Strasbourg, 1545

S3

and Child

Virgin

Point of bnjsh and black

heightened with white, on green paper with a

ink,

brown-prepared ground;

laid

down on

linen

and varnished:

287 X 189 mm.

Ihe drawing

is

in

the chiaroscuro technique that

was much

favoured by Baldung, although the surface has been considerably darkened by a layer of varnish probably added at a later
date. In

which prescribe the forms, and the white heighten-

outlines,
ing,

Baldung exploits the contrast between the dark

it

which splashes the figures and the landscape with

light

almost to the extent of dissolving the forms. The balance,

however,

carefully maintained

is

prepared ground and Baldung

by

the mid-tone of the

here slightly

is

more

restrained

than usual in the treatment of the dangling locks of

effect

intensely painterly and

is

style of the

Danube School

during his years

in

to

hair.

The

somewhat reminiscent of the

artist was exposed

which the

Freiburg im Breisgau (1512-17).

The Virgin and Child

are set in an interior before a

with a view of a landscape

in the distance.

placed on the foreground plane which

is

window,

The emphasis

is

dominated by the

monumental form of the Virgin seen from below and reduced

to three-quarter length.

It is

composition that bears a close

relationship with Venetian painting of the early sixteenth

century.'

There
but

no connection with any surviving work by Baldung,

is

possible that the drawing served as a study for a

it is

new

type of altarpiece epitomised by the Virgin and Child with a

Piece of

Bread (Vercelli,

Museo

Civico Francesco Borgogna) or

the Virgin and Child (Freiburg im Breisgau, Augustinermuseum).^

These

altarpieces are smaller in scale than those set

churches and were intended for worship

It

is

likely that

in the

in

life.'

authorities agree that the

stylistic basis.

with the Head of an Old

1518,

demand from

Protestant city of Strasbourg where

Baldung lived for much of his

f.1520 only on a

in

domestic context.

they were painted to meet a

Reformist patrons

Most

in a

up

Man

drawing can be dated

Parker compared the sheet

1519,'^

Giinther, before

1893; ].W. Bohler;

Woodner Collection, Cambridge ma

Woodner Collection, Vienna 1986, no. 52;
Munich 1986, no. 52, Woodner Collection, Madrid

Exhibitions: Munich 1876, no. 2550;

with a Flowing Beard, dated

the British Museum'' and with the similar drawing in

Rotterdam, dated

Provenance: A. Milani, 1876; A.

F.W. Koenigs (Lugt 1023 on verso).

while Koch referred to the study of

Three Female Heads, dated 1519, in Vienna.''

1985, no. 90 (checklist only);

Woodner

Collection,

1986-7, no. 64.

Bibliography: Eisenmann 1878,

p.

671, no. 17; Stiassny 1893, p. 135;

von

Terey 1894, p. 46; Parker 1928, p. 34, under no. 36; Koch 1941, p. 34,
no. 112; Bernhard 1978, p. 234; von der Osten 1983, p. 147, under no. 46;
see also

Woodner

Notes
1 Bussmann 1966,
2

Von

Collection catalogues.

p.

119.

der Osten 1983, nos 46, 51 respectively.

3 For observations on the changing aesthetic of images of the Virgin and

Child
pp.

in

Reformation Germany, see Washington dc New Haven 1981,

17.52-4-

4 Koch 1941, no. 105; Washington

5 Koch, no. 106.

6 Koch, no. 113.

154

GERMAN AND

SWISS SCHOOLS

DC-New

Haven, no. 59.

Hans Holbein

Younger

the

Augsburg, 1497/8 - London, 1543

A painter, draughtsman, woodcut and stained-glass designer,

he

received his first training

from

his father in

Holbein travelled extensively, working

in

Lucerne, Basel and

London. He also visited France and the Netherlands. His

patrons

in Basel

were from the

circle of patricians

and

in

S4

Young Man

may

later):

lower

this at

left, in

ilolbein was one

draughtsmen of

on the

later,

all

left

brown

the sudden transition from flesh tone to garment at the neck.

The evenness

of the modelling that

such a feature of the

is

more

Chatsworth

sheet, together with the

of the

suggests that the drawing was

sitter,

fixed expression

made

as a replica

now

Man

Wearing a

believed to date from c.1528.'

edge, in black chalk,

ink,

HH;

H. Holhein.

of the greatest portrait painters and

time. His skills are perhaps

viii,

still

on pink-prepared paper.

nowhere

series of

better

some eighty-

preserved

in the

Royal Library

In technique the

Woodner

at

drawing,

studies

life

made

in

Provenance: possibly Everhard Jabach (inscription similar to Lugt

S. 2991 );' Samuel von Festetits (see Lugt 926); Hofrat Philipp Draxler
(Drechsler) von Carin; Joseph Carl, Ritter von Klinkosch (see Lugt 577),
acquired 1874, sale, Vienna, Wawra, 15 April 1889, lot 474; Baron Alfred
Liebig, sale, Vienna, Artaria, 22 March 1934, lot 551; Baron H. ThyssenBornemisza, Lugano; Grafin Margit Batthyany; William H. Schab Gallery,

has not been identified, belongs with the

sitter

group of

first

England between 1526 and

New York (from whom acquired,

i960).

Woodner Collection New York and elsewhere 19712, no.

Angeles 1976, no. 180; Woodner Collection, Malibu and elsewhere
1983-5, no. 43; Woodner Collection, Vienna 1980, no. 54; Woodner
Exhibitions:

The hatching on
Holbein was left-handed.
1528.

the brim of the hat indicates that

technical

problems arising from Holbein's portrait drawings

have been the subject of much discussion. Ganz,

who

accepted

the present portrait in his corpus of Holbein drawings, proposed

a date of

1524-6, but claimed that he could detect extensive

reworking throughout the sheet. There can be no doubt that

Holbein's drawings have not totally escaped either reworking

i.

53; Los

Collection,

Munich 1986,

pp.

20;

Ibid.,

in

the

Duke of
Woltmann,

Devonshire
Strong,''

at

Chatsworth.' Authorities such as

and Popham' argued

status of the

favour of the autograph

Chatsworth drawing. Following Ganz, Oberhuber

has vehemently defended the authenticity of the

Woodner

London 1949,

Many

of the

no. 106.

XXVI.

no. 54.

Windsor chalk drawings have

suffered the

same

fate

and

are badly rubbed.

7

Ganz 1939,

no. 17,

advanced 1526

but see Schmid 1945, pis

as the date for the portrait in Basel,

vol., p. 28, no.

Holbein had returned to Basel from

suggested for the present drawing

in

55

(f.1528).

date of 1528,

was
York
Basel was

his first visit to England,

Woodner

Collection

1,

New

and elsewhere 1971-2. The comparison with the drawing in

made by Konrad Oberhuber in Woodner Collection, Vienna 1986.

first

8 This early part of the provenance rests on the similarity of the inscription

sheet.

in

Detailed comparison of the

two drawings

reveals differences

the treatment of the collar, the modelling of the jaw and.

GERMAN AND

p. 16, pi.

after

in

i,

pp. 2433.
Washington DC and elsewhere 19623,

4 Strong 1902,

context of the present drawing, since another version (of

smaller vertical size) exists in the collection of the

'. P- 196; Ganz 1937, p. 97, no. 465;

Heinemann 193741,
pp. 73-4, no. 198;
London 1950-1, p. 64, under no. 133; Oberhuber 1983,

Notes

analysis of the drawings

who

Madrid 19867,

79-80; see also Woodner Collection catalogues.

See Parker 1945.

Parker

Collection,

139, no. 465;

working processes.^ Such considerations are relevant

Woodner

Bibliography: Waagen, 1866-7,

Ganz 1939, p.
Ganz 1943, no.

were subjected to close scrutiny by

put far greater emphasis on Holbein's

no. 54;

no. 66.

or damage, but the strictures that formed the basis of Ganz's

Sir Karl

156

brown wash, which

recently, for example, with the Portrait of a

Windsor Castle.^ The portraits were drawn during the artist's

two visits to England: examples from the first trip were
executed on white paper almost entirely in coloured chalks,
with some wash but no ink, whereas the second group was
drawn with a combination of coloured chalks and some ink

in

light

reduces the visual effect of

drawings of personalities associated with the

five portrait

Court of Henry

The

The

face.

in

brown wash (perhaps added

demonstrated than by the remarkable

whose

most

300 x 195 mm.

Inscribed with the artist's initials at

below

is

rendering of the wisps of hair and

well have been added

Large Hat in Basel,

Black chalk, with coloured chalks, and a light

Chatsworth,* has

by Holbein on the basis of the present study from life.

Oberhuber proposes a more precise early date than Ganz,
namely 1524-5, but the looser style may indicate a date even
later than that proposed by Ganz. Comparison has been made

1536.

Portrait of a

livelier

the play of light

it

at

greater variety in the handling of the chalks. This

evident in the

was through the great humanist scholar

Erasmus of Rotterdam that he was introduced to Sir Thomas
More in England. Although his first patrons in England were
German merchants, he eventually took up a position at the
English court. He is first recorded in the service of Henry viii
humanists, and

The Woodner drawing,

notably, along the right shoulder.

although more rubbed than the sheet

Augsburg.

SWISS SCHOOLS

the lower

collection,

left

corner with those occurring on drawings from Jabach's

most of which

are

now

in

the Louvre, Paris.

certainly in an eighteenth-century hand.

The

inscription

is

I
I

7h

I
f

Hans Holbein the Younger

Augsburg, 1497/8 - London, 1543

SS

Portrait of a

Man

Wearing a

Hat with a Medallion

Black and red chalks, on light-buff paper: 204 x 205 mm.
Watermark: anchor within a circle, surmounted by a star.
Inscribed at left, in black chalk, HB; at lower left, in another hand,
ink,
ink,

in

brown

H Holbein; on the verso, in the hand of Ploos van Amstel, in brown

Hans Holbein / gebooren Basel j ^ 20 / gestorven London isS}. I Discepel
I Vader Hans Holbeen |sic], with a further part of the inscription

van zyn

illegible.

yvt

the beginning of his career

Hans Holbein the Younger's

drawings were affected by the style and technique of

father's.

He

was, however, remarkably responsive to external

influences, particularly those experienced while travelling.

likely, for

his

example, that his

visit to

It is

France in 1524 encouraged

Holbein to use coloured chalks for

his portrait

drawings as

opposed to the more traditional medium of silver-point.'

The present drawing is among the earliest examples in this
medium, and the

neat, precise handling of the coloured chalks,

together with the even tonality,

Jean Clouet (c.1486 1541),

is

reminiscent of the style of

who was

active as a portraitist at

the Valois court.^ Holbein reveals himself as a

draughtsman
and

in

more confident

the broader application of the black chalk,

this portrait

is

striking for

its

formal qualities, especially

the firm structure of the face and the bold

sweep of the hat

across the upper part of the sheet.

Ganz suggested

a date of

15246 but

stated that the

drawing

had been completely transformed to

suit the tastes of the

eighteenth century, possibly by the

first

recorded owner,

who was responsible for the

Dutch on the verso of the sheet. It is difficult to
appreciate what Ganz meant by this: some outlines may have
been strengthened, but there is no sign of extensive reworking.
The initials in the upper left corner are presumably those of
Cornells Ploos van Amstel,
inscription in

sitter, whose likeness A.E. Popham compared with that

Anne de Montmorency, Constable of France, in a portrait

the
of

dated 1525 attributed to Clouet.' Such a precise identification,

however,

is

unlikely to be correct.

The medallion attached

Virgin and Child.

No

to the brim of the hat depicts the

suggestions for

attribution

have yet

been made. Several painted and drawn Renaissance

portraits

show

its

similar medallions affixed to hats in this

way.

Provenance: Comelis Ploos van Amstel (Lugt 3002-3; see also Lugt
2034), possibly sale, Amsterdam, van der Schley ... Roos, 3 March 1800,
possibly pt of Album bbb, lot 49; Rudolph Weigel, Leipzig; J.A.G.
Weigel, sale, Stuttgart, Gutekunst, 8-15 May 1883, lot 445; W. Mitchell
(see Lugt 2638), sale, Frankfurt

A.W. Thibaudeau,

Paris;

am

Main,

Prestel,

May

1890, lot 54;

A.S. Drey, Munich; A. Strolin, Lausanne.

Exhibitions: not known.

Bibliography: Ganz 1939,

Notes
1 Ganz 1939,
2

p.

XXXV, with earlier references.

which

portrait of

Mellen, no. 41,

SWISS SCHOOLS

see Mellen

p. 29.

3 Popham's observation

GERMAN AND

no. 10.

On the stylistic connections between Holbein and Jean Clouet,

I97t,

158

i,

is

recorded by Ganz.

It is

difficult to ascertain to

Anne de Montmorency he was

pi. 55).

referring (possibly

%^^
W*

-i.

y-."

Hans Sebald Beham

Nuremberg, 1500 - Frankfurt am Main, 1550
Both Hans Sebald and

younger brother Barthel Beham

his

(1502-1540) were engravers based

when

in

Nuremberg

until 1525,

they were expelled for holding heretical views. Their

prodigious output of book illustrations and independent

prints includes biblical, mythological

as well as genre scenes,

whence came

executed on a small

all

by the example of Albrecht

whom Hans Sebald

were

historical episodes,

many

trained,

original in conception

of the

several occasions, but

in

1528 he

Diirer

Beham

under

(q.v.),

brothers'

and sometimes experimental

Hans Sebald Beham returned

in technique.

from

scale,

the appellation Kieimneister (Little masters).

Partly inspired

prints

and

to

Nuremberg on

fled the city again, this

time

accused of having plagiarised Diirer's unpublished studies

book on the proportions of horses. Subsequently he

worked in Ingolstadt, Munich and Frankfurt am Main.
for his

S6

Cimon and
Pen and black

ink,

Signed with the

1540

black chalk, heightened with white chalk:

artist's

monogram and dated

at

upper

396 x 240 mm.

right, in black ink,

HSB (in ligature).

by the

Inscribed

upper

artist at

AVT QVID NON

Tfhe

Pero

EX:

subject of

left,

in

black ink, <?vo no.\

penetrat/

COGOTy* r[sic] PIETAS.'

Cimon and Pero is often referred to as

The theme was frequently depicted as a

'Roman Charity'.
model of filial piety during the seventeenth and eighteenth
centuries; It

century

was represented

artists,

slightly less often

by

an interesting comparison with the rich tonal quality of his

prints.

sixteenth-

although the text of Valerius Maximus, where

by then well known. The story

who was deprived of food
while he was awaiting execution in prison. The jailer allowed
Cimon's daughter Pero to visit her father, whereupon she
nourished him by offering him her breast.
Beham made one etching and two engravings dated 1544
of the subject.-^ The present drawing was made four years
the story

is

recounted, was

concerns an old

earlier,

man

called

Cimon,

but the figures are related compositionally to one of

The pose of the figures is similar,

with Cimon seated on a block with his

the engravings of 1544.^

although

hands

in reverse,

behind him and

his legs in shackles

and Pero

standing between his knees offering her breast.

The two

tied

figures in the print,

however, are placed

in

an arched

interior,

there are minor modifications to Cimon's clothes, and Pero,

more
It

appropriately,

is

no longer

totally naked.

seems that the Woodner drawing was drawn

preparation

some reason was abandoned, only

for a print

which

developed

at a later date.

for

in

It is

noteworthy

that the

of 1544 excludes the inscription at the upper

left

Proveneince: A. Mouriau (Lugt 1853).

to be

engraving
of Cat. 56,

Exhibitions: not known.

Bibliography: none.

which was presumably meant to serve as the legend for the

Notes

print.

The

clear outlines, delicate shading

160

Beham's

GERMAN AND

style.

and compact design of

The modelling

SWISS SCHOOLS

in particular

makes

Maximus, Fadonim

edn by Kempf 1888,

2

B.

B.

the composition, with the carefully interlocked figures, are

typical of

Valerius

p.

73-5. Hollstein, German,

154474-

et

dicfonim memorahilium, v, chapter 4. See

247.
iii,

nos 77-9.

Of these,

b.

74 and 7^ are dated

A'

O JV 7 i

CO OOTA

/V

KA

Melchior Lorch
Flensburg, 1526/7

- Copenhagen(?),

Bom of noble parents

He

after

1583

Schleswig, he trained as a goldsmith

in

Germany, the
he
received
a stipend from
From
Netherlands and
1549
King Christian in of Denmark to study abroad, then to settle
in Denmark. He spent more than four years in Constantinople
in Liibeck.

travelled extensively in
Italy.

draughtsman

as a professional

in the imperial

delegation of

worked in Vienna, Hamburg, Antwerp

and Copenhagen, where he is recorded as court painter in

He

ambassadors.

later

1580. His output

is

mainly limited to drawings and

which show his wide range of interests,

mind and his lively imagination.

S7

independence of

his

Women

Study of Four

prints,

of

Hamburg
Pen and brown
ink,

hamburg

on off-white paper: 221 x lyS mm.

ink,

Signed with the

artist's
/

monogram and

1 he wide range of Lorch's

in his

his

inscribed at upper right, in

brown

ML (in ligature).

activities

and

interests

is

reflected

prints, many of which were inspired by

The present drawing, together with fourteen

drawings and

travels.

other costume studies also once belonging to John Evelyn,

demonstrate Lorch's fascination for ethnographic and

The drawings, mainly

studies of the inhabitants of

Germany, were made between

1567 and 1573.^

in Eygentliche

Beschreyhung

drawn

Siande auf Erden (1568).' Ward-Jackson has

attention

to comparable publications in Italy, such as Cesare Vecellio's

Degli habiii antichi e moderni (1590).

drawings deploy schematised

All of the

compositions with statuesque and

are

aller

Germany

historical

the northern and eastern cities of

matters.'

crafts in sixteenth-century

stiffly

posed

figures;

they

drawn with bold regular hatching and emphatic penwork.

These

stylistic features

suggest that Lorch

made

the drawings

woodcuts or engravings, although none is known. Many

do survive, however, after the artist's series of drawings
of Turkish customs and costumes, which are executed in a
for

prints

similar style.

It

may have been

German costume

Lorch's intention to publish the series of

studies in an historical survey of the region.'

Besides the deliberate style of penwork, further evidence

in

the inscriptions found

lies

on some of the drawings; these

Provenance: John Evelyn (1620-1706), Wotton;" J.H.C Evelyn; the Hon.

Sherman Stonor, Stonor Park, Henley-on-Thames, sale, London, Sotheby's,
15 March 1966, lot 13.
Exhibitions: London 1955, no. 57 (no catalogue); Copenhagen 1962, no.
75; Woodner Collection, Vienna 1986, no. 57; Woodner Collection, Munich
1986, no.

would presumably have been

legends for the prints.

It

transcribed in the

Woodner

S7':

Collection,

Madrid 1986-7, no.

69.

accompanying

has been noted that the costumes

in

Bibliography: Ward-Jackson 1955,

p.

93,

no.

57;

see also

Woodner

Collection catalogues.

the drawings tend to be old-fashioned or fanciful rather than

contemporary. Lorch's

would have been

historical interests

Notes
1

encouraged by
as

his contacts

George Hoefnagel and Abraham

in the history of
a

with such humanists of the period

work on

Ortelius,

both major figures

topography." Ortelius himself later published

the customs of the ancient Germans, Aurei saeculi

Such

historical interests

were part of

a general cultural

phenomenon

in the sixteenth century. Parallels in

can be found

in

published a

the

work of

Jost

number of costume

Amman

the north

(1539-1591),

studies in his Theatnmi mulierum

(Frankfurt, 1586) as well as his earlier survey of trades

162

GERMAN AND SWISS SCHOOLS

who
and

in

Copenhagen 1962,

nos 6478.
2 Princeton

3 Ibid.

The

and elsewhere 1982-3, under nos

project

may

14, 15.

not have been limited to Germany, as other

drawings from the group depict figures from Bayonne (Copenhagen,

and from other countries

Copenhagen, nos 58, 59).
no. 73)

imago, sive Germanonuti veierum vita (Antwerp, 1596).

drawings were displayed together

All fifteen

(cf.

the drawings from Soviet collections,

4 These contacts were stressed by Kaufmann

under nos 14, 15.

in

Princeton and elsewhere,

5 Ibid.

6 Ward-Jackson 1955, pp. 87-8, has suggested that Evelyn might have
acquired the group of Lorch drawings on a trip to the Netherlands in
164 1 or on another journey to the Continent.

Hans Hoffmann
Nuremberg(?), c.1530

The

first

- Prague, 1591/2

part of his

life

was spent

in

Nuremberg, where he

had access to the Imhoff collection of drawings by Durer

(q.v.), of which he made numerous copies and imitations. In
addition to his

many

studies of plants and animals, he also

painted portraits. Hoffmann held important positions at the

Duke Wilhelm v

courts at Munich, where he served

Bavaria, and at Prague,

where he was

of

court painter and

most

probably acted as an adviser to the Emperor.

S8

Red

Squirrel

Brush and watercolour and bodycolour, on vellum: 251 x 171 mm.

monogram and dated at lower centre, in dark brown ink,

Signed with

Hh

I 1578.

Lans Hoffmann's

inevitably linked with Diirer's

is

The demand

among

reputation of Diirer's drawings

was

also

stemmed

for these items

This trend,

the study.

now

from the obvious charm and

skilled

execution of

a conscious

development of German

referred to as the Diirer Renaissance,

was induced mainly through the medium of

was

to detract

from the

of a prototype, however, should not be allowed

collectors, but there

towards the end of the sixteenth century

reassertion of Diirer's place in the

art.

partly

The question

draw-

of his skilful copies after the earlier master's

because
ings.

name

active for a great part of his

life in

prints.'

Hoffmann

Nuremberg, but

last years were spent at the court of Rudolf

11

his

Prague

in

knowledge of Diirer's works and his ability to

were warmly welcomed.^ Hoffmann
signed and dated a number of his drawings and the present

where

his

depict the natural world

sheet

There

two

one of several dating from the 1570s and early 1580s.

is

is

a clear

squirrels,

connection between Cat. 38 and a drawing of

formerly

in the collection of

Lord Northbrook,

which has sometimes been attributed to Diirer although

Most

not of particularly high quality.^

copy

the ex-Northbrook drawing as a

Diirer,

scholars

now

it is

regard

after a lost original

by

from which Hoffmann derived the present drawing.''

Provenance: Mrs M.A.

287; A. Clark;

lot

sale,

The pose

of the squirrel in the

to that of the animal seen

Woodner drawing

on the

is

Parker, sale,

London,

London, Sotheby's, 24 April 1929,

30 March 1976, lot 147; Dr G. Rau,

Christie's,

Christie's, 7 April 1981, lot 147;

A. Neuhaus, Berlin.

similar

right of the related sheet,

Exhibitions: Berlin 1983, no. 61/8;

Woodner

Collection,

1985, no. 95 (checklist only); Vienna 1985, no. 27;

Cambridge ma

Woodner

Collection,

by no means a direct copy and is best described as a

Hoffmann has retained the three-quarter profile, but

Vienna 1986, no. 56; Woodner Collection, Munich 1986, no. 56; Woodner
Collection, Madrid 1986-7, no. 68.

there are fundamental differences including a steeper viewpoint

Bibliography: Dodgson 1929, iv, pp. 50-51; Winkler 1932, p. 86; Winkler
1936-9, III, appendix, under pi. xii; Schilling 1934, no. 56 (English edn,

but

it is

variant.

from above, and an increase

in

scale so that the squirrel

appears closer to the viewer. The animal's

its

face

right

is

eye

Furthermore, the

The colouring and

siderably.

made

tail is

bushier and

turned more sharply towards the viewer with the

visible.

artist

dispenses with such

anecdotal details as the scattering of nuts

in

the foreground.

characterisation of the squirrel differ con-

These changes suggest that Hoffmann probably

the drawing from

life,

of Diirer's squirrel in mind.

although possibly with the pose

Hoffmann often seems

to

have

taken Diirer's animal or plant drawings as a starting-point and

then to have adapted them to a more contemporary idiom.

164

London,

sale,

GERMAN AND

SWISS SCHOOLS

London 1956, no. 56), Panofsky 1943, no. 1356; Tietze 1928-34,
pt 1,
W24a (incorrectly reproduced on p. 303 as no. W25a); Musper 1952,
11,

no.

pp. 126-7; Pilz 1962, p. 254; Strauss 1974,

Appendix

2,

11,

under no. 1502/8, and

no. 3; Davis 1981, p. 1326; see also

Woodner

Collection

catalogues.

Notes
1

See Goldberg 1980, pp. 129-75.

162-95, esp. p. 182.

Accepted by Tietze and Panofsky, who, however, regard the squirrel on
the left seen from the back to be the work of a copyist. Musper argues

2 Evans 1973, pp.

3

that the sheet

is

autograph throughout.

4 Dodgson 1929, Winkler 1936-9, Strauss 1974.

Hans Hoffmann
Nuremberg(?),

S9

c.

1530 -Prague, 1591/2

Hare beneath a Tree

Point of brush and gouache, heightened with white, on vellum laid

on

down

lyzx 178 mm.

panel:

Thhe sheet was clearly inspired by bhe drawing of a hare by

.

Albrecht Diirer

prototype

is

Having formed
Rudolf

less

1502.

and

than a dozen or so direct copies

or free versions of the drawing

by

Diirer are

known and

at

can be attributed to Hoffmann.^

least six of these

most of

monogram and dated

drawing was easily accessible to Hoffmann.

According to Koreny, no

In

The

the Albertina, Vienna.'

in

part of the collections of Willibald Imhoff

Diirer's

II,

now

iq.v.)

signed with Diirer's

drawings of the hare, Hoffmann

his

to place the animal in

its

is

at pains

by
two such examples
and animal studies by

natural environment, surrounded

plants, insects or other small animals:

were shown
Diirer

and

at the exhibition of plant

his followers held in

on Hoffmann's
Wood, which
of

Vienna

still-life

midway between

the quasi-scientific studies

is

less

imaginative

the hare's natural setting than the

in this respect

sheet in Berlin which

Woodner and
point.

has

it

naturalism

in its

treatment of

two examples exhibited at

more in common with a

shows the hare

in all

in isolation.^

Both the
in

view-

other versions Hoffmann was content

to adapt Diirer's three-quarter

sheet he looks

artificial

drawings also show a change

Berlin

Whereas

the

painting.*

The present drawing

Vienna, and

1985/ This tendency

part culminated in the painting of a Hare in a

falls

Georg Hoefnagel (1542-1600) and

of Dutch

in

down on

view of the

hare, for the Berlin

the animal from above, and for the

present drawing he confronts

it

directly at

ground

level,

sharply foreshortening the body. Koreny points out that a

similar

viewpoint

by Hoefnagel

is

adopted, somewhat more humorously,

as a decorative motif in a missal illuminated

for Ferdinand of Tyrol,

and also

in his

four-volume

history of the animal world executed for Rudolf

11.*

illustrated

Provenance: possibly Paul de Praun, Nuremberg;' Kurt Meissner, Zurich.

Exhibitions: Bremen and elsewhere 1967-8, no.

1969-70, no.

2;

Zurich 1984, no.

2;

4;

Stanford and elsewhere

Vienna 1985, no. 53.

Bibliography: none.

Notes
1

Koschatzky and Strobl 1971, no. 24; Strauss 1974,

also Vienna 1985, no. 43.

2 Vienna,

p.

no. 1502/2. See

11,

132.

3 Private collection, dated 1582; Vienna, no. 47. Rome, Galleria Nazionale

d'Arte Antica; Vienna, no. 48.

4 Vienna, no. 49. See also Koreny 1983-4, pp. 19-23.

5 Vienna, no. 52. There is a second sheet in Berlin, dated 1587, showing
hare almost from the front but still from above (Vienna, no. 53.1).
6

On deposit at
of

the National Gallery of Art,

Mrs Lessing

no. 56,

J.

Washington

DC,

promised

gift

Rosenwald; see Princeton and elsewhere 1982-3,

and Washington

DC-New York

1986-7, no.

73.

7 Tentatively identified at the time of the 1985 exhibition in Vienna with

an item

listed in

described as 'Un

de Murr 1797,
lievre

cm

gite sous

p.

un

17, no.
arhre,'

132,

drawing might alternatively have formed part of

by Hoffmann in Praun's collection

Dessins de Hans Hoffmann).

166

GERMAN AND

SWISS SCHOOLS

which

is

painting

measuring i'9" square. The

a portfolio of

drawings

(de Murr, p. 53, 'Portefeuille Cc, 159

DUTCH
SCHOOL

Hendrick Avercamp
Amsterdam, 1585 - Kampen, 1634

He probably

received his

training in

initial

the Flemish emigre landscape painter

(15441607).

In

1613 where

Amsterdam from
van Coninxloo

1607 he entered the Amsterdam studio of

Pieter Isaacsz (1569-1625).

in

Gillis

his father

after Hendrick's birth.

He probably

had

up

set

returned to

Kampen

as an apothecary a year

His nickname 'Stomme van Kampen'

mute from Kampen) comes from the fact that he

was both deaf and dumb. He specialised in winter scenes
with numerous figures, often with views of Kampen in the
background. His combined use of watercolour and gouache
for his drawings was also derived from Flanders, where the
(Dutch: the

technique was employed by Jan Brueghel the Elder

{156&-1625) among others.

60

Museum, Haarlem.^ The

Figures Playing %olf' on

another watercolour

the Ice on the River IJsel

Dresden," and the figure of the skater putting on his skates

seated couple on the right

and the

Kampen

near

Pen and brown ink, watercolour and gouache, over black

on cream-coloured paper: 200 x 330 mm.
Watermark: eagle (similar to Heawood 195).
artist's

Inscribed
coll'

monogram

close to

at

lower

left, in

chalk,

one

rough sketch

in a

pair of well-dressed gentlemen, especially the

Skating on the

dated 1620,

is

less exactly in a

at

one

number

drawn and painted compositions.

Avercamp's work

grey watercolour,

is

with the ginger beard, recur more or

of Avercamp's

Signed with the

Teylers

in the

Ice

is

rarely dated, but a painting entitled

which seems to be

(private collection),'

very close to the

Woodner drawing.

point of brush and

HA (superimposed).

on the verso,

at

lower

brown

left, in

18}}

ink,

WE

...

G. Hibbert's

Stomme van Campen.

riendrick Avercamp was the

first

Dutch painter

to develop

and popularise the winter skating scene, although the type

by members of the Bruegel

Avercamp combined the panoramic scope and high
vantage point of the work of Pieter Bruegel the Elder (c.15251569) with a focus on anecdotal detail to create a new genre
derives in part from paintings

family.

of Dutch painting.

He allows

the decorative, brightly-coloured

figures to predominate, while the architectural details

in this

many, the skyline of Kampen dissolve into the

case, as in

atmospheric background. The two main protagonists

sheet are

engaged

in a

game

of

kolf,

in this

Dutch version of

somewhat resembling croquet and played on

golf,

ice.

Watercolours hold a prominent position within Avercamp's

oeuvre.

own

He

right,

often

made them

as finished

works of

presumably for the commercial market. Yet even

Avercamp's large output, 'presentation drawings'

and finished

Most

art in their

as the

Woodner drawing

in

as delicate

are relatively rare.

of these finished watercolours were

made on

Provenance: George Hibbert; William Esdaile (Lugt 2617),' sale, London,

Christie's, 18-25 June 1840, lot 1178; J. P. Heseltine (see Lugt 1507);
Henry Oppenheimer; Eric Oppenheimer, sale, London, Christie's, 6 July 1976,
lot 150; Martyn Gregory, London; sale, London, Christie's, 7 July 1981,
lot 121.

Exhibitions: London 1929, no. 554; London 1953, no. 329; Woodner
Collection, Malibu and elsewhere 1983-5, no. 50; Woodner Collection,

Vienna 1986, no. 59; Woodner Collection, Munich 1986, no. 59; Woodner
Collection, Madrid 1986-7, no. 71.
Bibliography: Heseltine 1903, no. 4; Welcker 1933, p. 253, no. T.129;
lllusirated London News, Christmas edition 1956, p. 20; Rotterdam-Paris
1974, under no.

in

the Royal Library,

the basis

number of which are

Windsor Castle.' Avercamp

often repeated the same stock figure groups.

As

Carlos van

Hasselt has pointed out, the young, richly-dressed couple

on the

left

appears on the right of a drawing

Collection, Institut Neerlandais, Paris,

the Rijksprentenkabinet, Amsterdam.-'
in reverse, to

170

those that appear

DUTCH SCHOOL

in

and also

The

in the
in a

kolf player

Lugt

sheet in
is

York-Paris 1977-83, under no.

t.

i;

Welcker and

129, 130.

Notes
1 Puyvelde 1944, nos 15-62.
2 Rotterdam-Paris 1974, under no.

no.

of small preparatory sketches, a large

preserved

New

3;

Hensbroek-van der Poel 1979, nos

similar,

both the Lugt sheet and

3;

New

York-Paris 1977-83, under

1.

London 1970,

no. 12.

4 Welcker and Hensbroek-van de Poel 1979, no.

5 Blankert 1982,

p.

6 The name 'Stomme van Campen'

in the

provenance

nickname of the

by William
acquisition.

in

previous

artist,

Esdaile,

in his collection

t.

106,

pi.

xxvi,

fig.

XLvn.

103, no. 10.

is

not that of a previous owner, as

Woodner

Collection catalogues;

it

listed
is

the

which was inscribed on the verso of the drawing

who

on the

often wrote the

name

of the author of a drawing

verso, along with the year

and source of the

Jan van

Goyen

Leyden, 1596

-The Hague, 1656

After

initial

training with Coenraet Adriaensz.

van

Schilperoort (c.1577-1635/6) and Isaac Claesz. van

(c. 1538-1614) at Leyden and Willem Gerritsz.
Hoorn, van Goyen travelled as a young man to

Swanenburgh
(/7.C.1615) at

France

Two

1615.

in

years later he

was

in

the landscape painter Esaias van de Velde

whose

He

died in poverty, having apparently suffered severe

financial losses in the

Tulipmania' of 1636-7.

new

the principal exponents of the

He was one

phase' of Dutch painting since

restricted palette of grey,

by

was

it

of

style of landscape painting

Haarlem during the 1620s and 1630s, known as the

in

61

1590-1630),

He returned to Leyden
member of the Guild of St Luke. In
The Hague, where he spent the rest of his

1634 he moved to
career.

(c.

style greatly influenced him.

1618 and became

in

Haarlem, a pupil of

characterised

by

'tonal

brown, black and white, enlivened

few touches of yellow and green.

Village

Market Scene

Black chalk, grey wash, on off-white paper: 165 x 270

Signed with the

VG

artist's

monogram and

dated

lower

at

mm.
right, in black chalk,

165}.

V an

Goyen was an extremely

prolific artist, as

is

attested

more than 800 paintings and approximately 1500

by him. At various times in his career he
drew more than he painted. This was especially true of 1653,
when this drawing was made: it is one of 225 sheets signed

by

the

surviving drawings

and dated

year alone.

in that

As a draughtsman, van Goyen was remarkably fluent.

The ease with which he expressed himself on paper is notable
not only

in his rapid

books' but also

his

in

made in the studio

Woodner drawing

pen-and-ink studies from

more

example of

a fine

sketch-

elaborate, finished drawings

independent works of

for sale as
is

life in

this

art.

second type.

The
The

animated by the deceptively spontaneous use of black

scene

is

chalk.

The play

of light and

shadow

is

achieved by the subtle

application of grey wash, which has the effect of unifying the

composition

harmonised

in

much

the

same way

his 'tonal' pictures.

The Woodner drawing

represents a

an unidentified Dutch village.

Goods

canopied booths along the main

street,

to

his restricted palette

watch a performance by

fair

or market day in

Provenance: Bellingham-Smith, London, sale, Amsterdam, Mensing, 5 July

1927, lot 39; A.W.M. Mensing, sale, Amsterdam, Mensing, 27 April
1937, lot 224; Bernard Houthakker, Amsterdam; H.E. ten Cate, Almelo;
C.G. Boemer, Diisseldorf; Alfred Bred, London; R.M. Light & Co., Santa
Barbara ca, 1981.

are being sold from the

and a crowd has gathered

a troupe of itinerant actors.

Exhibitions:

Woodner

Collection,

1986-7, no.

Although numerous drawings of

this

period depict similar

scenes, the compositions are variations

than repetitions.'^

on

theme rather

Van Goyen seldom copied even

individual

motifs exactly, unlike his contemporaries such as Avercamp,

who made
it

is

frequent use of the

also surprising

during his travels

how few
in

same stock

DUTCH SCHOOL

made

Holland, Belgium and the region of

Cleves, were used in his paintings.

172

life,

no. 29;

Woodner

Munich 1986,

Woodner

Collection, Malibu and

Collection, Vienna 1986, no. 60;

no. 60;

Woodner

Collection,

Madrid

72.

Bibliography: Hannema 1955, no. 223; Boemer 1964, no. 56; Brod
1963-6, no. 77; Beck 1973, 11, p. 131, no. 378.

Notes
1

There were

made

figures (see Cat. 60).

of his sketches from

Amsterdam 1952,

elsewhere 1983-5, no. 54;

as a

at least four

young man;

sketchbooks of pen-and-ink studies which he

see Beck 1973. In addition, there were three

sketchbooks of black chalk drawings dating from 1648-5

2

The

finished

Woodner
drawing.

drawing of 1653 referred to

Collection catalogues

It is,

in fact,

is

in n. 1 of the

1.

entry in previous

not a similar view to the

one and the same drawing.

Woodner

"'''
'..

-:^'"-"ll!X-

^"^

r,

.^^

',

^a^ijr

C-;

^;'^

K#*''^'^^

Saenredam

Pieter Jansz.

1597- Amsterdam, 1665

Assendelft,

He was

Saenredam

the son of the engraver Jan Pietersz.

(1565-1607). After

his father's

premature death, he and

his

mother moved to Haarlem, where Pieter spent the rest of his

career. He studied painting under Frans Pietersz. de Grebber
(1600-1652/3) and in 1623 became a member of the Guild

Noted

of St Luke.

for his

views of church

to paint in 1628, he

began

interiors,

became the foremost

painter in Holland in the seventeenth century.

which he

architectural

Numerous

Dutch artists painted similar subjects, but few rivalled the

solemn grandeur achieved in Saenredam's works.

62

these

Interior of the Cathedral of

St Bavo,

Haarlem
for transfer in

Edinburgh.

at

Haarlem,

dated 25 August 1635.' The large construction

is

drawing was
is

at

freehand sketch, in the Municipal Archives

some time dismembered:

largest

known

Edinburgh), which

Widely regarded
one of

is

Haarlem (National Gallery of Scotland,

signed and dated 27 February 1648.'

as the artist's masterpiece, the painting

dozen views of the

and
part

the church.

north
the

The

side,

left half

artist

interior of St Bavo's Cathedral,

has positioned himself in the choir on the

and he has included part of the south transept

moment

drawing

The Woodner drawing

at

view of the Great Church

in

15th of

Haarlem

finished painting the 27th of February 1648'.

those of the two surviving parts of the construction drawing,

the artist must have decided at a fairly late stage to enlarge the

proportions of his panel.* The squaring

Woodner drawing was

apparently

in

made

in

red chalk on the

connection with

aid of infra-

red reflectography.'

looks like an exercise in crystallography and at

itself

is

testimony to a miraculous reconciliation

abstract technicalities of mathematics

and the

Saenredam's pictures as

faithful

monu-

renderings of familiar

ments, the paintings actually reflect

choices,

Provenance: VVeigel, Leipzig; the bookdealer Vincent van Gogh,

sale, Amsterdam, de Vries, 16-17 July 193", lot 162; J.M.C Hoog,
Haarlem; private collection, Maastricht; Edward Speelman, London;
Lodewijk Houthakker, Amsterdam.
Exhibitions: Utrecht 1961, no. 61; Edinburgh 1984, no. zo;
Collection, Malibu

Although contemporary viewers would have perceived

far

more

sophisticated

based on considerations of composition,

colouring and craftsmanship. The view he records could

otherwise only be achieved by means of a

modem

major pictures. This involved

made on

in

the

the spot, without

first

much

detailed 'construction drawings'

which employed

one-point perspective scheme and have

all

strict,

the characteristics

Swillens 1935, no. 171; Utrecht 1961, no. 58. Following

It

is

even possible that Saenredam

had access to survey measurements when

DUTCH SCHOOL

it

came

to

making

its

acquisition

2 For a plan of St Bavo's, illustrating Saenredam's viewpoint, see Edinburgh,

fig.

11.

Kemp

1984, pp. 131-2.

4 Ruurs 1985, pp. 161-4.

5 Utrecht, no. 59; Edinburgh, no. 18.

6 Utrecht, no. 60; Edinburgh, no. 19.

7 For a

photomontage of

fig-7-

of architectural designs.

Woodner
Collection,

by Edinburgh, the picture formed the centrepiece of an exhibition

devoted to the subject of Dutch church interiors. See Edinburgh 1984,
no. 17, for the fullest discussion of the painting and its evolution.

proportions or perspective. Such sketches were followed by

Woodner

Notes

stage a rather free

attention to actual

51;

Bibliography: Swillens 1935, no. 86, pp. 39, 60-61, 94-5; Kemp 1984,
pp. 131-2; Ruurs 1985, pp. 161-2; see also Woodner Collection catalogues.

wide-angle

lens. Yet to obtain the impression of objective reality,

Saenredam devised an elaborate preparatory process for his

and elsewhere, 1983-5, no.

Vienna 1986, no. 61; Woodner Collection, Munich 1986, no. 61; Woodner
Collection, Madrid 1986-7, no. 73.

camera

174

is

the

one

sensuous perception of nature'.^

study,

Haarlem has

it

between the

artistic

December 1635 and

this

underdrawing detectable on the panel with the

overwhelms by its treatment of light flooding into

the nave of the church. The balance between the fine pen lines
and the translucent grey wash is consummate, just as 'the

another

left-hand section in

in

Saenredam's paintings and drawings of church interiors

clarity.

The

missing.

an inscription stating: 'finished drawing

the proportional enlargement, and these lines coincide with the

of the painted composition.'

impress by their spatial

the present sheet. ^

Since the dimensions of the painting are at least twice

view looking down the nave to the west end of

is

is

is

is

an outstanding example of Dutch Gothic architecture. The

picture

portion

for his

painting, the Interior of the Cathedral of St Bavo,

called the 'Grote Kerk',

left

The upper

of the sheet

one of several drawings Saenredam made

is

the lower

also preserved in the Municipal Archives at Haarlem,*

the lower right portion

Tthis

for the painting

in

357 mm.

490

construction drawings." Saenredam normally used

Both types of preparatory drawings survive

Pen and brown mV, grey wash, over graphite; squared

red chalk:

final

such drawings for transfer directly onto the panel.

8 Edinburgh, pp. 30-33.

9 Edinburgh,

figs 9, 10.

the

two drawings joined

together, see Edinburgh,

Rembrandt Harmensz. van Rijn

Leyden, i6o6-Amsterclam, 1669

The greatest Dutch painter of the seventeenth century,

Rembrandt was also a prolific draughtsman and printmaker.
He was apprenticed first in Leyden and later studied under

There are two other studies by Rembrandt of the same

Lastman (1583-1633) and Jan Pynas (1583/4-1631)

Museum, London,^ includes only the figures of Jacob and

Rachel listening. The study in Vienna shows the composition
in reverse, while the London sheet is conceived as a vertical.

Pieter
in

Amsterdam. He worked

(1607-1674) back

Amsterdam

with Jan Lievens

Two years later he married Saskia

1631.

in

for a time

Leyden, before settling permanently

in

in

van

Uylenburgh, the daughter of the burgomaster of Leeuwarden,

but she died

in

1642. Despite his early success as a painter,

especially of portraits, he suffered severe financial difficulties

towards the end of

in

1656.

in

1658.

the

his

life,

which culminated

in

bankruptcy

He was forced to sell his important collection of art

He died alone and in poverty, having outlived all

members

of his family, including his son Titus.

subject: one, in Vienna,'^

In addition to these

two

dated 1638," and a

grisaille painting.'

brown wash, with

ink,

few touches of white

the

Woodner drawing
was

view was upheld by Haverkamp-Begemann,

the series of drawings as preliminary studies

however, argued

the

in biblical

themes, which provided him with an opportunity

to explore the deeper psychological aspects of his

art.

His

choice of subjects, including such favourites as the stories of

and Hagar,

Jacob, Joseph, Tobit,

early

of Christ,

life

aUowed him

as well as incidents

He

them c.1642-3, suggesting that the

Vienna sheet was drawn first, since it most closely resembles
inclined to date

grisaille,

two etchings

the

Woodner drawing second

last.

Certain aspects of the

increasingly interested

drawings

that the three

represent a development from the grisaille and the print.

was thus

and the London sheet

lowards 1640 Rembrandt became

The

shortly before the print of 1638.

also considered to be part of the preparatory

the composition of the

mm.

bodycolour: 175 x 225

a print of the subject,

Both the painting and

such as Hofstede de Groot, Kauffmann and Valentiner, dated

for the print. Benesch,

Reed pen and brown

is

the British

in

The precise relationship of these various renderings of the

same theme has prompted some discussion. Older authorities,

grisaille

Dreams

studies, there

in

the print are vertical in format.

who also regards

Joseph Recounting his

drawing both

a less elaborate

composition and execution, and the other,

process. This

6}

is

Woodner composition

anticipate

of Christ Disputing with the Doctors, executed

during the early 1650s.* Valentiner was the

that the motif of the

Benjamin between

little

first

to record

his father's

knees

also occurs in the print ]acob Caressing Benjamin (formerly

identified as

Abraham

Caressing Isaac) of c.1637.^

from the

crowded compositions

to depict

incorporating a strong narrative content with a wide range

of

human emotions. Perhaps

the

most famous example of

this

intensely humanitarian element in Rembrandt's art during

the 1640s

is

the Hundred Guilder Print illustrating

moments

from the ministry of Christ.'

In the present sheet

Rembrandt has depicted an episode

in which the young Joseph

from Genesis (xxxvii, 5-11)

recounts his dreams to his family. Jacob, his father,

Benjamin,
originally

to the left

wedged between
drawn

is

seated

composition with the youngest brother,

in the centre of the

his

legs;

Rachel, his mother,

to the right of her husband,

was repositioned

and behind him, leaning slightly forward to

to her son. Joseph's other brothers are

among

listen

two dreams. Rembrandt has placed Joseph on the right

in front of the chimney-breast, thereby isolating him from
the main group. There is a considerable range of penwork in the
deft strokes used for the characterisation

of the figures and

much bolder

Baron Paul Hatvany,

flourishes to indicate the

London,

sale,

24 June 1980,

Christie's,

lot 74;

private collection.

Woodner Collection,
Woodner Collection, Vienna
Munich 1986, no. 63; Woodner Collection,

Exhibitions: Rotterdam-Amsterdam 1956, no. 88;

Cambridge

ma

1986, no. 63;

the figures

of the

fine,

in 1947);

1985, no. 100 (checklist only);

Woodner Collection,

Madrid 19867,

looking on, each reacting somewhat differently to the content

drawing, with

Provenance: ]an Six, sale, Amsterdam, Muller, 16 October 1928, lot 62;
Lady Violet Melchett; Matthiesen Gallery (from whom acquired by Hatvany

no. 75.

Bibliography: Lippmann and Hofstede de Groot 1888-1911,

Hofstede de Groot 1906, no. 1231; Valentiner 1925-34,
1926,

p.

169; Bredt 1921,

p.

39; Benesch 1935, p. 37;

Benesch

1954-7, in, no. 527,

pp. 51-2; Benesch 1964, p. 123,
1970,

I,

no. 527,

657;

fig.

n.

fig.

695; de Bayser 1984,

p.

no. 87;

i,

no.

7;

Kauffmann

Miinz 1936,

p.

105;

Haverkamp-Begemann 1961,

11 (reprinted

pp. 256, 288, n. 13); Slive 1965,

i,

1,

pi.

in translation in

Benesch

227; Benesch 1973,

79; see also

Woodner

ni,

Collection

catalogues.

setting.

The depth of

the interior

is

evoked by the

rich

brown

wash, which has been applied only sparingly to the figures.

Notes
1

The

vitality of the

technique

psychological insight. The

and narrative

skill is

is

matched by the breadth of

artist's

extraordinary sensitivity

revealed in such anecdotal details as the

small child idly playing with a toy in

its

hands and the dog

staring into the fireplace, each oblivious to the significance

of the event taking place.

176

DUTCH SCHOOL

For the subject-matter of the Hundred Guilder

Print,

see

White 1969,

PP- 55-72 Benesch 1954-7, in, no. 526, fig. 653 (Benesch 1973, fig. 694).
3 Benesch 1954-7, ">. no- 5-28, fig- 656 (Benesch 1973, fig. 687).
4 B. 37; White and Boon 1969, no. 8. 37.
5 Bredius and Gerson 1969, p. 419, no. 504.
6 B. 65 (1652) and b. 66 (1654); see White and Boon, nos b. 65, 66.
7

B.

33; see

White and Boon,

no.

b.

33.

i,

W'

'^*<^1-}

^^

C'

-A

"7^

O""
^

^'

^^"

fes::^:

^'

%>#^"

*-,r

#>

'

t-.

#5 X/f

Rembrandt Harmensz. van Rijn

Leyden,

1606- Amsterdam, 1669

64.

The Parable of the Publican

and

the Pharisee

Reed pen and brown

ink,

brown and grey washes, with

white bodycolour: 206 x 187

Th
.he

subject

is

in

thank thee, that

am

The

the

openly self-righteous ('God,

is

men

not as other

publican,

('God be merciful to

in

which two men are described praying

the temple.* One, a Pharisee,

this publican').

few touches of

based upon the parable recorded

Gospel of St Luke,
in

mm.

me

by

contrast,

are ... or
is

even

as

deeply repentant

a sinner'). Christ used the parable to

explain that 'every one that exalteth himself shall be abased;

and he that humbleth himself

Through

gesture, pose

shall

and

be exalted'.

facial

expression,

Rembrandt

has exploited the dramatic potential inherent in this scene.

The publican is placed in

his breast. The Pharisee

the foreground

on

his knees, smiting

middle distance on a flight

Heaven and, at the same time,
gesturing towards the publican. The spacious proportions of
the interior of the temple are emphasised by the receding
row of columns, set on high bases and with large capitals by
the different ground levels and by the ambulatory on the
right. The grandeur of the setting is further enhanced by the
luminous quality of the interior, achieved by what Benesch
refers to as an 'airy, floating wash'. The eye, aided by the
in the

is

of steps, looking up towards

diagonals on which the figures are placed

moves from
filling

in the

composition,

shadowed foreground into the flood of light

main section of the temple. The white highlighting

the

the

has been used partly to heighten the sense of luminosity and

partly to

make

corrections.

There

is

marked contrast between

the long discursive lines denoting the architectural elements

and the

short,

brusque hatched strokes used for modelling

the principal figures.

Benesch,

who

of C.1674 and

first

published the drawing, suggested a date

compared the sheet with The

Munich, and with two versions of The

Temple, in Berlin and Paris. ^
is

A similar emphasis

also found in such paintings as Christ

Taken

in

Circumcision, in

Presentation in the

on the setting
and the Woman

Adultery of 1644 (London, National Gallery)^ and

such prints as The Marriage of Jason and Creusa of 1648.'' This

last,

in its

treatment of architecture and

close to the

Woodner

to a sufficient degree of finish to suggest that

for sale as a

work

in its

own

12 March 1963,

lot 66.

Woodner Collection
New York and elsewhere 1971-2,
Woodner Collection, Malibu and elsewhere 1983-5, no. 52:
Woodner Collection, Vienna 1986, no. 62; Woodner Collection, Munich
1986, no. 62; Woodner Collection, Madrid 1986-7, no. 74.
Exhibitions:

i.

no. 64;

light, is especially

drawing.

Rembrandt does not seem to have developed this composition in any other medium, and the drawing has been brought
been intended

Provenance: Jonathan Richardson Sr (Lugt 2183); Thomas Hudson (Lugt

2432); Mrs Symonds, sale, Oxford, 11 April 1951; sale, London, Sotheby's,

it

right.

"^

might have

Bibliography: Benesch 1964, pp. 1279 (reprinted in translation in Benesch

1970, pp. 258-9); Benesch 1973, iii, no. 587a, fig. 760; see also Woodner
Collection catalogues.

Notes
1

Luke

10-14.

xviii,

2 Benesch 1973,

iii,

nos 581, 588-9 respectively.

and Gerson 1969, no. 566.

112; White and Boon 1969, no. b. 112.

3 Bredius

B.

5 This point

organised

was discussed by William Robinson at the symposium

the Fogg Art Museum, Harvard University, in 1985 in

at

connection with the

178

DUTCH SCHOOL

Woodner

Collection exhibition of that year.

i4

Rembrandt Harmensz. van Rijn

Leyden,

1606- Amsterdam, 1669

6s

View of Houtewaal near

the

Sint Anthonispoort (recto)

and

Figures on the

Anthonisdijk Entering

Houtewaal (verso)
Reed pen and brown ink, grey-brown wash, with some white heightening,
on pale brown tinted paper (verso: reed pen and brown ink);
126 X 183 mm.

Ihis evocative drawing, made

Rembrandt's mastery

in the

in the early

1650s, shows

depiction of the light and atmos-

phere of the Dutch landscape.' The most striking feature of

the sheet

is

applied his

economy of means with which the artist has

media. The paper also plays a positive role, with
the

a large blank area

the water.

extending across the composition to indicate

The pen

strokes range from the bold but controlled

immediate foreground to the more delicate ren-

lines of the

far distance. The

seem almost vaporous,
Yet the precision of the washes and the deftness

dering of the buildings of Houtewaal in the

washes are so
like a mist.

on

lightly laid

of the pen strokes

that they

- whether

in

the criss-crosses of the

windmills on the horizon or the abstracted reed tops at

lower centre can only be compared with the sophisticated

handling of a Chinese calligrapher's brush.

The drawing

is

not only an outstanding example of Rembrandt's

comes from an impeccable source.

One of the principal purchases of drawings by the second
Duke of Devonshire was a large group acquired in 1723 from
Nicolaes Anthonis Flinck (1646-1723), the son of Govaert
Flinck (1615-1660), who was a pupil of Rembrandt at the
time this drawing was made.^ The collection formed by Flinck
landscape studies;

it

also

by Rembrandt,^
Peter Paul Rubens (1577-1640)

includes an incomparable series of landscapes

drawings by

as well as

and

Sir

Anthony van Dyck (1599-1641). When

Sir

the famous

French connoisseur Pierre Crozat wrote to congratulate the

Duke

on the acquisition of the drawings from

he commented that it was 'the finest and best chosen

of Devonshire

Flinck,

collection

have ever

seen'.^

Provenance: possibly Govaert

Flinck (1615-1660); Nicolaes

(Lugt 959); William Cavendish,

by

Anthonis Flinck

2nd Duke of Devonshire (1672-1739); then

descent, Chatsworth (inv. no. 1032), sale, London, Christie's, 3 July

1984, lot 63; John R. Gaines,

New

sale.

York, Sotheby's, 17

November

1986, lot 19.

Exhibitions: London 1929, no. 608; London 1949, no. 36; Stockholm
1956, no. 134; Manchester 1961b, no. 93; Washington dc and elsewhere

196970 and London 19734,

no. 93.

Bibliography: Lippmann and Hofstede de Groot 1888-191 1,

Hofstede de Groot 1906, no. 846;

i,

no. 58;

Lugt 1920, pp. 107,

133, fig. 82A; Wimmer 1935, p. 65; Benesch 1935, p. 48; Benesch 1947,
no. 58;
no. 181; Benesch 1954-7, vi, no. 1261, figs 1485-6; Slive 1965,
Eisler 1918, p. 65;

1,

Frits

Lugt was the

first

to identify the location depicted

both sides of the present sheet. Houtewaal

is

on

a small village

Amsterdam. The same village, seen from the

depicted on the verso of the sheet. A similar view by

Benesch 1973,

no. 1261, figs 1565-6.

Notes

to the east of

1 Slive

west,

2 For a discussion of Flinck as a collector of Rembrandt drawings, see

is

Rembrandt, drawn from further along the dike and without

figures, is in the Boymans-van Beuningen Museum, Rotterdam.'

suggests a date of f.1650 and Benesch c.1651.

Schatbom 1981, pp. 1621.

Twenty-seven of the thirty so-called Rembrandt drawings from the
Chatsworth Collection bearing Flinck's mark are landscapes, and all of
these are still accepted as autograph Rembrandts today.
4 A number of other landscape drawings by Rembrandt from the Chatsworth
Collection were also sold at Christie's, 3 July 1984, lots 60-62, 64-7.
3

5 Benesch

180

vi,

DUTCH SCHOOL

1954-7,

vi,

no. 1262,

fig.

1488 (Benesch 1973,

fig.

1567).

wu

it

<immmmm

15*^---^

.eMEaasj^MteamgE...

65 verso

Roelant

Roghman

Amsterdam, 1627- Amsterdam, 1692

The nephew of Roelant Savery (q.v.), after whom he was

evidently named and who may have been his first teacher.
Active in Amsterdam, he was a painter, draughtsman and
etcher, concentrating on landscape subjects. His work was
influenced at first by the landscapes of his uncle and later by
those of Rembrandt {q.v.), with whom he was friends. His
pen-and-ink drawings are sometimes reminiscent of
Rembrandt's, which

may

account for the

grouped with the documented pupils

66

fact that

he

often

is

in the master's studio.

The Castle at Culemborg

496 mm.
Heawood 1721a and

Black chalk and grey wash, on off-white paper: 332 x

Watermark:

fleurs-de-lis within a shield

Inscribed on the verso, possibly

slot te

1724).

black chalk,

artist, in

Cuillemborgh.

Ncothing

remains today of the castle

at

Culemborg, the

drawing which forms part of a group

subject of this fine, large

247 views of Dutch castles and manor houses.^

of at least

The

by the

(cf.

which may have been commissioned by Laurens

was undertaken by Roghman in 1646-7, when he

series,

Baeck,

was not yet twenty years old. It appears that the drawings
were kept together until the early nineteenth century when
they were gradually dispersed; many are now to be found in
major public and private collections.^

The drawings made by Roghman

vary

in

approach.

Some

for this extensive project

of the landmarks are treated broadly

as landscapes, while others, as in the

Woodner

sheet, concen-

upon the buildings themselves. It is in fact the attention

paid to detail and atmosphere that makes the present drawing
so remarkable. Black chalk and grey wash are deftly handled
and skilfully combined to define the architectural forms and
trate

the effects of light passing across their surfaces.

The grandiose

forms tend towards the geometrical, which, together with the

reflections in the

somewhat

water

in

the foreground, give the drawing a

abstract quality. This

is

further reinforced

by

the

mother-of-pearl tone created by the combination of grey

Provenance: probably Laurens Baeck; Albert (Hillebrand) Bentes; Christiaen

van der Hoeck; Anthonie van der Hoeck; Cornelis Ploos van Amstel (Lugt

2034 and 3002-5),

wash and black chalk on off-white

paper.

1800, part of
fl.

Culemborg

is

in

the central Netherlands, situated to

van Culemborg,

in

The

was

was considerably extended

only the buildings on the

castle

built

at a later date.

left

It

appears that

of the present sheet are part of

the fourteenth-century structure.

The

castle

was occupied

subsequent centuries by Spanish and French troops.

so

much

that in

the

by Johan, Heer
the middle of the fourteenth century and

south-east of Utrecht.

1735

it

It

in

decayed

was pulled down and the building

were used for reinforcing a dike in the Zuider Zee.'

Another drawing of the same castle, depicting the right-

materials

hand group of buildings from the opposite

Teylers

Museum,

direction,

is

in the

Haarlem.'' Both views are recorded in the

manuscript inventory of the Bentes collection.

Album

kk, lots 1-6, consisting of

Roos, 3 March
(to

Roos

for

Woodner Collection
New York and elsewhere 1973-4,
Woodner Collection, Malibu and elsewhere 1983-5, no. 53;
Woodner Collection, Vienna 1986, no. 64; Woodner Collection, Munich
1986, no. 64; Woodner Collection, Madrid 1986-7, no. 76.

Exhibitions:
no.

11,

83;

Bibliography: van Alkemade

preserved

|n.d.|

in the Rijksprentenkabinet,

(ms inventory of the Bentes collection,

Amsterdam), no. 65; see also Woodner

Collection catalogues.

Notes
1

Observations on the
Franklin

political significance of the project are

W. Robinson

in

made by

Washington do and elsewhere 1977, under

no.

26.

2 See, for example, the

and reproduced
3 Information

4 London, no.

DUTCH SCHOOL

248 drawings

2000).

in

from

19.

drawing from the

New
I.Q.

London 1970, under

182

Amsterdam, van der Schley

sale,

Institut Neerlandais, discussed

York-Paris 1977-83, no. 95.

van Regteren Altena and P. Ward-Jackson

no. 19.

in

FLEMISH

SCHOOL

Dieric Bouts
Haarlem{?),

1415/20 -Louvain, 1475

Although he was probably

activity

is

in

bom

in

Haarlem, his

first

recorded

Louvain. His work shows the influence of

Weyden

1399-1464) and Petrus Christus

{fl.[l]i442-72/;^). But Bouts's style is more humane and
tranquil than that of Rogier and his compositions are
characterised by their extreme spatial clarity and special
Rogier van der

(f.

Although few works are attributed

attention to details.

to

him - these being mainly altarpieces and portraits they

confirm his position as one of the leading early Netherlandish
painters.

67

Christ on the Cross (recto)

and Study of a Female Figure

Kneeling on the Ground with
her Hands Folded in Prayer;
a Further Study of Drapery
(verso)
Pen and black ink, grey wash (verso: pen and black ink): 210
The paper has been extensively repaired on the left.

Ihe remarkable feature of this drawing

Christ is the economy of line and the delicacy
The

177

n-irn.

of the crucified

group of drawings by the painter and stained-glass designer

of the modelling.

active

drawn but with considerable assurance

is modulated by

outlines are thinly

the Master of the

now

widely referred to as

Coburg Roundels

or the Master of the

and some gentle accenting. Christ's body

Drapery

grey wash, which

this anonymous artist, and these are now thought

by more than one hand. The drawings are derived from
painted or engraved compositions by numerous leading
masters and provide plentiful evidence of the interaction
between German and Netherlandish art at the end of the

is

used both to indicate the anatomical

divisions and to heighten the emotional intensity of His

drooping head. Line

and the

is

applied

more

loincloth. In the hair the

pen

discursively in the hair

lines are reinforced

wash, but the folds of the loincloth are rendered

applied most delicately.

The

loincloth

is

on an almost

takes

abstract quality

the side of the cross.

The absence

loincloth also emphasises the

of the

whole

combine

ability to

the

figure.

body with

The

skill

pure

where

it

same

left

it

hangs loose to

wash modelling in the

head, which becomes the focus
of the draughtsman rests in his

a firm sense of the underlying structure of

more loosely-drawn

figure,

and wash.

made

in

the

Woodner

and Munich. As early

as

to be

German and was

1908 Schonbrunner and Meder

associated the style of the drawing with that of an artist

working
found
later

in

the

Upper Rhine. Winkler, who

at first

(1926-7)

connection with the manuscript tradition of Cologne,

claimed (1930) that the sheet was part of an extensive

FLEMISH SCHOOL

There are more than 150 drawings

attri-

to be

fifteenth century.

The present drawing has not been discussed

for

many

in the literature

years, but recently Winkler's attribution to the

Master of the Coburg Roundels has rightly been questioned.

When

exhibited in Madrid, a connection between the recto

study and works by Dieric Bouts was suggested. In the

absence of any firmly authenticated drawings by

this

influence

on German

art

was by no means

this master,

insignificant,

proposal has considerable merit. The only other drawing

which has been claimed

Man

Collection catalogues of Vienna

Studies.'

buted to

whose

perhaps conceived

of Christ's feet.

The drawing was previously thought

so attributed

line,

time,

compositionally as standing beneath the Cross, can be

out to the

with

of

a refined handling of both line

Indication of a

in

used as a device to

stress the corporeality of the figure and, at the

186

Strasbourg c.1500,

in

for

in silverpoint in the

Bouts

is

a Portrait of a

Smith College

Museum

Young
of Art,

Northampton ma.^ The ascription of both drawings to

Bouts rests primarily on morphological comparisons and
stylistic parallels with paintings by Bouts.
There are many pertinent comparisons
Christ in the

Woodner

sheet, of

which the

for the figure of

principal

is

with

the figure of Christ in Bouts's Entombment in the National

Gallery, London.' In both drawing and painting Christ

is

depicted with a slender, slightly attenuated body, with the

TT
l^
y

^.

'^;r^

^'

S-

limbs severely straightened by the manner of death.

arms are long and

are the

narrow

thin, the

The

biceps hardly visible. Also similar

rib-cage, with the nipples unusually far apart,

the firm drawing of the navel and the slight suggestion of

pubic
is

The head

hair.

shown with

in

both works

is

triangular in shape

double beard, whereas the

shaped with the toes indicated by

and

feet are club-

parallel lines.

Provenance: Baron Adalbert von Lanna (Lugt 2772), Prague, sale, Stuttgart,
Gutekunst, 6-11 May 1902, lot 23; Joseph Meder; L'Art ancien, Zurich.
ExhibiKons: Woodncr Collection, Vienna 1986, no. 42, Woodner Collection,

Munich 1986,

no. 42;

Woodner Collection, Madrid 1986-7,00.

jj.

Bibliography: Schonbrunner and Meder 1896-1908, xii {1908), pi. 1351;

Winkler igib-7, p. 128; Winkler 1930a, p. 111; Winkler 1930b, pp. 128,
152: see also

Woodner Collection

catalogues.

Notes
1

For a useful summary of the complicated literature on

this artist, see

Detroit 1983, pp. 388-93, nos 28-44.

2 Inv. no. 1939.3. Formerly

1926, pp.

8, 17,

3 Friedlander 1967-76,

188

in

the

Oppenheimer

no. 17.

FLEMISH SCHOOL

in

(1968), no. 3,

pi. 7.

collection.

See

Popham

?h^

if

by verso

-'A

Simon Bening

(circle of)

Ghent, c.1483 - Bruges, 1561

His father was Sanders Bening (d.1519), the founder of the

important school of manuscript illumination

was

Bruges. His mother

a relative of

He

illuminators of his time in the Netherlands.

in

Bruges

in

entered the

1508. Charles v employed him

to decorate several manuscripts.

Although he

specialised in

Dom

small devotional books, his Genealogy of the Infante

Fernando of Portugal

probably the largest surviving

is

illuminated genealogy.

survived

68

in

Flemish

It is

the only such example to have

art.

Magi

The Adoration of the

Gouache, heightened with gold, on vellum,

laid

down on

panel:

mm.

167 X 226

On

Goes

der

Simon was one of the outstanding

(d.1482). Like his father,

Guild of St Luke

Ghent and

in

Hugo van

the verso of the panel

is

a red

wax

with a coat of arms: shield

seal

by rampant dogs, below a crown flanked by flags, surmounted

winged horse; inscribed with motto, in Bella Forti(s).

flanked

by

1 he composition of
Berlin

now

in

Munich

derived from a lost

model

number

for a

(British Library,

London),' one

Fauconnier collection

Young

similarities

copy

in

freer

David

of manuscript illuminators working

including one in the Breviary of

H.

usually attributed to Gerard

is

Ghent and Bruges. Several derivations

in

which

observed that the composition served

(d.1523).-^ Friedlander

as a

is

(d.1482), of

believed to be closest to the original.^

is

version

miniature

this

by Hugo van der Goes

painting

at

in a

are

in the

York.' There are in fact marked

that

once

in

guise of the kneeling king are identical. According to Winkler,

knowledge of

the composition can be traced in yet

particular

in

luminated by the Master of

sometimes
for

Mary

of

Burgundy

two famous examples

Mary

identified as Sanders

the characterisation of the figures

of Burgundy,

who

Provenance: Alfred Morrison (1821-1897); then by descent to his grandson. Lord Margadale of Islay, sale, London, Christie's, 6 July 1982, lot 116.

Woodner Collection
New York and
Woodner Collection, Malibu and elsewhere
1983-5, no. 45; Woodner Collection, Vienna 1986, no. 66; Woodner
Collection, Munich 1986, no. 66; Woodner Collection, Madrid 1986-7,

Exhibitions: London 1973a, no. 37;

is

- and one example by

his

no. 79.

Bening were the most important

in

An
was

make

filled

with tronipe

4 Friedlander,

fashionable

images of

I'oeil

suggested

in

190

was amended

FLEMISH SCHOOL

no. 20(a),

where

154,

art
p.

p. 72,

pi.

in

the second

to 'circle of

48,

under no.

5,

n.

see also

28;

Simon Bening'

in

catalogue,

subsequent

no. 20(b),

pi.

34; see also

Winkler

1983, no.

34.

attributed to Gerard David. See also

where

5,

it is

dated before 1497.

under no. 20(b). The miniature was apparently on the

market
190, n.

in

1924;

it

is

tentatively located in Detroit

The miniature was cited in

1973, lot 116. It was once

attributed to Gerard

through a photograph

Witt Library.

figs

by

1.

in the

the Christie's sale catalogue of

David and

20 March
is

known

152-3. For the Master of Mary of Burgundy, see Winkler

summary

of the long discussion

on the

identification with Sanders Bening, see the introduction (unpaginated)

Simon Bening
20 March

Woodner

p. 72,

is

it

1925, pp. 103-17, and for a

in

it

Belgian

Winkler,

6 Winkler,

the Christie's sale catalogue of

1973. Although repeated

p. 72,

fig.

Malibu-New York

and flowers.*

attribution of the present illumination to

first

Friedlander 1967-76, iv (1969),

2 Friedlander,

reducing the scale of the miniature and enlarging the size

then

p.

1964, pp. 189-98.

Flanders and their

the reorganisation of the layout of the illuminated page,

is

York 1983,
catalogues.

Notes

3 Winkler,

of the highest quality. Both helped to

birds, insects

New

Woodner Collection

son

the Grimani Breviary (Biblioteca Marciana,

of the border which

11,

elsewhere 19734, no. yy,

Bibliography:
is

and the Book of Hours of

manuscript illuminators of their day

work

not quite on a level with

is

il-

Venice).'

Sanders and Simon

lacks a

Simon Bening's own work.

Simon Bening,

it

extremely high, the treatment of the landscape and

Bening - the Book of Hours

(Berlin)

Philip of Cleves (Brussels)*

is

carried out

miniature formerly in the

between the Woodner miniature and

other manuscripts,

most of the work

Sanders or Simon Bening and

quality

The miniature is
by either
border. Although the

Collection exhibition catalogues.

a larger scale than

now known,

the Fauconnier collection: the features of the donor in the

diffused

on

Isabella of Castille

Mons'' and another formerly

New

collection in

Queen

Woodner

Alexander 1970.

Winkler 1964,

fig.

155. See also Winkler 1925, pp. 139-49, and,

importantly. Salmi and Mellini 1972.

8 See Alexander 1970.

more

Master of the Small Landscapes

Fl. c.

69

1555-^0

Path through a Village,

with a Seated Couple

and a Child
Pen and brown ink: 130 x 195 mm.
An illegible watermark is visible through the backing.
Inscribed at upper centre, in

Ihe drawing

is

brown

ink,

xl

and

viii,

at

upper

preparatory for the etching,

right, 4.

in reverse, in

the series of fourteen prints entitled Muliifarium casularum

was not developed

depiction of nature

realistic

when

after 1600,

further until

the prints after the Master of the Small

rurimque lineamente curiose ad vivum expressa, published by

Landscapes influenced such

Hieronymus Cock

(C.1550-C.1612) and Esaias van de Velde (c.1590-1630),

scene

is

(c.

15 10-15 70) in 1559.^ This particular

the seventh in the series and the

from the opposite direction

thirty rural

el

print.''

1561 with the

in

is

viewed

further

series,

title

which

Praediorum

rusticorum casularum icones elegantissimae ad vivum

in aere deformatae.^

series,

same path

the fourth

views comprised a second etched

was published by Cock

villamm

in

Of

the total of forty-four prints in both

preparatory drawings for twelve have so

far

come

to

artists as

Claes Jansz. Visscher

who

heralded the great age of Dutch landscape engraving and

1601 Cock's

painting. In

prints

were re-edited and republished

by Theodore Galle and, of even more consequence, again

in 1612 by Visscher.^ This revived interest was part of a
phenomenon, now known as the 'Bruegel Renaissance', which
greatly affected the development of seventeenth-century
Dutch landscape

art.*

other drawings belonging to the group but apparently

light;

not etched are also known." The

identities of

both the designer

and the printmaker have been the subject of debate, but

Oberhuber's attribution of the etchings to either Jan or Lucas

1559-93) now seems to be generally

accepted.' Controversy still rages over the identification of
the draughtsman. Haverkamp-Begemann proposed the name

Doetecum (both

/I.e.

of the little-known Flemish artist Joos van Liere

as the

draughtsman.

More

(/1.

1572-83)

present sheet to the most accomplished of the

two

artists,

he has argued must be identified as Pieter Bruegel the

Elder (c.1525-1569).*

The landscape
life,

studies

Exhibitions:

were evidently done

directly

from

most of the drawings were reworked or 'improved' in the

printmaker's workshop: the foreground and the figures in the
Woodner drawing, for example, are added by a different

Mak

no.

69;

Woodner

Notes
1 The

Woodner

the principal hand, before

the reworking, are indeed related but not identical in style

to the graphic

work

of Pieter Bruegel, with

whose name

the

title in

places

shown

DC-New York

short, delicate

translation reads: The features of various cottages

carefully

and

clearly

from

life.

The

title in

curate depiction of

humble

charm and topographical

rural

Flemish

interest.

It

life, full

Liess's

is

the ordinary, un-

pretentious subject-matter and the directness of observation

that reveal the great originality of the artist's vision. This

FLEMISH SCHOOL

is

and country

reproduced

in

no. 25.

translation reads: Very fine images of properties, farms,

life.

and

See Bastelaer, nos 34-63.

in

Washingston

recognition of

DC-New York
two

different

1986-7, under no. 87. While

draughtsmen has found general

acceptance, his identification of the chief artist as Pieter Bruegel has not.

Mielke regards Haverkamp-Begemann's suggestion of Joos van Liere as

ac-

of anecdotal

prints are

the drawings, see Mielke 1987, pp. 84-8. See also William Robinson's

entry

drawn, with a vividness that evokes a sense of atmosphere

whole provides an

The

4 Some of the drawings were included in the exhibition Berlin 1975,

nos 184-95.
5 Vienna 1967-8, under no. 4.
6 Haverkamp-Begemann 1979, pp. 17-28. Liess 1979-82, xv-xvi,
pp. 1-117. For fhe most recent detailed discussion of the attribution of

pen strokes and neat hatching

series as a

87, n. 5;

2 Bastelaer, no. 22.

delineating the thatched cottages and trees are dextrously

and seasonal change. The

Col-

Madrid 1986-7,

1986-7, under no.

Bastelaer 1908, nos 19-32, of which the seventh plate

been closely associated since the early seventeenth

The

Collection,

Collection catalogues.

country cottages rendered on copper from the

The landscape passages drawn by

Woodner

Collection, Vienna 1986, no. 69;

Bibliography: Washington

hand.

series has

van Waay, 15 November

no. 82.

192

Woodner

Munich 1986,

lection,

see also

as the titles of the series of prints expressly state, but

century.

Amsterdam, Sotheby

sale,

1983, lot 249.

recently Liess has argued that the

drawings are the work of two different hands; he assigns the

who

Provenance:

the most serious.

was Visscher who

still

It

first

credited Pieter Bruegel with the original

designs.

8 For the significance of the contribution of the Master of the Small

Landscapes to seventeenth-century Dutch landscape art, see Freedberg

1980, pp. 2 1-3, and London 1986b, pp. 18-19, 1 10-11.

w ^

-^

^
^.

K
-t-"^.

'

...

^,
-^ir

-.'^

^-

^'^(7 -

Roelant Savery
Courtrai,

1576 -Utrecht, 1639

brother Jacob Savery

Initially a pupil of his elder

(c.1565-1602) and possibly also of Hans Bol (1534-1593), in

his early

and

works he shows the influence of the Bruegel family

van Coninxloo (1544-1607). Like Coninxloo, he

Gillis

emigrated to the northern Netherlands for religious reasons.

He is documented in Amsterdam from 1595. In 1604 he was

summoned by Rudolf 11 to the imperial court at Prague.
In 1614, after Rudolf's death, he served the new Emperor
Matthias

in

Vienna, but by 1619 he was back

Netherlands, working

in

Utrecht,

in the

where he became

member

of the Guild of St Luke. His landscapes, distinguished by

their accuracy

and

liveliness,

were

a source of great

inspiration to the following generation of landscape

JO

artists.

Mountainous Landscape with

Castles and Waterfalls
Black, ochre, red

Watermark:

and blue chalks, on grey-green paper: 352 x 492

letters

mm.

within an oval (similar to Briquet 9722).

Savery worked

time

at a

when both naturalistic

and imaginary reconstruction co-existed

in

observation

Netherlandish

art.

His work combines these two different

artistic

which were discussed by contemporary

theorists as uyt den

geesi (out of the imagination)

and naer

traditions:

although

it

't

leven (from

amalgam

present drawing could be read as an

approaches,

life).

of these

presents a seemingly realistic Alpine

view, the presence of such imaginary details as the

ruins
that

and the

it is still

The
two

Roman

waterfall, reminiscent of that at Tivoli, suggest

at least partly

derived from a standard landscape

formula.

According to Sandrart, Savery was sent on

Tyrol by Rudolf

11

in

nature'. Savery's trip,

journey to the

order to draw 'the rare wonders of

probably made

c.

1606- 7,^

resulted in a

wide range of drawings, many of which were used

sequent paintings. Spicer believes the

be one of his

it is

a 'lack of finesse'. Its

to

Notwithstanding

difficult to

strictures against the quality of the drawing,

shows

sub-

Woodner drawing

earliest chalk studies of the Alps.^

the question of such an early date,

in

accept her

which she

feels

more generalised aspect could be

explained by a later dating, as Tracie Felker has convincingly

suggested. * Cat. 70

was no doubt based on

perience and impressions of the Alps, but

and abstract treatment of the rocks and

its

the artist's ex-

more schematic

tree branches, as well

as the decorative use of coloured chalks, suggest that

made

in the

studio rather than from

Savery's return to Prague.

life,

it

was

perhaps soon after

Provenance: Friedrich Quiring (Lugt

Calmann, 1973.
Exhibitions:

Hamburg

1965, no. 120;

1041

Herbert

Woodner

Collection

S.

List;

11,

Hans M.

New

York

and elsewhere 1973-4, no. 80; Los Angeles 1976, no. 215; Princeton and
elsewhere 1982-3, no. 61; Woodner Collection, Malibu and elsewhere
1983-5, no. 46; Woodner Collection, Vienna 1986, no. 68; Woodner
Collection,

Munich 1986,

no. 68;

Woodner

Collection,

Madrid 1986-7,

no. 83.

Bibliography: Spicer 1979, pp. 21,

64ff.,

no.

18;

see also

Woodner

Collection catalogues.

Notes
1 The date

of his trip has been the subject of debate, but Spicer's proposal

of C.1606-7 seems well grounded.

2 Spicer 1979,
3

Her opinion

p. 21.
is

cited

194

FLEMISH SCHOOL

in the Woodner Collection

Woodner Collection catalogues.

by George Goldner

catalogue of 1983-5 and in subsequent

AiNk;

^vf
^^si^'

J,^i*

"

>->

'

k-.i^

>^-^A:y^^^^'9k..

Uden

Lucas van

Antwerp, 1595 - Antwerp, ibjz/j,

A landscape painter and engraver, he probably received his

workshop of his
He became a master

early training in the

father Arthus

van

at Antwerp in 1627/8.
Uden {b.1544).
along
the
Rhine
in
travelled
He
1644, returning to Antwerp
two years later. Although he was strongly influenced by
Peter Paul Rubens (1577-1640), whom he may have assisted

and landscape backgrounds

in the painting of figures

pictures,

van Uden's work shows more

landscape tradition of Joos de

Momper (1564-C.1635). The

figures in his landscape paintings

especially

artists,

71

in his

with the

similarities

were often added by other

David Teniers (1610-1690).

Study of Trees
Pen and brown
paper:

reddish-brown and yellow washes, on off-white

ink, grey,

342 x 218 mm.

study of trees reveals both the

his beautiful

heritage and his training in the studio of

to 1630. Typically Flemish

is

artist's

Flemish

Rubens from 1615

the use of pale pastel shades of

watercolour: bluish-grey, reddish-brown and above

luminous yellow,

which the

of

all

The device

delicacy and subtlety.

artist

all

the

has applied with great

of silhouetting the dark tree

trunks against a brightly-lit patch of ground or sky derives

from Rubens, but

was

it

to

become

a hallmark of

both van

Uden's painted and drawn work.

The drawing is one

dated by Carlos van

of a group of similar studies of trees,

Hasselt in the 1640s.

They

are finished

watercolours, mostly vertical in format, showing a few birch

or beech trees in the foreground; like the present sheet, the
central motif of trees

with a

flat,

is

usually set against an evening sky,

empty expanse of landscape beyond. Other examples

can be found

in

the Lugt Collection, Institut Neerlandais,

Paris,' the Fitzwilliam

Museum, Cambridge,^

Hamburg,^ and the Pierpont Morgan

well as many other public and private

Provenance: Bruno de Bayser,

Exhibitions:
lection,

Woodner

Munich 1986,

Bibliography: see

Library,

the Kunsthalle,

New

collections.

Paris.

Collection, Vienna 1986, no. 72;

no. yz;

York,* as

Woodner

Collection,

Woodner Collection

Woodner

Madrid 1986-7,

Col-

no. 85.

catalogues.

Notes
1

Inv. no.

3090; see Paris 1972, no. tii.

2 Inv. nos. PD

744-1963 and pd 745-1963;

see Rotterdam 1969, nos

86-7.
3 Inv. no.

196

Inv. no.

22 597; see Bernt 1957,

1,

239; see Fairfax

FLEMISH SCHOOL

11,

pi. 5.

Murray 1905-12,

i,

no. 239.

FRENCH

SCHOOL

Italian or

c.

French School (Jean Fouquet?)

1440

72

Rome

Page from the Cockerell

Chronicle, with Brutus,

a French mission. This hypothesis

seems borne out by the

young Frenchman,

Camhyses, King

Peisistratus,

1446 with

in

was

accepted by van Regteren Altena, Scheller and Lombardi and

between the

other Florentine painters about 1440.

The

of Persia and a View of

Babylon, Judith with the

stylistic similarities

Piero della Francesca (1410/20-1492) and

illustrated chronicles cited

ones depicting famous

minimal

Head

text,

were

above, as well as similar

historical figures

by

inspired

accompanied by a

the written accounts of Eusebius,

and others, and formed a fundamental

St Isidore of Seville

aspect of medieval Christian education. These chronicles

of Holofernes, Pythagoras,
the Prophet

first

kings and conclude with the Crucifixion and Resurrection,

Each figure

The combination

Gentiles.

by

with watercolour, on vellum: 309 x 200 nun.

name and description in Latin, and

ink,

inscribed with a

is

way

intermingling along the

on one page,
Pen and brown

in

the Bible, classical

and the Middle Ages: they begin with the

history, legend

King Darius and

Haggai

men and women from

represent heroic

the history of the Jews and the

of historical and religious figures

as in the present example,

therefore not unusual.

is

French

a later hand.

Thhis page
.

one of nine surviving sheets from an incomplete

is

illustrated chronicle, eight

pages of which

at various times

belonged to William Morris, Charles Fairfax Murray and

Sir

Sydney

Cockerell.

The manuscript and four others

are

derived from a lost series of frescoes of Famous Men, which

Cardinal Giordano Orsini commissioned Masolino {c.1383/4
[?]i447), before 1432, to paint for the Sala del teatro in the

Monte Giordano

Rome.* These

five

manuscripts

and two contemporary descriptions of the fresco

series testify

palace at

to

its

fame.

The

in

is

manuby Leonardo da Besozzo,

locations of the four other surviving

scripts are as follows: one, signed

Crespi Collection in Milan;^ another, the Libw del

in the

Gabinetto Nazionale

giusto, is in the

Biblioteca Reale in Turin;^

and the

in

According to

a third in the

fourth, a recently discovered

version of Florentine origin, was on the

in 1985."

Rome;

New York art market

Scheller, the Cockerell Chronicle

copied directly from the Crespi manuscript, which,

opinion,

is

was

in his

closest to the original appearance of Masolino's

cycle, since

it

seems to reproduce the background of the

Provenance: presumably an early French collection; Quaritch, London;

acquired in 1894 by William Morris, Kelmscott House, sold 1895; Charles
Fairfax Murray, sale, London, Sotheby's, 18 July 1919, lot 50; Sir Sydney
Cockerell, sale, London, Sotheby's, 2 July 1958, lot 22; private collection,
sale, London, Sotheby's, 4 July 1977, lot 152; Rudolf Drey.
Exhibitions: London 1896; Milan 1958, no. 202; Northampton
no.

Woodner

loi;

Woodner

Collection,

Collection,

1986, no. 73;

Vienna 1986, no.

Woodner

ma

1978,

Malibu and elsewhere 1983-5, no.

Collection,

Woodner

73;

Collection,

Madrid 1986-7, no.

3;

Munich

86.

frescoes.

Bibliography: Hofif 1937-8, pp. zgzd.; Saxl and Meier 1953, pp.
Berenson 1938, no. 164c; Toesca 1952, pp. i6ff.; Grassi 1956,
1,

Attempts to pinpoint the origin of the Cockerell Chronicle

have been unsuccessful. Berenson was the
to the Florentine School, considering

lowers of Fra Angelico

the period

lavender
faces.

is

(cf.

iq.v.).^

Cat. 2)

on the French

in

- and

1952

Italian master.**

death

in

work of

red, green, blue,

and

Toesca, basing her argument

suggested that the

who had

artist

of the

studied with

She proposed the young Jean Fouquet

who was painter to Pope Eugenius iv before

1447 and who was supposed to have been in

(c.1420-1477/81),
his

it

the fol-

the expressive character of the

Chronicle must have been a Frenchman

an

to attribute

86;

p.

Scheller 1962, pp. 56ff.; Berenson 1961, no. 164c; Toesca 1970, pp. 62ff.,

no. 293;

Lombardi 1973, pp.

7iff., 79, 8iff.;

see also

Woodner

Collection

catalogues.

Notes
1 Scheller

1962, pp.

56ff.;

see also

2 Degenhart and Schmitt 1968,

Ilaria

inscriptions,

first

in the line of

Typical of Florentine

the delicate colouring

However,

it

279^?.;

3 For a study of the group, see

4 Krauss 1985, no.

5 Berenson

1938,

11,

Simpson 1966,
pt

1,

pp. i35ff.

pp. 573ff.

Ottawa 1969,

no.

1.

1.
11,

no.

164c CBy

finer

artist

than

Domenico

di

Michelino or Strozzi, and more delicate than Benozzo and on a level

with Pesellino,
certainly not

whom

these miniatures most resemble, although almost

by him. There

are reminders as well of

Domenico Venez-

iano.')

6 Toesca 1952, pp.

i6ff.

FRENCH SCHOOL

201

^h<

::&.'ii^7,.

T'T^JC^

V^

>

^1

^J^^'JtOkTt^

\Muitih

':^

ob^'

:}

^
'^5ff=i#^"'t

<%A

^ScigVft* /viii'^'M- a^ryn^

/V>> -je

**J
^.ii: K---;^'^"-'.

72

(detail)

,/^

J Sff' "*;^^^.'

'

^ k

^ i'

''

WMi!,r 5''"ySBK?^.

V^^A

>C^>v. -tr wA

,..

^W

'vr"

,,

fyv>-'-r>'^'

<-.-ri-rv

--^S

"1

Nicolas Poussin
- Rome, 1665

Les Andelys, 1594

He was

trained at Les

first

Andelys by the painter Quentin

by Noel
(c. 1580-1649) and Georges

Varin (I?]i570-i634), and from 1612

Jouvenet the Elder, Ferdinand

Lallemand

(c.

15 75-1636).

Elle

He

in Paris

learned of Italian Renaissance

painting through the engravings of Marcantonio Raimondi

1480 1534) and others. From 1624, with an interruption

between 1640 and 1642, Poussin lived and worked in Rome.
(c.

He

and

specialised in painting historical subjects,

his

compositions are principally based on mythological and

biblical

themes. Poussin was the chief exponent of French

and

classicism in the seventeenth century,

his

work exerted

strong influence on later generations of painters.

73

Parnassus
Pen and brown

ink,

Ihe drawing

brown wash, on

162 x 333

light buff paper:

an almost exact copy, as

is

far as

the central section of the fresco of the subject

(q.v.) in

it

mm.

goes, of

by Raphael

continuation of the classical tradition perfected by this great

exemplar.

the Stanza della Segnatura in the Vatican. Poussin

has concentrated exclusively on the figures, eliminating, with

the exception of a few lines at the lower right, any suggestion

them or the background. The copy

The artist instead has summarised
the formal relationships between the figures and simplified
their illumination into broad areas of highlight and shadow.

of the terrain beneath

does not dwell on

details.

Poussin ran out of space on the right and a muse beneath the

on the right of the fresco could not be fitted on to

the paper. She was drawn instead, out of sequence, on the

two

trees

upper

left

of the sheet: she stands with her back turned to

the right, with her

presence in
in the

left

hand resting on her hip. Her incongruous

this position serves to

underline Poussin's interest

grouping of the figures and

their poses, rather than in

their setting.

The drawing has been related to Poussin's painting of Apollo

and the Muses in the Prado, Madrid, a work variously dated
between 1626 and 1635.' But the two differ in practically
every respect: in his painting Poussin has created a new composition from that of Raphael's fresco, with different poses

and groupings of the

figures. Indeed,

if

a point of departure

from Raphael's composition were to be indicated for the

Prado picture, it would be Marcantonio Raimondi's print^
after a lost early

print

figures.

made
to

it.'

design for the fresco:

and Poussin's painting flying

It is

now

in

both Marcantonio's

putti

appear above the

thought that the present drawing was

in fact

several years later than the painting and not in relation

This conclusion

which indicates

is

supported by the drawing's

a date in the

style,

middle 1640s by comparison

Provenance: Hubert de Marignane (Lugt 1872);

711 June i960, lot 311.
Exhibitions:

in

The drawing may be taken

204

FRENCH SCHOOL

as a

York and elsewhere 1973-4,

Bibliography: Blunt 1974, pp. 239-40, 246, no.

fig.

16; see also

Woodner

7;

Blunt 1979, pp. i46ff.,

Collection catalogues.

Notes
1

Blunt 1974, pp. 239-40.

The painting

no. 129, and Thuillier 1974,

as illustrating Poussin's admir-

own work

New

1986-7, no. 88.

B.

p.

discussed in Blunt 1966,

Woodner Collection

and Madrid.
4

is

p. 90,

94, no. 69.

247.

3 See Michael Miller in

ation for Raphael and his conception of his

11,

Woodner Collection, Cambridge ma 1985,

no. 103 (checklist only); Woodner Collection, Vienna 1986, no. 74;
Woodner Collection, Munich 1986, no. 74; Woodner Collection, Madrid

the second series of the Sacraments.''

Collection

Geneva, Rauch,

no. 88; Paris 1984, no. 197;

with other studies of the period, such as some of those for

paintings

Woodner

sale,

Cf. Blunt 1974,

nos

78,

87-9, 95-6.

catalogues of Vienna, Munich

Claude Gellee, called Claude Lorrain

Chamagne,

Lorraine,

1600 - Rome, 1682

After the death of his parents in 1612, Claude worked for his

brother Jean,

who made

earliest training

as early as

is

intarsia in Freiburg in Alsace.

have been

said to

as a pastrycook. Possibly

1613 he moved to Rome, where he was apprenticed

to the fresco-painter and landscape artist

(c.

His

Agostino Tassi
in Naples

1580-1644). From 1620 to 1622 he worked

with the landscape painter Gottfredo Wals (C.1590/5-C.1630).

He

settled in

Rome where

he worked for the rest of

his

with the exception of a short stay in Nancy (16256)

where he collaborated with Claude Deruet {1388-1660) on
career,

From 1637
1639 he received commissions from Cardinal Bentivoglio
and Popes Urban viii, Alexander vii and Clement ix, as
frescoes for the ceiling of the Carmelite church.
to

well as from the King of Spain. Influenced earlier

romanticised landscapes of Paul

Bril

by

the

(1554-1626) and

Adam

Elsheimer (1578-1610) and the Italian tradition exemplified

by Domenichino (1581-1641), Claude

soon became the leading landscape painter in Rome. His

by

the Carracci and

classical or idealised

to

convey

light,

landscapes reveal his unrivalled ability

atmosphere, spatial depth and the grandeur

of nature.

/4

Road

Christ on the
Black chalk,

to

brown wash and white bodycolour, on

paper: 170 x 225

Emmaus
pale pink-prepared

mm.

study, the

evoked

atmosphere, with the sun

a splendid late-afternoon

is

work. This must have

right. In the present

suppressed

in

favour of summarily

moved back

copy drawn
record of all his work

Another version of the theme

ground so

that the isocephalic figures

a classical frieze.

drawing would have been done

Claude's habit

dominate the scene

- when

ing completion." Yet

at the last

the landscape

by adding an

the pink paper, the bodycolour and the

tribute to the

rich

brown wash

grandeur and nobility of the sheet.

from the famous Wildenstein album

of

and the

It

moment

as

on the canvas was

like

was

near-

indication of a setting to

the figures, he has given the drawing an

scale of the figures

to the middle

According to Roethlisberger, the Woodner

survives in a painting in Leningrad.^

The monumental

drawing

a lost picture of

kept methodically throughout his career to protect himself

against forgery and imitation.

of the background

on the

indicated foliage, and the trees are

the subject executed in 1652, and recorded in a

in the Liber Veritatis^ his

version of the

final

setting behind the figures

Ihis magnificent drawing corresponds to

only a figure

landscape that was to appear in the

much

by Claude

Thaw drawing, which is

Woodner drawing has a condensed

Yet, unlike the

autonomous

unity,

tone of

independent of the finished picture.

all

con-

comes

Diane Russell has compared the Woodner drawing with a

study of two female figures

in classical

dress,

which are

(later in the collection

Norton Simon), which contained other

similar in
similar studies

both technique and composition.'

on

prepared paper, likewise dating from the 1650s and 1660s.

There
in

is

another preliminary figure study for the composition

the collection of

Mr

York.^ Cat. 74 and the

differ

and Mrs Eugene V. Thaw,

Thaw

from the composition

drawing, which
in

is

New

Provenance: possibly Queen Christina of Sweden; Prince Don Livio

Odescalchi; George Wildenstein, i960; Norton Simon Museum, Pasadena,
1968-80; Marianne Feilchenfeldt, Zurich.

double-sided,

the Liber Veritatis in that their

Woodner Collection, Cambridge ma

Woodner Collection, Vienna 1986, no. 75;
Munich 1986, no. 75; Woodner Collection, Madrid

Exhibitions: Munich 1983, no. 53;

1985, no. 105 (checklist only);

concentration

verso of the

is

on the

Thaw

figures rather than the whole.

drawing,

in

pen and brown

ink,

The
was

presumably drawn first. Claude then traced the figures through

from the verso on to the recto, working them up in wash and
bodycolour; he altered the hand of Christ, which now gestures,
and the staff. In the Woodner drawing the artist has moved
Christ to the centre of the group, as in the

The Thaw study

identical format,

206

FRENCH SCHOOL

is

drawn on

and the

final

composition.

similarly prepared paper of

Woodner

Bibliography: Roethlisberger 1962, no. 13; Roethlisberger 1968, no. 711;

Roethlisberger 1971, no. 35; Toronto 1972, under no. 54; Washington DC Paris

same

size.

1982-3, under no. 39.

Notes
1

See Kitson 1978, no. 125.

2 Roethlisberger 1961, no. lv 151.

3

figures are the

Collection,

1986-7, no. 89.

New York

1975, no. 20; Roethlisberger 1968, no. 710.

4 Roethlisberger 1971, p. 33.

5 Washington DC - Paris 1982-3, no. 39.

Antoine Coypel
Paris,

1661 -Paris, 1722

Son and

pupil of

Noel Coypel (1628-1707), a painter

Charles-Antoine Coypel (1694-1752).

Academy

in Paris in

Royal Collections

the

in

Academy and two

He

entered the

1681 and was named director of the

1710

in

recognition of his frescoes in

the chapel at Versailles. In 1714 he

y^

in

of Charles Labrun (1619-1690), and father of the painter

circle

became

director of the

years later Premier peintre du Roi.

Venus Crowned by Cupid

Red, white and some black chalk, on blue paper; squared for transfer:

327 X 241 mm.

Inscribed at lower right, in

brown

ink, {1)84;

on the verso,

in

graphite,

Coypel.

/vntoine Coypel was

When

the second

member

of a dynasty of

Noel was appointed director of the

French Academy at Rome, the precocious Antoine took advantage of the opportunity to study the work of the Italian
baroque masters, such as Carlo Maratta (1625-1713) and
Giovanni Lorer^o Bernini (i^gS-idSo), with whom he worked
until 1676. On his return to Paris in that year, he abandoned
painters.

his father

the Poussinesque tradition of French classicism,

wards

a lighter

rapidly: at the

and

in

the

and more

moving

to-

colouristic style. Success followed

Academy
to the Due

age of twenty he was accepted into the

same year he was appointed painter

d'Orleans.
In

1701 the Due d'Orleans commissioned Coypel to decorate

the Gallery of Aeneas,' and, in the opinion of Tracie Felker,

Woodner drawing may be

the

Although the

figure cannot be

related to this decoration.'^

connected directly with any

specific figure in the Gallery, Felker suggests

discarded study for the figure of

the

Arms

Venus

in

it

could be a

Vulcan Displaying

of Aeneas.

After completing a preliminary sketch for the ceiling in

1702, Coypel

The
the

made many preparatory

studies a trois crayons.

Woodner drawing

closely comparable to

style of the

many

is

surviving sketches of this kind:^ they are executed

same technique and the handling of the light is very

similar. Coypel finished the ceiling by the summer of 1703
and began the decoration of the four voussoirs, including the
in the

scene of Vulcan Displaying the

were completed
ing

in

1705, so

Arms

it is

of Aeneas.

likely that the

The voussoirs

Woodner draw-

would date from about 1703-5. Coypel then abandoned

the commission for ten years in order to devote himself to

Provenance: Baron Louis- Auguste Schwiter (Lugt 1768),

Drouot, 20-21 April 1883,

sale, Paris,

Hotel

lot 26; Strolin et Bayser, Paris.

Woodner Collection 11, New York and elsewhere 1973-4,

Woodner Collection, Malibu and elsewhere 1983-5, no. 57;
Woodner Collection, Vienna 1986, no. 77; Woodner Collection, Munich
1986, no. 77; Woodner Collection, Madrid 1986-7, no. 92.
Exhibitions:
no. 92;

other projects, and did not complete the decoration until

Bibliography: see

1715.

Notes
1

Woodner Collection

catalogues.

Schnapper 1969, pp. 33-42, where the project and

its

evolution

is

discussed.

The

subject of the drawing

FRENCH SCHOOL

Triumph of Venus

in the

shown

seated on clouds instead of on the crest of waves as one would

Most

if

the

first

catalogue, but Felker pointed out that the figure

identification

were

is

correct.

are preserved in the Louvre; see Guiffrey

pp. 15-35, especially nos

208

identified as the

Woodner

expect
3

was

second

2765-6, 2832.

and Marcel 1909,

Claude Gillot
Langres, 1673 -Paris, 1722

A well-known decorative artist of the Rococo, Gillot was

the master of

Watteau

(q.v.).

After an

initial

period of

apprenticeship with his father, the history painter Andre-

Jacques Gillot

Claude continued

(d. 1 7 1 1),

Jean-Baptiste Comeille (1649-1695)

his training

in Paris.

By

with

the age of

he was already a successful painter of frescoes and

thirty

arabesques

of Claude

in the style

Watteau worked

in his

Audran (1658-1734).

studio from 1704/5 until 1708. In

1715 Gillot entered the Academy. In addition to frescoes

and book illustrations, Gillot also designed furniture and
stage decorations.

75

On the verso the bands of naturalistic foliage and formalised

Scene from the

Comedie

interlacing reflect Gillot's training under Audran.

italienne

work
Pen and brown inic, grey wash (verso: pen and brown
on cream-coloured paper: 157 x 211 mm.
Inscribed on verso with numerals in graphite.

ink,

over graphite),

influence

Illness

like

The scene shows seven

In this respect, as in his

on Watteau and on the development of the Rococo

of

Harlequin, Eunice Williams has rightly questioned such an

identification.'

Rococo manner.

dealing with the theatre, Gillot had a considerable

stvle.

76 was previously entitled The

Cat.

arab-

esque style of Jean Berain (1640-1711) has been transformed

into an open, lacy

A,Llthough

The

.=11.

figures within a stage-

space consisting of paired columns and archways, with a

curtain

drawn

stage).

Williams suggests that the central figure

Scaramouche,

smoothing

at left (a

who

is

baroque convention alluding to the

shown wearing

may be

notes that Pierrot

Harlequin

if

cape and tunic; he

is

beard and moustache while looking into a

his

mirror held by his companion,

that

may be

is

present at

who

figure at the left

is

who

wears a sword. She also

the figure at the extreme right, and

all

he

is

likely to

>

be the kneeling

kissing the train of the

woman

next

to him.

The Woodner drawing is a free sketch, with many reworkings by Gillot. In contrast to the red chalk washes of his
more finished drawings, this was made with grey washes. It
is

executed with great freedom in the pen strokes; and the

nervous, attenuated forms remind one of marionettes.^

may

drawing

be

formance that Gillot had

later

intended to

The

rough sketch, based loosely upon a per-

make

just witnessed,

into a

more

which he perhaps

finished

and readable

composition.

In the

second

italienne

half of the

had established

seventeenth century, the Comedie

Provenance:

France and had achieved

Exhibitions:

itself in

was banished by Louis xiv in 1697 after he

was angered by a play. La fausse prude, which he believed to
great success.

be aimed

It

at his

second wife,

Mme

de Maintenon. Members

of the troupe remained in Paris, however, performing improvisational plays

italienne. Gillot

and adaptations of the material of the Comedie

made many drawings

of theatrical subjects,

which date from the period of the banishment of the troupe.^

Seventy-five such drawings by the

artist

of Quentin de Lorengere in 1744 alone."

210

FRENCH SCHOOL

appeared

in the sale

Strolin et Bayser, Paris.

Woodner Collection 11, New York and elsewhere 1973-4,

Woodner Collection, Malibu and elsewhere 1983-5, no. 56;
Woodner Collection, Vienna 1986, no. 78; Woodner Collection, Munich
1986, no. 7&; Woodner Collection, Madrid 1986-7, no. 93.

no. 95;

Bibliography: Butler 1974, pp. 56-7; see also Woodner Collection

logues.

Notes
1

Woodner Collection

11,

New York and elsewhere

1973-4, no. 95.

2 Popuius 1930, p. 25.

3 Dacier 1925, pp.

44-5.

Sale, Paris, Gersaint, 2

March and following days 1744.

cata-

Si

Antoine Watteau
Valenciennes, 1684 -Nogent-sur-Marne, 1721

He began

his training at the

age of eleven with the painter

From 1702 he lived in Paris,

where he was much influenced by the work of earlier Flemish
and Dutch masters. He was the pupil of Claude Gillot (q.v.)
and later of Claude Audran (1658-1734). In 1710 he lived for

J. A. Gerin

Valenciennes.

in

where ]ean-Baptiste Pater

a short time again in Valenciennes,

(1695-1 736) became

in 1717,

Academy

entered the

submitting as his presentation piece the famous

Embarkation for the Island of Cythera

that introduced the

new genre

epitomise the Rococo

y/

He

his apprentice.

Two

(Paris,

of fetes galantes which

chalk, on light buff paper; framing

127 X [18 mm.

Red

V Vatteau's

left

were to

Woman

brown

corner, in

brown

line in

Wateau

ink,

ink

and grey wash:

[sic].

drawings have always been much sought

and according to the Comte de Caylus he drew

of drawing,

work

period.

Studies of a

Inscribed at lower

Louvre), a

after,

for the sake

making numerous studies from life without any

He usually employed either red or

particular picture in mind.

two or

black chalk alone, or

three chalks together.

He made

studies of figures and animals (see Cat. 78), as well as copies

of drawings and paintings

by

greatly facilitated

by

Composition studies by him are

instead of posing models

is

present drawing

rare,

is

anew each
a

and

for the figures in

on

effects of light

it.

life

studies

time.

costume study,

interested in the clothing of the

and the

(this latter activity

the Crozat collection).

he turned to his large archive of

his paintings

The

masters

earlier

his access to

model

in

which the

in different

artist

poses

Watteau used the study on the

right for the central figure in three paintings, the Peasant

Dance (Huntington Library and Art Gallery, San Marino),

Love

in

French

the

(Edinburgh).'

The

and Venetian Carnivals

Theatre (Berlin)

figure

on the

right

was engraved,

in reverse,

by Louis Desplaces (1682-1739) in the Figures de differents

^ and was later copied from the Peasant Dance by
caracteres
Benoit Audran (1661-1721) for his etching.
According to Margaret Morgan
Theatre

was completed

in

Grasselli, Love in the French

1712.' Other figures from this paint-

ing appear in other drawings, the style of which

with

this sheet.

few

is

analogous

theatrical figure studies, as well as

other studies of

women,

The uniformity

of colour in the touches of chalk and the

are dated

by her about 1712-13.''

decorative treatment of the line would seem to indicate that

the

Woodner drawing was made

ever, there

is

in

the

same period. How-

another drawing with a very similar study of

two dancing women

in a

private collection in Paris, which

Parker assigns to Watteau's early period.'

Provenance: Adolphe

Stein, Paris.

Woodner Collection, Cambridge ma

Woodner Collection, Vienna 1986, no. yg;
Munich 1986, no. 79; Woodner Collection, Madrid

Exhibitions: London 1984a, no. 72;

1985, no. 106 (checklist only);

Woodner

Collection,

1986-7, no. 94.

Bibliography: see Woodner Collection catalogues.

Notes
2

Adhemar 1950, pis ^8, 138, 129.

De Goncourt 1875, p. 261, no. 463.

Washington dc and elsewhere 1984-5,

Ibid.,

nos

d.

1519.

5 Parker and Mathey 1957,

212

FRENCH SCHOOL

11,

pi.

2g.

pp. 75, 78.

Antoine Watteau
-Nogent-sur-Mame, 1721

Valenciennes, 1684

/8

Dog

Five Studies of a
Red and black
Signed

brown

in

chalk,

on off-white paper: 178 x 285 mm.

right, in red chalk, Watteau. Inscribed

lower

at the

In. j

ink,

on the

verso,

I Tassaert.

he large number of dogs, horses and other animals that

appear
there

in

the paintings of

Watteau lead one to conclude

that

must have been many more animal studies than those

preserved.

still

Cat. 78

is

similar in style

Musee Cognacq-]ay

the

dog appears

and type to a sheet of studies

in Paris.

in different poses,

When

working method.

In

in

both drawings the same

which

is

typical of Watteau's

he required an animal for one of his

painted compositions, he simply selected an appropriate sketch

from

his archive of studies

from

life.

on the present sheet do not appear in any surviving painting, but the Cognacq-Jay drawing was used for the
Hunt Meeting in the Wallace Collection,^ where it is combined
with an extensive group of figures and animals, the latter

The

studies

derived from the etching Venus and Adonis by Pietro Testa

(1612-1650).^

The

studies

on the Woodner sheet were probably drawn

about the same time as those on the Cognacq-Jay sheet,

which has been tentatively dated to September 1720 by

Margaret Morgan
in the

Grasselli.''

The Hunt Meeting was painted

summer and autumn

of 1720. Grasselli has further

observed that
period,

it

the drawing in Paris

if

said of the

style

Woodner

rapidity of touch,

it

this precise

had

fully

sheet: with

matured. The same could be

its clarity,

transparency and

represents the culmination of Watteau's

development.

Provenance:

J.

Exhibitions:

Woodner

tion,

not from

cannot have been made before 1717, the date by

which Watteau's

artistic

is

P.

A. Tassaert (Lugt 2388);

Munich 1986,

W.

Burgi, Switzerland.

Collection, Vienna 1986, no. 80;

no. 80;

Woodner

Collection,

Woodner

Collec-

Madrid 1986-7, no. 95.

Bibliography: see Woodner Collection catalogues.

Notes
1

Inv. no. 196:

Washington DC and elsewhere 1984-5,

no.

d 124.

2 Inv. no. P416.

3

B.

25. See Parker 1933, pp. 37ff.

4 The precise dating

is

based on passages

in a letter

from

September

I1720I that purports to be from Watteau to Jean de Jullienne; but there

are

some doubts concerning

the authenticity of the letter, the present

whereabouts of which are unknown.

214

FRENCH SCHOOL

Jean-EHenne Liotard
Geneva,

702 - Geneva,

One of the

major

789
pastellists of the

eighteenth century, he

gained a reputation for his portraits, which are also executed

in oil, as

miniatures and on enamel.

He was

a pupil of Jean-

Masse (1687-1767). From 1725 he worked in Paris.

During the period 1738-76 Liotard travelled widely and
Baptiste

worked
later in

for long periods in Italy, Austria, the Levant,

and

England and Holland. His single surviving landscape

He was
Dutch paintings,
and a writer, whose treatise on painting was published in
1781. He gained notoriety for adopting Turkish dress and a
and

his

are as interesting as the portraits.

still lifes

also an important collector, principally of

beard after his

7^

visit to

Constantinople.

Portrait of Elisabeth Christine,

Empress of Austria
(1691 ly so)
Pastel

on vellum: 687 x 578 mm.

J-ilisabeth

Christine

was the daughter of Duke Leopold

Rudolf of Braunschweig-Wolfenbiittel and Christina Louise

of Oetingen. In 1708 she married Charles vi (1685-1740),

who was

created

Holy Roman Emperor

in

1711. During his

reign Charles had to concern himself principally with the

problem of succession to the Austrian throne, which in the

end passed to his daughter, Maria Theresa (1717-1780).

The

sitter

is

dressed as a widow, and the pastel must therefore

made three extended visits to

1743-5, when it would seem that the
Woodner portrait was done. A pastel of the Empress dated
1744 is in Weimar and was engraved by ].C. Reinsperger
date from after 1740. Liotard

Vienna, the

first in

(1711-1777).' This too

sitter

dressed as a widow.

visits to
traits

is

On

a half-length portrait with the

this first, as well as

on subsequent

Vienna (1762 and 1777-S), Liotard also drew por-

of Maria Theresa and numerous other

members

of the

Austrian court.

Provenance:

sale,

London, Sotheby's, 30 November 1983,

lot

237; Wolf

Dietrich Hassfurther.

Exhibitions: Vienna 1980, no. 34,06.

Bibliography: see exhibition catalogue cited above.

Note
1

Staatliche

Kunstsammlungen, Schiossmuseum,

inv. no. c. 63.

See Humbert

1897, pp. 107-8, no. 12; Fosca 1928, p. 150; and Locke and
Roethlisberger 1978, no. 68, where two further copies are listed.

ei

216

al

FRENCH SCHOOL

Frangois Boucher
Paris,

1703 -

Paris,

1770

He received

from

his first training

(cl.1743), an embroidery designer,

Boucher

his father Nicolas

who

sent

him

1720 to

in

He received

be apprenticed to Francois Lemoyne (1688-1737).

further training in the workshop of the engraver Jean-Francois

Cars (1665-1763), whose son Laurens engraved many of

He was much influenced by the work

1723 he won the Prix de Rome and in

Boucher's paintings.

Watteau

In

(q.v.).

of

where he came into contact with

1727-31
the work of Correggio {c\.v.) and Tiepolo (^.y.). In 1734 he
entered the Academy, of which he became director in 1765.
He was drawing master to Mme de Pompadour, whose
assistance was decisive for his brilliant career. In 1765 he was
travelled to Italy,

du

also appointed Premier peinire

his erotic

and with the Parisian

His fetes champetres and

nobility, but

were

criticised,

among

by Diderot.

others,

80

Roi.

mythological scenes were popular with the court

Seven Amorini (The Target)

brown paper (slightly

Black and white chalks, on light

foxed):

255 x 852

mm

(lunette-shaped).

Signed and dated

Ihis

is

Boucher

at

lower

right, in black chalk,

example of

a fine

Boucher 176s.

artist at his

perhaps an overdoor. The

best as a decorative draughts-

man. The use of black and white chalks

general effect of great luminosity.

and

liveliness of action are

/.

major preparatory drawing by

for a decorative project,

drawing shows the

/.

is

The

rich

and creates a

playful conception

highly characteristic of the

artist

and

his age.

In subject, composition

and

to three paintings of

1766

overall feeling. Cat.

that

80

were formerly

is

analogous

in the

Renee

de Becker Collection, Rome.' They, however, are of rectangular

shape and therefore seem

likely to

have been made

ferent project. In addition, a print

for a dif-

by Louis-Martin Bonnet

(1743-1793) after another, presumably lost version of this

subject by Boucher was made two years after the artist's
death;

it

too

is

of rectangular format.^

Provenance: Randon de

Boisset,

Nathaniel de Rothschild, Vienna;

New York,

sale,

London,

Christie's,

317; Harry Michaels, Esq.,

sale,

London,

Christie's,

Sydney
lot

Baron Alphonse de Rothschild, Vienna;

Rosenberg and Stiebel, New York;

sale,

lot 158;

L.

Lamon,

Thomas Agnew and

27 November 1973,
11

December 1979,

Sons, London, with Spencer Samuels,

New

York.

Exhibitions: Montreal 1953, no. 173; Woodner Collection, Malibu and

elsewhere 1983-5, no. 59; Woodner Collection, Vienna 1986, no. 82;

Woodner

Collection,

Munich 1986,

no. 82;

Woodner

Collection,

Madrid

1986-7, no. 97.

Bibliography: see

Woodner Collection catalogues.

Notes
1

Sale,

London,

Christie's,

Wildenstein 1980,

2 Jean-Richard 1978,

218

FRENCH SCHOOL

p.

11 December 1979,

135, nos

p. 117, no.

622-4.
362.

lot

158;

Ananoff and

Jean-Baptiste Greuze
Toumus, 1725 -Paris, 1805

From 1747 he was apprenticed to Charles Grandon in Lyon

and from c.1750 he worked in Paris, where he was friends
with the well-known engravers Jacques-Phillip Le Bas

(1707-1783) and Pierre-Etienne Moitte (1722-1780). He

lived in Italy from 1755 to 1757. Having returned to Paris,
he began exhibiting regularly at the Salon where his painting
The Village Wedding of 1761 was a great success. In 1769 he

Academy

entered the

work was

since such

as a painter of moralising subjects,

well received

by

the bourgeois public

and between 1759 and 1769 by Diderot.

81

Head

Man

Old

of an

Red, black and white chalks (with the chalks stumped and wetted
places),

on

buff paper;

ihis head

in a

probably a preliminary study made early

is

few

463 x 374 mm.

in the

evolution of one of Greuze's most famous paintings. The

Paralysed

Man

Attended by

Family

his

(Filial Piety) or,

as the

Good Education, now in

the Hermitage, Leningrad. The picture was exhibited at the
Salon of 1763, where Diderot praised it highly, remarking
especially on the beauty of the heads of the old man, his wife
and his son.^ In 1766 Catherine 11, Empress of Russia, bought
artist

it

himself called

it,

the Fruits of a

for her gallery in St Petersburg,^

Flipart

and

a year later Jean-Jacques

(1719-1782) dedicated an engraving after

it

to the

Empress.

The drawing shows

skill,

working with

the

red,

full

range of Greuze's technical

white and black chalks to create an

effect as rich in its graphic

bravura as

in its

emotional impact.

The monumental study also demonstrates the extent to which

Diderot was right when he commented on the artist's deep
involvement with his subjects: 'When he is working he is
completely bound up in his work; he is deeply moved himself;
he brings into the world the character of the subjects he

is

treating in his studio.'^

The

painting of 1763

years earlier

drawing

in

was

in

gestation for

the Salon of 1761

for the composition,

some

Greuze exhibited

now

in the

Le Havre." In the Hermitage there

is

Musee

time;

two

a preparatory

des Beaux-Arts,

a finished study for the

Provenance: David Weill, Neuilly; Cranbrook Academy of

field Hills MI; sale, London, Sotheby's, 13 July 1972, lot 13.
Exhibitions:

Collection,

who is shown in a much more debilitated state than in the

Woodner drawing. A related drawing is in the Cafmeyer Col-

no. 98.

and a study from the same model, which was

used for the Marriage Contract of 1761,

Art Gallery,

New

is in

the Yale University

Haven.* Further studies for

are

1976-7,

no. 45;

Woodner

no. 83;

p. 80,

under no.

1;

iii,

Woodner

pp.

see also

213-14,

Collection,

pi. i;

Woodner

New

York

Madrid 1986-7,

Hartford and elsewhere

Collection catalogues.

i,

135.

2 Information conveyed

by Baron Melchior Grimm

3 Diderot, as note

p. 15,

no. 186.

1.

4 Hartford and elsewhere 1976-7, p. 21, no. 106.

5 Monod and Hautecoeur 1923, no. 50.
6 Hartford and elsewhere,
7 Martin, as note

FRENCH SCHOOL

11,

Hermitage, inv. no. 1168; Diderot ed. Seznec and Adhemar 1957,

1767, quoted by Martin 1905,

220

Collection

Notes
p.

recorded but cannot be traced.^

Munich 1986,

Bibliography: Henriot 1928,

Filial Piety

York 1944b,

Bloom-

and elsewhere 1973-4, no. 110; Woodner Collection, Malibu and elsewhere
1983-5, no. 58; Woodner Collection, Vienna 1986, no. 83; Woodner

old man,' similar to the figure of the father in the painting,

lection, Paris,

New

Art,

2.

p. 80,

no. 31.

in

correspondence of

Jean-Baptiste Greuze
Toumus, 1725 -Paris, 1805

82

The Return of the Prodigal Son

Brush and grey wash, pale brown wash, over traces of black chalk
(verso; brush and grey wash, over traces of black chalk), on off-white
paper:

227 x 226 mm.

he study on the recto of

this sheet

is

devoted to one of

the artist's favourite themes: the family disgrace.

is

a variant

Teller,

the

copy of the Caravaggesque subject The Fortune

which

is

completely unrelated to Greuze's version of

theme painted

mid-i78os and nov^

in the

lection in Paris.' In the British

on both

On the verso

Museum

sides of the paper, with

is

in a private col-

a similar study,

drawn

two unrelated composition

studies.^

Greuze

is

shown here

at his best in the

of broad patches of wash.

vigorous application

The powerful drawing

also illustrates

the underlying structure of his dramatic compositions and

his

debt to Poussin

{q.v.).

The same bold technique and style are seen in the Return of
the Outlaw in the Wadsworth Atheneum, Hartford,' and the
Boat of Happiness in the Boymans-van Beuningen Museum,
Rotterdam," works which are dated by Munhall to the midand

late

1770s respectively.

82 verso

Provenance: D.

Jodidio, Paris.

Woodner Collection, Vienna 1986, no. 84; Woodner

Munich 1986, no. 84; Woodner Collection, Madrid 1986-7, no.
Exhibitions:

Bibliography: see

Woodner Collection

catalogues.

Notes
I

Hartford and elsewhere 1976-7, no. 99.

2.

Inv.no.

1860-4-14-2.

3 Hartford, no. 80.

4 Hartford,

222

no. 89.

FRENCH SCHOOL

Collection,

99.

Jean-Honore Fragonard
Grasse, 1732

- Paris, 1806

From 1747 he

recorded as being

is

in the

studio of Jean-

Simeon Chardin (1699-1779) and in 1748 in that

of Francois Boucher {q.v.), whose style he imitated in his
Baptiste

(New

painting the Adoration of the Shepherds, 1750

He remained with Boucher until

Wildenstein Gallery).

won

the year he

York,
1752,

the Prix de Rome. In 1753 he entered the

Ecole Royale des Eleves Proteges and in 1756 he was

admitted to
erotic

8^

tTie

Academy

French

themes and

at

Rome. He favoured

subjects.

The Avenue of Cypresses at

the Villa d'Este
Pen and brown wash, over
Inscribed

on the verso,

villa d'Este prise

du

in

counterproof

brown

cote de

I'

in red chalk:

ink, Pres Tivoli,

entree

dans

le

456 x 340 mm.

vue du Palais

parterre. Bdtie vers

I'

et

jardin de la

an 1540.

Fragonard num. 199.

T,he Villa d'Este,

famous above

all

for

its

parks,

was

built for

by Pirro
was owned

Ippolito d'Este in the sixteenth century to designs

Ligorio (c.1513 1583). In the eighteenth century

by

the

Abbe de

Saint-Non,

who

in

the

it

summer

of

1760

invited Fragonard and Hubert Robert (1733-1808) to stay"

there.

During

time Fragonard

this

examples of which are preserved

made many drawings,

museums at Besangon^

in the

and Warsaw.^

The

present sheet

is

counterproof taken from the drawing

of the grand avenue of cypress trees in Besangon.

chalk impression

was gone over with pen and brown

The red
ink

and

wash to enliven the drawing and give the impression that it

was drawn from life. Its powerful effect is based on the close-up
view of the gigantic

trees

and the vigorous recession of the

lateral planes.

The drawing

is

not a topographically accurate representation

it conveys the atmosphere that the

would have experienced. It reveals neither
of Louis xv nor that of Louis xvi; instead its

of the landscape, but

visitor to the park

the style

character foreshadows, in spirit and intention, the watercolours

of the Pre-Romantics,

who

transformed nature into a vehicle

for the personal reflection of the spectator.

Another drawing of the same subject by Fragonard, freely

drawn in brush and brown wash, is in the Albertina, Vienna.^
Although previously dated to the same visit in the summer
of

760,

it

was recently argued on the basis of style and

it was probably made during the artist's second

technique that

journey to

Italy in

1773-4."

Provenance:

sale, Paris, H6t:el

Exhibitions:

Woodner

lection,

Drouot, zg

Collection,

November

Munich 1986,

1985, lot 61.

no.

xiii;

Woodner

Col-

Madrid 1986-7, no. 100.

Bibliography: see

Woodner Collection

catalogues.

Notes
1

Musee des Beaux-Arts,

Museum.

inv. no. 0.2. 842; see

Comillo 1957,

i,

no. 32.

2 National

3 Inv. no. 12735; Ananoff, 1968,

4 Washington

224

FRENCH SCHOOL

DC-New York

iii,

no. 1434.

1984, no. 73 (entry by

Dr

Christine Ekelhart).

Louis-Leopold Boilly
La Bassee, 1761 -

1845

Paris,

Son of the carver Amould-Polycarpe Boilly (fl. 1764-17 7 g),

he trained from 1775 in Douai. From 1779 he worked in
Arras, and in 1784 he settled in Paris, where he was known as
a painter of portraits and fancy pictures, as well as paintings
in small format. In

and

in

1794

1789 he painted the portrait of Robespierre

With his sharp wit and humour he

that of Marat.

captured the effects of the French Revolution, for which he

The

acquired the nickname

^4

Little

Master of the Revolution'.

Despite David's assistance, Boilly was slow

The Public Coming to See

David's Coronation of

work, which

Napoleon and the Empress

culminated

may

not have been finished

in

completing

his

until after the fall of

the Emperor. But according to Marmottan, Boilly signed and

dated the picture 1810, after making a series of studies which

in the present

drawing. The completed work was

exhibited in 1826, not in the Salon as

Josephine in the Great Hall

of the Louvre

but

in

an exhibition

which were destined

in the

was usual

for Boilly,

Lebrun Gallery, the proceeds of

waged by

for the revolution being

the

Greeks over the Turks.

Harisse believed the present watercolour was a copy after
the canvas,^ but the delicate and schematic rendering of

Pen and black

ink,

grey wash and watercolour: 549 x 803

mm.

David's painting, contrasted with the high degree of

finish in

the figures of the public, suggest instead that this

the

scale bozzetto for the oil painting.

Ihis

watercolour

large, impressive

is

a preliminary study

for Boilly's painting of the subject in the Metropolitan

of Art,

Museum

New York.'

Champ

de Mars, he protested:

and for the addition of a

child held in

its

portraits of

Today

the people are represented

I

by

full-

father's arms.
in his picture

well-known people of the day: the

artists Jean-

Antoine-Houdon (1741-1828), Frangois Gerard (1770-1837),

Baron Antoine-Jean Gros (1771-1835), Hubert Robert
(1733-1808) and

Mme Vigee-Lebrun (17551842),

Hoffmann (1776-1822),

Monsieur Baptiste from the Comedie

powers. In any event

is

and the water-

colour are identical, except for minor details in certain heads

ary figure E.T.A.

Times have changed: when the people ruled, everything

had to be done in their presence; we must take care to let
them know that they can no longer expect this kind of
treatment.

picture

Following David's example, Boilly included

The coronation of Emperor Napoleon in 1805 was not

witnessed by the general public, since it took place in the
Cathedral of Notre Dame attended only by other dignitaries.
When it was suggested to Napoleon that it might be held on
the

The

own

self-portrait

with his family

franfaise,

at

the

Doctor
and

liter-

Gal, a

finally his

the far right of the

composition.*

legal

cannot accept that the people of

alone France, should be represented by the twenty

Paris, let

or thirty thousand fishwives, or others of their kind,

who

would invade the Champ de Mars: to me these are simply

the ignoble and corrupt populace endemic to a great city.^

The
years

Parisian public, however, solemnised the act three

later,

when

was exhibited

Jacques-Louis David's painting of the occasion

at the

Louvre: an immense multitude gathered

The triumph of Napoleon was transformed into the triumph of David and his followers, who had
dominated the Salon of 1808, where the painting had been
in front

of the picture.

displayed.

When

who

to allow

came

at the

to formulate his composition recording

time had the canvas rolled up

him to copy

Boilly's request that

himself.

226

apparently his

Exhibitions:
lection,

sale, Paris, Pillet,

Woodner

Munich 1986,

24 April 1865; Delagarde.

Collection, Vienna 1986, no. 85;

no. S5;

Woodner

FRENCH SCHOOL

it.

The master was so

in his studio,

flattered

by

he even offered to unroll the picture

Collection,

Woodner

Col-

Madrid 1986-7,

no.

101.

Bibliography: Harisse 1898, no.

Boilly

the public's response to the picture, he appealed directly to

David,

Provenance: Arnault, sale, Paris, Coutelier, 15-18 April 1835, lot 20;
W.W. Hope, sale, Paris, Pouchet, 12 June 1855, lot 32; Eugene Tondu,

Woodner

145:

Marmottan

1913,

p.

123: see also

Collection catalogues.

Notes
1 Marmottan 1913, p. 123. The painting is in the Wrightsman Collection
and is the same size as the Woodner drawing.
2 Napoleon 1838; quoted in Brookner 1980, pp. 150-51.
3 Harisse 1898,

4 Marmottan,

p.

p.

24.

124.

Jean-Auguste-Dominique Ingres
Montauban, 1780 -Paris, 1867
Ingres has been cast in the history of nineteenth-century

Apart from using drawings

French art as the leader of Neoclassicism and the arch-

paintings and for the recording of landscapes, Ingres

opponent of Delacroix (1798-1863) and the Romantics. The

son of an architect and stuccadore, Ingres first trained at the

his living

Toulouse Academy and

later in the studio of

David (1748-1825) and

at the

1801 he

In

sojourn

in

in Paris.

won the coveted Prix de Rome. His lengthy

Rome from 1806-20 confirmed his belief in

pre-eminence of the
in art

Jacques-Louis

Ecole des Beaux-Arts

classical

and established

primacy of

line

over the

power of expressive colour. In 1824 he returned to Paris,

where he worked for the rest of his life, with the exception
of the years 1835-41 when he was director of the French
Academy at Rome. His career is marked by the production
of major historical and religious works, many of them state
commissions and purchases.

He

believed that ideal beauty

was expressed in the female nude, and constantly produced

works on this subject. Ingres's reputation was also made
through

his portraits,

wrought and

obliged to execute portrait drawings as a

during his

first

which were powerfully inventive,

finely

astutely observed studies in either pencil or

hard graphite or a combination of

in either thin,

oil.

physiognomy; the costume

The

portrait

wove

earlier

drawings, notably the use of the

softer graphite and the schematic treatment of her dress.

However, the rendering of the face is more modulated, illustrating the

tendency towards a greater

dition, the figure

Madame I

idealisation of the sitters

drawings of the 1830s onwards.^

in Ingres's portrait

fills

a larger portion of the surface area of the

paper. This not only reflects the change in

from the slim austerity of the Empire

women's fashions

style to the well-rounded

amplitude of those of the Orleans monarchy, but

icles a shift

In ad-

away from

it

also chron-

the extreme two-dimensionality of

the earlier portraits towards a

more monumental,

three-

sitters.

paper:

Signed, dated and inscribed

fl

327 x 252 mm.

by the artist at lower

laid upon the

was merely hinted at.

drawing of Louise Vemet shares some charac-

with these

teristics

detail

Vemet

Portrait of Mile Louise

Graphite on white

(180620). These

drawings on smooth wove paper were meticulously

portrait

executed

dimensional rendering of his

85

Rome

stay in

was
means of making

hard and soft graphite, the emphasis being

the

and High Renaissance traditions

his faith in the

for preliminary studies for subject

Horace Vernet

I Ingres

Del

18);

left,

in graphite,

a Rome.

was the daughter of Horace Vemet (1789

ouise Vernet

who preceded
Ingres as director of the French Academy in Rome (1829-35).
1863), painter of horses and battle scenes,

In

December 1834 Ingres

student,

left

Paris with his

Georges Lefrangois, to

of northern

Italy.

for the sitter's

travel to

first

Rome

wife and a

via the cities

This portrait drawing, presumably executed

mother

been made shortly

(to

whom

it

is

dedicated),

after the artist's arrival in

Rome

must have
in

January

1835.

The French Academy, housed in the Villa Medici, was

renowned for its gaiety and worldliness under the direction
of Horace

Dieterle, Paris, 1952;

Vemet. His daughter Louise was apparently a

much admired figure in this social circle; she was described
by Eugene-Emmanuel Amaury-Duval (1808-1885), a pupil

Suydam Cutting

of Ingres, as having 'joined the beauty of antique statues to

Exhibitions:

the

charm of medieval

virgins'.'

On

25 January 1835, shortly

Cutting,

sale,

New

no. 47;

York, Savoy Art and Auction Galleries,

25-26

June

New York 1952; Newark 1954, no. i; New York 1961,

York 1965 (no cat.); Cambridge ma 1967, no. 76; London
196; Washington DC 1971 (hors de catalogue); Austin 1979, no. 9;

New

1969, no.

Paul Delaroche (1797-1856), then thirty-seven years old.

Collection, Vienna

Delaroche had received

no. 86;

commission to decorate the cupola

was travelling through Italy

New York, 1952; Mrs Charles

New York; Helen McMahon

1964, lot 102.

Woodner

Knoedler Gallery,

(nee Helen McMahonl?]),

before her father's return to Paris, Louise married the painter

Collection,

Woodner

Malibu and elsewhere 1983-5, no. 62; Woodner

1986, no. 86;

Collection,

Woodner

Madrid 1986-7,

Collection,

Munich 1986,

no. 102.

of the Madeleine in Paris, and he

Bibliography: Delaborde 1870,

with Henri Delaborde (i8i 1-1899) studying religious paint-

'Mme Horace Vemet'),- Naef 1957, pp. 289-91; Roskill 1961, pp. 27-8,
57-9 (as 'Mme Vemet'); Naef 1980,
p. 255, 111, pp. 208-15, 244, 302,
303, 368, V, p. 214; de Gaigneron 1981, p. 78; see also Woodner Collection

ing.

While

in

Rome, he met

for a study of an angel.

the

As

Louise,

Mme

mother of two sons and the

and distinguished

home in

228

Provenance: Mme Horace Vemet (nee Louise-Jeanne-Henriette Pujol);

then by descent in the Delaroche-Vemet family, until 1952; Galerie Jean

rue de

la

FRENCH SCHOOL

circle

whom

he used as a model

Delaroche, Louise became

lively hostess to a talented

which gathered

Tour des Dames.

at the couple's Paris

p.

313, no. 424; Preston 1953,

11,

catalogues.

Notes
1 Amaury-Duval 1878,
2 Naef 1980, HI, p. 214.

pp.

2,

172; quoted in Naef 1957,

p.

290.

p.

169

(as

'V

]ean-Auguste-Dominique Ingres
Montauban, 1780 -Paris, 1867

86

Portrait of Mile de Borderieux

Graphite, heightened with white chalk, with hlue

cream paper: 352 x 271 mm.

Signed and dated on the veil at

.he identity of the

Th

and

critic

wash (added

right, in graphite, Ingres

was

sitter

first

Del

later?),

1857.

proposed by the painter

Henri Delaborde (1811-1899) i" 1870.^

the drawing

was almost

among

certainly

on

If

correct,

those included

in a

memorial retrospective exhibition of 584 paintings, drawings

and sketches by Ingres held
spring of 1867.

who

may

It

be

at the

Ecole des Beaux-Arts

a portrait of

in

the

Marie de Borderieux,

married a Monsieur (Emile) de Richemond,

in

whose

family the drawing apparently remained until 1977.

Ingres executed this portrait at the age of seventy-seven.

His advancing years

may go some way

to explain the soft-

ness of the pencil line and the tentativeness of such details as

the sitter's collar and buttons. Yet the regularity of the
features, the perfectly

formed oval of the face and the

thrown over the precisely-parted

hair point to an intentional

idealisation of her form. In this respect the

certain half-length portrait

same date^ and

over the previous

relates to

drawings of approximately the

fifteen years. ^

more capacious forms

the

drawing

to studies for full-scale oil paintings executed

drawings, Ingres develops the

sweeping

veil

lines of the

In

fuller,

of his

both these groups of

oval face to compliment

sitters,

bedecked

in

the

mid-century crinoline.

Ingres's concern to idealise his sitter suggests a parallel with

his lifelong
in

admiration for Raphael

[q.v.).

This

is

notable both

paintings that deal with specific scenes from Raphael's

for

example Raphael and

that

owe

the Fornarina of 1814,^

and

in

life,

works

debt to those by Raphael himself, such as Le voeu

Anadyomene of 1808-48.**
The area of darker buff paper surrounding the head of the
sitter suggests that at some stage the drawing was mounted
in an oval frame and exposed to light. It is unclear when the
blue watercolour wash of the background was added.
de Louis xiiioi 1824' and the Venus

Provenance:

Mme

the family of the

Rlichemond?], by 1905; probably by descent within

sitter, until

1977;

J.

Dubourg,

Paris.

Exhibitions: Paris 1867, no. 314; Paris 1905, no. 62

Mme

{^Portrait de

Mile de

Woodner Collection, Cambridge ma

1985, no. 108 (checklist only); Woodner Collection, Vienna 1986, no. 87;
Woodner Collection, Munich 1986, no. 87: Woodner Collection, Madrid
Borderieux, appartient a

');

1986-7, no. 103.

Bibliography: Blanc 1870,
V,

no. 445: see also

p.

Woodner

240; Delaborde 1870, no. 265; Naef 1980,

Collection catalogues.

Notes
1

Delaborde 1870, no. 265, describes the work as 'Mile

grandeur

nahirelle, dessine

la

mine de plomb avec quelques

Borderieux, tete de
teintes

d Taquarelle;

signe Ingres del. 1857'.

2 See, for example. Mile Cecile-Marie Panckoucke,

1856, Detroit Institute of Arts, and

Knox

Mme

later

Mme

Gallery, Buffalo.

3 See, for example, the Study for La Vicomtesse d'Haussonville,

Museum, Cambridge ma, and the Study

Lyman Allen Museum, New London ct.
4 Fogg Art Museum.
5 Cathedral, Montauban.

230

FRENCH SCHOOL

Tournouer,

Charles Simart, 1857, Albright

Musee Conde,

Chantilly.

for

Mme

Fogg Art

Moitessier, c.1851,

Gustave Courbet
Ornans, Doubs,

1819-

The son

La-Tour-de-Peilitz, Switzerland,

1877

of a well-to-do farmer, Courbet trained at Besangon

under Charles-Antoine Flagoulot (1774-1840), a pupil of

Jacques-Louis David (1748-1825), and, after

moving

was

the

model

Reviving the

to Paris

for the figure of St Nicholas in St Nicholas

Children (1847) painted for the

Little

of the church at Saules, Doubs; he

Un

in late 1839, in the studio of Carl van Steuben (1788-1856).

back

Friendship with Frangois Bonvin (1817-1887) encouraged

centre of the back

Courbet to study Dutch, Flemish, Spanish and Venetian

paintings as well as works by Eugene Delacroix (1798-1863)

Louvre, Paris); and he

left in

critics

apres-diner a

and friends

row

main

Ornans (1848); he figures

L Enterrement

in

at

in the

a Ornans (1848;

assembled on the side of the

is

altar

was the host seated

artist's

in L'Atelier (1855).''

and Theodore Gericault (1791-1824). Rejected by the Salons

From

of 1841-3, he had a self-portrait accepted in 1844.

1846 he exhibited regularly

at the Salon,

becoming

Apart from comparing the physiognomy of the

1848-9. At the Exposition

showed eleven works at the official

concours after the Salon of

the drawing stylistically c.1847-8 rather than in the 1860s,'

Universelle of 1855 he

as

exhibition and forty paintings at his private pavilion entitled

Le Realisme;

among

(Louvre, Paris), a

the latter

works was

style

from

artist

his vast L'Atelier

all

and subject-matter. After a period of

would be suggested by Fermier's proposed

Stuffmann compares the

erally dated

The use

constraints of

stylistic

and

identifications.

to the Self-portrait

which

Hartford),

gen-

is

1847-8.

of black chalk and charcoal in finished drawings,

opposed

as

Woodner drawing

(Wadsworth Atheneum,

with a Pipe

which he declared the

allegory' in

'realist

supreme independence of the

to preliminary studies,

became widespread by

iconographic eclecticism, Courbet produced between 1848

the mid-nineteenth century as artists sought to stress mass

and 1855 a group of monumental, modem-life paintings,

including Un apres-dmer a Ornans (Musee des Beaux-Arts,

and tonal values rather than to define silhouettes and

Lille),

and

The Stonebreakers

(destr.), Les

(cf.

baigneuses (Louvre, Paris)

Les paysans de Flagey revenant de la foire

imagery and

these works established Courbet as the leader of the

'Realist'

the destruction of the

Vendome Column

imprisonment and,

1873, to

his

the state for compensation.

where he died four years

Portrait of a

in

He went

their characteristics of broadly-

complimented

are

in

Courbet's paintings of the same period, which were influenced

new

1871 led to

on

sombre background. Such concerns

by

school of painting. His involvement with the Paris

Commune and

sheet capitalises

detail

two media

described outline and the emergence of the figure from a

contemporary subject-matter,

their insistent

Ingres, Cat. S^, 86). Courbet's handling of the

in this

(Musee des

Beaux-Arts, Besanc^on). With their references to popular

8y

sitter in this

drawing to other representations of Cuenot, Stuffmann dates

hors

his

study of Spanish

art

and of seventeenth-century Dutch

painting, especially that of

during his

in

first visit

Rembrandt

{q.v.),

which he saw

to the Netherlands in 1846.

demands from

into exile in Switzerland,

later.

Man

(Urbain Cuenot?)
Black chalk and charcoal, heightened with white chalk, on buff-grey paper:

410

280 mm.
Provenance: Galerie Claude Aubry,

he identity of the model

in this

drawing has been open to

speculation. Fermier suggested Jules

Braquemond or

Felix

Gaudy,' while Stuffmann proposed Urbain Cuenot,^ citing

between the
of Cuenot now

the similarity

features of this sitter and those of

a portrait

in

the Pennsylvania

Academy

of

Fine Arts, Philadelphia.

He

childhood

Collection,

Madrid 1986-7, no. 104.

Bibliography: Burlington Magazine, cxv, 1973, pp. 474, 476, fig. 91; ten
Doesschate Chu 1974, p. 391; Fermier 1977-8, 11, no. 58; see also Woodner

Notes

one time mayor of Ornans, and

Hamburg 1977-8,

at

was

arrested

He
and

shared Courbet's
briefly

imprisoned

purges following Louis-Napoleon's coup

d'etat

major subject pictures painted between 1847 and 1855.

FRENCH SCHOOL

Woodner

no. 88;

Fermier 1977-8,

of

December 1851. Apart from executing a portrait sketch of

Cuenot (c.1846, Musee Courbet, Ornans) and one or possibly
two portraits in oil,' Courbet used his friend in four of his

232

Munich 1986,

republican sentiments and

the

1977-8, no. 310; Woodner Collection, Malibu and elsewhere 1983-5,

no. 63; Woodner Collection, Vienna 1986, no. 88; Woodner Collection,

founded the Union Chorale d'Ornans.

in

Hamburg

Exhibitions: Paris 1882, no. 134{?); London 1973d, no. 98;

possessed a private income from land

and a hat factory, was

Stein, Paris.

Collection catalogues.

Urbain Cuenot was a native of Ornans and

friend of Courbet.

Adolphe

Paris;

He

3 Salon of

1847

11,

p.
p.

306.
340.

(rejected). Portrait de

listed in Fermier;

M.

U. C. (120 x

(150 X 140 cm), Fermier, no. 76 (Fermier

at the

136 cm), not apparently

Salon of 1852 (accepted). Portrait de

Musee d'Omans, with

lists this

those dimensions,

not accord with those given

in Paris

U.

1977-8, pp.

of Fine Arts,

4 For the pictures, see Fermier, nos 77, 92, 91, and 165 respectively.
p.

340.

now

26, 29); Portrait de

Academy

Philadelphia, Fermier, no. 85.

5 Hamburg,

Cuenot

one

33 x 46.5 cm; these do

i.e.

Urbain Cuenot, 1847 (93 ^ 73 cm), Pennsylvania

M.

portrait as the

Gustave Moreau
Paris,

1820 -

1898

Paris,

on private means and was

thus free from the need to exhibit regularly and to sell his
work. He trained in the atelier of Francois Picot (1786-1868)
at the Ecoie des Beaux-Arts, but in 1848 met Theodore

Son of an

Moreau

archiirect,

lived

Chasseriau (1819-1857), a follower of Delacroix

(i7gS-iB6j). Between 1857 and 1859, he travelled to

Italy,

where he copied works by Carpaccio iq.v.), Benozzo Gozzoli

(c. 142 1-1497), Mantegna (c. 143 1-1506) and Michelangelo
(1475-1564); he also met other artists, including Edgar Degas
Puvis de Chavannes (1824-1898) and

iq.v.},

(1828-1891). After

and

initial

Delaunay

Elie

him

personal interpretations of the Greek classical heritage resulted

in

considerable

artistic licence.

and the chlamys

his shins

While the greaves to protect

with two large

(cloak) attached

brooches are reasonably accurate, the chiton

(tunic),

the

- vaguely remiAthena Parthenos - contain

splendidly decorated cuirass and the helmet

success at the Salon between 1864

1869, adverse criticism led

was the tyrant of Mytilene. Three further studies

for his costumes survive;^ this one was intended for Act 11,
scene 2, in which he enters Sappho's house in full battle garb.
The costume is loosely based upon authentic ancient Greek
armour, but the demands of theatricality and Moreau's own
Pittacus

to absent himself until the

niscent of the one

much

worn by

the

imaginative elaboration.

Salon of 1876, where he showed the watercolour L'Apparition

(Cabinet des Dessins, Louvre,
Elie

Delaunay

in

1892,

On the death of his friend

Paris).

Moreau took over his studio at

members of the

the

Ecole des Beaux-Arts and taught such

younger generation

as Henri Matisse iq.v.)

Rouault (1871-1958).

On

his

and Georges

death in 1898 he

left his

house,

Moreau was
methods of handling oil
paint as he was at manipulating the graphic media of pencil,
pen and ink and watercolour. He combined the pure drawing
and

his studio

its

contents to the French state.

as adept at exploring innovative

line of Ingres (q.v.)

Drawing

Delacroix.

from

88

with the

rich,

dense colour layers of

his subject-matter

used the medium

not only for landscape studies made during

his Italian trip of

18579, but also for figure

studies, highly-finished

and preliminary designs

book

fables de la Fontaine,

c.

the

medium

within lines drawn

as a basis

colour

on which

sometimes

to build

art.

Provenance:

War

Costume: Study for

the Opera Sappho

Baudrier

Paris,

sale,

ailes

&

right, in graphite,

[crossed out, replaced

I

rouge saturne

tunique blancs ornements

noir

as a constraint, but rather

up dense, overlapping dabs of

gouache -

to

more schematically

Hotel Drouot, 4 March 1932,

Paris,

99; Galerie

lot

1973.

Collection, Malibu and elsewhere 1983-5, no. 65;

cat.

Woodner

no.);

Woodner

Collection,

Vienna 1986, no. 91; Woodner Collection, Munich 1986, no. 91; Woodner
Collection, Madrid 1986-7, no. 107.
p.

348, no. 309; see also

Woodner

Collection

catalogues.

GM.

by plumes]

Notes
1

hleues I

& jambieres I

Cuirasse

thinner and

Exhibitions: Paris 1973a, no. 50; Paris 1973b (no

Opera de Sapho;

left.

is

it

Bibliography: Mathieu 1976,

graphite: at lower

baton de commaiidement

en or man\eau

Tyran-

Casque ou

ink.

however, since watercolour has been added primarily as colour

a highly

Jean-Claude Gaubert,

right.

pen and

up

built

Pittacus the Tyrant in

lower

generally applied

pencil or

create shimmering, jewel-like surfaces. In the present sheet,

applied.

at

Moreau

first in

intensified with touches of

the forerunners of French Symbolist

artist, in

illustrations (e.g. for Les

The preliminary drawing acted not

notes for the costume,

Variously inscribed by the

for

works

1881-5). In keeping with the French

tradition of handling watercolour,

personal visual language which earned him a place as one of

Graphite and watercolour: 329 x 183 mm.

Signed with the artist's monogram at lower

watercolourist.

from the Bible and

and oriental mythology, he

classical

He

Moreau was an assiduous

Libretto

2 The

& or. I PITTACUS-

by Emile Augier.

first

production

from Hector

Costume de Guerre.

failed,

although

it

had received qualified praise

Berlioz.

On 3 August,

Regnier, director of the Opera, had asked Moreau, on behalf

of the theatrical director, Vaucorbeil, to 'give four or five sketches for

the

main characters in the opera' (Archives, Musee Gustave Moreau,

quoted by Mathieu 1976, p. 348).

Paris;

Or 2
'n

April 1884

second revival

Gounod's

at the

Opera de

first

opera, Sappho,'^ received

Paris;

it

had been

initially

its

staged

4 See, for example, Orphee, 1865, Musee d'Orsay, Paris (Mathieu, no. 71),
and Poete mart porte par un centaure, c. 1890, National Museum, Belgrade
(Mathieu, no. 362).

1883 the director of the Opera commissioned

Moreau to produce the costume designs for the new producin 1851.^ In

tion.'

the

artist,

theme
in a

The

6 The 1884 revival was as unsuccessful as the previous two productions

(1851 and 1858). Despite Augier's position by the 1880s as one of the

Gounod's work, the tragic destiny of

would have appealed to Moreau, since this was a
subject of

that he explored

throughout

his life in paintings"

sequence of watercolours depicting the

Sappho's

5 Mathieu, nos 137-41, 193-4.

life.'*

This sheet

is

final

greatest playwrights of his day,

for his dramatic efforts (cited

and

moments

Adolphe

of

et

234

by Eugene Lacosie (1818-1908) used

FRENCH SCHOOL

set aside

and

in their place.*

opera to be dated:

en musique

preterit

rire,

en rappelant a notre esprit cette desopilante

Belle Helene, qui a fait bonne justice de tous ces faux Grecs

designs for the project. In the event, possibly owing to

others

Jullien declared the studied classicism of the

'Aujourd'hui, ces produits sagement ponderes de la reaction classique en poesie

one of twenty-three surviving

budgetary constraints, Moreau's designs were

Lecomte de Lisle had nothing but scorn

in Desonay [1928I 1974, p. 32), and

de commande' (Jullien 1892,

7

1,

p.

et

de

cette antiquite

168).

Mathieu, nos 306-8. The present whereabouts of nos 306 and 307 are
is in the Fogg Art Museum, Cambridge ma.

not known, but no. 308

do-'

m
\

^i

^.

liildi,^
/.i

^-'

&

/:>
V,

Ai^

n'

m.

-f

"u

'i

-J.?!

Rodolphe Bresdin
Loire-Inferieure,

1822 -Sevres, 1885

worked in pencil, pen and

ink, etching and lithography. The son of a metal polisher, he
moved to Paris in the early 1840s and took up etching. His
Bresdin

was never a

painter; he

and way

Bohemian personality
to use him as the model
1847).

He

fled

from

of

life

in the Paris

American

Commune, he won

dollar note

Canada. His sojourn

five years. After

involvement

a competition to design an

the

have influenced the

New World was disastrous,

an

iq.v.),

artist for

'Rembrandt
goutteux,

and emigrated to the virgin forests of

in

also

et

quel divin:

and

If

compositions.^

Rembrandt was

Redon claimed

late

same could be

a source of inspiration for Bresdin, the

said of Bresdin for

wrote extensively about the elder

Redon,

artist in

Naturalist and Symbolist writers as Baudelaire, de Banville,

(e.g.

Huysmans and Comte Robert de

Montesquieu. A retrospective exhibition of his work was
held at the Salon d'Automne in 1908.

Egypte, 1855).

was an initiator of the finished

pen and ink. However, Bresdin has always

in

for his elaborately-worked lithographs

Le bon Samaritan, 1861) and etchings

media

as

le

La

fuite en

'Trois precedes servent alternativement a

manifestation singuliere:
et

(e.g.

Redon suggested that Bresdin saw all three

equally legitimate modes of expression for his

powerful imagination:

forte,

A soi-meme

that Bresdin

drawing executed

dessin a

[Bresdin] exerce

Cavaliere orientale

iq.v.).

1961) and also studied with him from 1863 to 1865.

been most celebrated

la

Odilon Redon

especially admired Bresdin's imaginative attitude to

nature,
(Paris,

Romantic,

Bresdin expressed great admiration:

a du dieu.'*

by Champfleury, by then director of the state porcelain

factory at Sevres. His work was little known to the public
during his life, and he lived in continual penury. However,
by such

whom

pourtant quelle noblesse, quelle elevation, quelle poesie,

il

who

Gautier, Champfleury,

89

artist's

War (1854-6) might

ne peignait que des gueux, des perclus, des

Hugo. He
he was
showed at the Salon of 1879, worked for Gustave Dore
(1833-1883) and was finally supported at the end of his life
repatriated in 1876, with the help of Victor

his oeuvre received critical acclaim

Crimean

The extraordinary skill with which intensity of tone is achieved

in these two drawings suggests an affinity with Rembrandt

for his novel Chien-Caillou (Paris,

staying in Tulle and Toulouse, and then settling in Bordeaux

in

that the recent events of the

inspired Champfleury

Paris after the revolutions of 1848,

i860, where he remained for

falconers and warriors. Margaret Stuffmann has suggested

Redon was

et

la

dont

il

le

dessin a la

est

pour ainsi

dire

also strongly influenced

technique. Indeed, his

plume sur

pierre, I'eau

plume, un genre tout nouveau qui

first

le

lui

createur.'^

by

Bresdin's etching

etching, Le gue (1865),

was

in-

scribed eleve de Bresdin,^ and several of Redon's subsequent

Pen and black ink, grey wash, on cream wove paper: 272 x 183 mm.
Signed and dated at lower right, in black ink, rodolphe Bresdin I 1858.

early etchings^ are reminiscent in both technique

and subject-

matter of these two two drawings by Bresdin.

resdin's

two drawings

of oriental riders in rocky mountain-

ous landscapes (see also Cat. 90) relate

in

subject-matter to

the widespread enthusiasm for 'Orientalism' in France

mid-nineteenth century. Orientalism, which derived

ration from the worlds of the

Near East and North

had become increasingly popular

in

by

its

the

inspi-

Africa,

France after the Egyptian

campaigns of Napoleon from 1798 to 1800.^ Its manifestation

in the visual arts tended to be divided between the objective
archaeological and ethnographical recording of places and

customs and the more subjective conjuring of scenes of the

secret, the exotic

and the unknown. Bresdin's work belonged

to the latter group.

Bresdin never travelled to the 'Orient' and consequently

would have based these two drawings on his study of Orientalist works shown regularly at the Paris Salons. He almost
certainly attended the Salon of 1845, at

which Delacroix

monumental 'Abn al-Rahman,

Sultan of Morocco,

Provenance: Paul Proute,

Leaving his Palace at Meknes, Surrounded by his Guard and his

Principal

Officers

(Musee des Augustins, Toulouse) and

Chasseriau his Ali Ben Married, Caliph of Constantine, Followed

by

his Escort

copy.'^

(Musee de

The placing

Versailles), of

of riders dwarfed

however, may derive more

Alexandre-Gabriel

which Bresdin made a

by

specifically

Decamps

a vast landscape,

from the works of

(1803-1860)

and

Eugene

Fromentin (1820-1876), who, from the 1847 Salon onwards,

exhibited a regular flow of Arab horsemen, encampments.

236

FRENCH SCHOOL

Woodner Collection, Malibu and elsewhere 1983-5, no. 64

Woodner Collection, Vienna 1986, nos 89, 90; Woodner
Munich 1986, nos 89, 90; Woodner Collection, Madrid 1986-7,

Exhibitions:
(a)

and

(b);

Collection,

exhibited his

Paris (both sheets).

nos 105, 106.

Bibliography: Proute 1978, no. 99 (both

Collection catalogues.

Notes
1

See London 1984b.

2 Cologne 1972, p. 42.

3 Frankfurt 1977, p. 104.
4 Redon 1961, p. 136.
5 Ibid., p. 165.

6 Mellerio 1913, no. 2.

7 Mellerio, nos 3, 6-8, 10.

sheets);

see also

Woodner

Rodolphe Bresdin
Loire-Inferieure,

^o

1822 -Sevres, 1885

Cavalier oriental
Pen and black

ink,

on cream wove paper, laid down on

275 x i79 mm.

original

mount

(the paper has darkened):

Signed and dated

238

ompanion

at

lower centre,

in black ink, rodolphe Bresdin 18; 8.

to the preceding drawing. Cat. 8g.

FRENCH SCHOOL

Hilaire-Germaine-Edgar Degas
Paris,

1834 -

1917

Paris,

Bom in Paris, Degas had family connections with both Italy and
New Orleans. He trained under Louis Lamothe (1822-1869)
at the

Ecole des Beaux-Arts. In 1854 he visited Naples, and

1856-9 he

in

by

travelled extensively in Italy,

the old masters. In

Orleans.

He began

with such

copying works

visited his relations in

his career as a history painter,

artists as

Impressionists led

1872-3 he

New

but friendship

Manet, Whistler, Tissot and the future

him towards racecourse subjects (from the

and ballet (from 1867),
and studies of

life

women bathing

and dressing. However, he consistently refused to paint

plein-air.

He

work covered

have seen Ingres's

Although

Self-portrait (first

transformed into a
artist,

there

exhibited at the Salon of

was reworked just before 1851 and

more conservative image of a young

this

a remarkable similarity

is

between

gaze and those of the present drawing.

It

could be argued

Woodner drawing and its related oil painting

some sense a homage to the younger artist's mentor.
Degas retained

a wide

his

monotypes and sculpture. His handling of each

medium shows a degree of technical experimentation which

the old master colourists, especially the Venetians.

nude

of bathing

From

women made during

the 1880s and 1890s.

the 1880s he suffered from failing eyesight.

life,

by 1859
and turning instead to the study of Delacroix, Daumier and

range of media, from painting and pastel to etching,

often produced radical solutions, as in his sequence of pastels

are in

debt to Ingres throughout his

despite reacting against doctrinaire Neoclassicism

lithography,

1880,

when he

with his

exhibited a

Portrait of

As late as
number of drawings, together

Edmond Durantyf'

at the fifth Impressionist

exhibition, Charles Ephrussi declared that

Degas was

only a draughtsman of more than estimable

pupil of the great Florentines,

pi

pose and

its

that the

in

exhibited at seven of the eight Impressionist

exhibitions, missing that of 1882. His

work at the Exposition Universelle of 1855 and the retrospective show at the Ecole des Beaux-Arts in 1867.
It was at the Exposition Universelle that Degas would
1806).^

early 1860s), scenes of the theatre

paintings of contemporary

twenty paintings and ninety drawings by Ingres, and

he attended both the major exhibition of the older artist's
lected

Frenchman, M.

and above

ability,
all

'not

but a

of a great

Ingres'.^

Self-portrait
Red

chalk,

Atelier

on cream-coloured

stamp

lower

at

his self-portrait

left in

laid paper:

295 x 216 mm.

red ink.

drawing

related to a

is

when

studies in pencil or oil executed

twenties.'

It is

is

turned

at

similar

was

in his

closely related to the Self-portrait in a Soft

of C.1857, painted in

chalk drawing

group of

the artist

on paper

oil

shows the

laid

down on

without

artist

a hat,

canvas.^

Hat

The

but the head

an identical angle towards the spectator and the

eyes have the same

cast. In

the drawing appears to

chosen medium, both

terms of execution, however,

show

in the

more confident use of the

subtle handling of the shadow
a

that sets the face off against the

background and

in

the

indications of the necktie and the coat collar.

Despite his youth,

in Cat.

91 Degas appears already to

reveal his 'original and intransigent personality'; these

qualities led

him

independent

artist

in

the

Woodner drawing

certainly

bohemian

also a certain sadness,

seem

The sitter
somewhat aloof

of the later nineteenth century'.^

expression, albeit of a
is

same

to project himself as 'the very type of

conveys a

type."*

Yet

in the

eyes there

even world-weariness, which would

Provenance: Rene Degas; Degas atelier (Lugt 657); Paul Rosenberg; John
Nicholas Brown; on loan to the Joslyn Art Museum, Omaha, 19416;
David Tunick, New York.
Exhibitions: Buffalo 1935, no. 113; Philadelphia 1936, no. 58; Cambridge

MA

to herald the artist's later solitariness.

1962, no.

5; St

Louis and elsewhere 1967, no.

1.

Bibliography: Rosenberg 1959, no. 197.

Although

his

range of references for his drawing style was

expand considerably

i^^y-S as a result of his stay in

Italy, Degas's technique at this time was shaped by a dominant
admiration for the work of Ingres [q.v.). In c.iB^^ Degas was
a pupil of Louis Lamothe, himself a pupil of Ingres; Degas
copied works by Ingres, including religious and historical
subjects - as well as a few portraits - and he also studied the
to

work of some of

after

FRENCH SCHOOL

life

Degas

col-

See, for example,

Lemoisne 1946, nos

2, 5, 11,

37.

2 Sterling and Francine Clark Art Institute, Williamstown ma; Lemoisne,

no. 3 7.
3 Reff 1976,

Reff, op.

p. 15.

cit.,

discusses the aloofness of the artist in relation to the Self-

1863-6 in the Fondaqao Gulbenkian, Lisbon, which shows

the young Degas as an immaculately dressed gentleman of leisure.
Musee Conde, Chantilly. See Whiteley 1977, p. 26.

portrait of

Ingres's other pupils, notably Hippolyte

Flandrin (1809-1864). In addition, during his

240

Notes

6 1879; Burrell Collection, Glasgow; Lemoisne, no. 517.

7 Ephrussi 1880, p. 486.

.h;

i:

-^.

Hilaire-Germaine-Edgar Degas
Paris,

^2

1834 -

1917

Paris,

Horse and Jockey

Blacic chalk

(paper

made up

215 X 263 mm.

Atelier stamp at lower

at edges,

left in

mounted on

sligiitly

grey paper):

pale red ink.

B etween i860 and 1900 Degas produced

a consistent stream

of images of horses and jockeys: approximately forty-five

two hundred drawings and seventeen

sculptures. These works range from sheets of individual
studies, such as the one shown here, to finished compositions
paintings,

twenty

pastels,

of horses, jockeys and spectators assembled at race meetings.

Unlike Gericault and Toulouse-Lautrec, Degas was not a

horseman. Nor indeed was he an avid follower of the

The absence of a direct or passionate involvement

world of horses and racing seems to have had two
implications for his

art. First,

the images provide

little

turf.

in the

specific

accurate

information about contemporary racing history, for they

contain no record of individual horses, jockeys or racing
colours. Second,

can be assumed that Degas relied heavily

it

upon examples of horses

in art rather

than upon direct ob-

servation of the subjects themselves. Indeed from the beginning

of the 1860S Degas

is

known

to

have turned to a wide variety

of sources for his models, including the sculptures of the

Parthenon

frieze,

Gozzli, Gericault,

the paintings of Paolo Uccello, Benozzo

Dedreux and Meissonnier

English sporting pictures of Aiken and

two

factors

may

in addition to the

J.F.

Herring. These

help to explain the extraordinary anonymity

of both the horse and the rider in the

Woodner

drawing, and

the frozen, lifeless pose of the animal.

In this sheet

Degas uses black chalk

horse and then

fills

of shadow. This

tone that

is

in

to etch the outline of the

with incised, parallel hatching for areas

method of shading permits a variation of

convey the polished sheen of the well-

able to

groomed horse as well as his jockey's shiny patent-leather

boots.' The Woodner drawing is generally dated to the
1860S, on stylistic and compositional grounds: characteristic
of Degas's drawings of this period are the fine chalk

energetic application of

shadow and

the horse as a static object, which

jockey.

As Degas moved

is

line,

the

the artist's interest in

given prominence over the

into the i88os, his

drawings and

sculptures of horses and jockeys increasingly recorded the

horse

in action.

For these, he returned to Eadweard Muybridge's

Animal Locomotion (1887)

for his inspiration

and models.

This sheet can be related to a group of small chalk studies

in the fourth sale of the contents of Degas's atelier,^ which,
although not necessarily executed on the same paper or in a

similar technique, share a

the horse.

common

interest in the

beauty of

Provenance: Adolphe
Exhibitions:

Woodner

Munich 1986,

lection,

Stein, Paris.

Collection, Vienna 1986, no. 92;

no.

Bibliography: see

Woodner

Collection,

Woodner

Col-

Madrid 1986-7,

Collection catalogues.

Notes
See also the drawings executed
atelier sale, Paris, Galerie

352,

FRENCH SCHOOL

Woodner

no. 108.

242

92;

IV,

2-4

Ibid., IV, lots

in a simialar

Georges

Petit,

111,

July 1919, lots 195, 228(a).

221(b), 224(a), 228(a), 229(b).

technique

in

the

Degas

11-13 December 1918,

lot

Ignace-Henri-Jean-Theodore Fantin-Latour
- Bure, 1904

Grenoble, 1836

Son of an
in

Fantin-Latour

artist,

moved with

his family to Paris

was fragmentary. He received lessons

1841. His training

one year from Horace Lecoq de Boisbaudran (1802-1897),

briefly attended the Ecole des Beaux-Arts (1854-5) and
copied in the Louvre. More importantly, during the 1850s
for

he made the acquaintance of major

impressionistic

artists,

realist

and future

including Fran(;ois Bonvin

Braquemond (1883-1914), Gustave

(1817-1887),
Courbet (q.v.), Alphonse Legros (1837-1911), James Whistler
(1834-1903), Edouard Manet (1832-1883) and Edgar Degas
Felix

(q.v.).

Fantin-Latour's subjects

known
fellow

fall

into three categories; best

and for

for his flower pieces

his

group

Un

writers and musicians (e.g.

artists,

BatignoUes, 1869;

Musee

d'Orsay,

Paris),

portraits of his

atelier

he was equally

renowned for his imaginary scenes. These were often based

upon musical subjects, notably the works of Richard Wagner.
He never executed landscapes. He worked in oil paint, pastel,
conte crayon, charcoal, lithography and etching. Fantin-Latour

was included
until

1900 he was

a regular exhibitor at the Paris Salon.

also established strong links with England.

1862

He

He

exhibited from

Royal Academy Annual Exhibitions and from

at the

1881-2 with the Society of

shown

From 1864

the Salon des Refuses of 1863.

in

work was also

Dudley Gallery and

British Artists; his

at private galleries, including the

the Grosvenor Gallery.

^3

Portrait

of.

Mme Ditte

a fascination for the subtle tonal effects that could

with black conte crayon, chalk and charcoal. This

evident

Black conte crayon, heightened with white:

Signed and dated on the

450 x 350 mm.

oil

paint before 1868.

From

income from the

Latour's steady

Biron,^

friends

The

in

completing

and

article

published three years before his death, Fantin-

lithographs'.'
in

that year on, Fantin-

sale of his

commissioned

caused him to abandon

an

belongs to a

still

lifes

and

flower pieces (especially in England), together with his unhappy

experience

the face emerges

Latour was quoted as saying that 'my drawings are

sitter

small group of commissioned portraits executed in either

chalk or

way

particularly

right, h. Fantin I 67.

drawing of an unknown

his portrait

present sheet in the

be achieved

from the softly shaded background.

In

in the

is

portrait of

Mile de

The

artist

my

had been introduced to lithography

1862, * only to abandon the technique until his interest

was reawakened in 1873. The handling of the crayon in this

drawing shows considerable advance on his manipulation of
the lithographic chalk in his first prints. It would be reasonable
to suggest that the sophistication revealed in his lithographs

all

portraiture except that of

of the following decade

owes much

to the mature handling of

relatives.

tautly handled conte

crayon and the carefully modulated

the chalk in his drawings of the 1860s.

relationship of crayon stroke to the surface texture of the

paper give
still lifes

this

drawing

a close affinity to the portraits

and

of the 1860s painted with short, dry brushstrokes.^

The drawing
brooding

bears

little

self-portrait

such as that of 1861

in

resemblance to the flamboyant,

drawings of the 1850s and early 1860s,

the Phillips Collection,

Washington

dc.

As with his more formal oil portraits, the balance in the

Woodner drawing between the oval of the sitter's face, the
downward slope of her shoulders and the shape of the paper
has been carefully studied. In this respect Fantin-Latour appears
to be following a tradition already fully explored in portrait

drawings by Ingres (see Cat. 85,

older

artist,

Manet -

244

86).

However, unlike the

FRENCH SCHOOL

whom

Exhibitions:
lection,

he had met

in the

1850s -

Woodner

Munich 1986,

T.

Edward Hanley,

Collection, Vienna 1986, no. 93; V\^oodner Colno.

93;

Woodner

Collection,

Madrid 19867,

no. 109.

Bibliography: Fantin-Latour 1911, no. 309; see also

Woodner

Collection

catalogues.

Notes
1

Paris

1982-3, pp. 22, 110.

2 See, for example, Henri de Fitzjames, 1867,

and

Fantin-Latour shares with Courbet, Whistler and

three close friends

Provenance: Galerie Durand-Ruel, Paris, 1945; Mrs

1962; from whom acquired by Elizabeth Nolnar.

Fleurs d'ete et fruits, 1866,

3 Hediard 1901,

Paris, pp.

p.

459.

135-6, 21518.

Toledo

Hamilton Art Gallery, Ontario;

Museum of Art.

Paul Cezanne
1839- Aix-en-Provence, 1906

Aix-en-Provence,

Cezanne's

hatmaker turned banker, intended him to

father, a

take up the law, but

Cezanne enrolled

1851-61, and copied works

at Aix,

moved

Granet. In 1861 he

de Dessin

at the Ecole

Musee

in the local

to Paris, joined his

Of

the studies

on the

seen from behind have their roots

childhood friend

sides, the

in

Cezanne's romantic

period before 1872. The sketch of the couple demonstrates

Emile Zola and attended the Academie Suisse, where he met

the artist's voyeuristic fascination for observing couples in

Camille Pissarro (1831-1903). Despite continued parental

erotic or violent relationships (e.g. La moderne

disapproval, failure to gain a place at the Ecole des Beaux-Arts

version] and Le punch au

in

1861 and

refusal

from the Salon of 1866, Cezanne

determined to become

From

a painter.

period, from

1859

to c.1872,

erotic subject-matter

sombre

palette.

and

reclining

was marked by romantic, often

at

Pontoise

and Auvers during the years 1873-7 confirmed Cezanne's

interest in landscape,

during

this

still-life

and bather

subjects.

It

was

1874

exhibition.

L'Etemel feminin (1870-5).'

his

works appeared

He showed

time. Thereafter, apart

also occurs in another sheet of

where the elongation of the

Paris),*

The sex

of the striding nude

on male rather than female

Foundation, Merion

Cezanne's

Salon of 1882,

is

to the artist's early bather scenes

again with them in 1877, for the last

Cezanne's work was seen only intermittently. The Salon

d'Automne of 1904 devoted a room to his work and accorded
him a posthumous retrospective in 1907.

art

figure of the

ambiguous;

The

495

305 mm.

related

which tended to concentrate

figures (e.g. Four Bathers, Barnes

in

c.iSy^ from his earlier romantic nude composi-

among Cezanne's drawings

in a

in later

The

more imaginative

the 1860s and

lifes in

still

to a directly

drawing,

resolved study

art

was

observed base,

shifting
in part

with Pissarro after 1872.

his closer contact

artist's

earlier

less

when Cezanne's

again in the early 1870s,"'

this sheet is

of the late 1870s. There

bowl on an

of an apple.' Apples appear in

due to

on

single apple so strongly delineated

study of four apples

from
centre:

may be

it

Compositions of bathers emerge

pa).*

is

(q.v.).^

dated 1873-7,* and another contains a

on off-white paper, folded through the

nude

sheets.^

is

Double-sided Sheet of Studies

which includes

Poses similar to the one adopted here occur

tions.

unusual

Pencil

was

four copies after Delacroix's painting Char d'Apollon (Louvre,

from acceptance

at the

It

Paris art market),

related to studies after Signorelli

Impressionist

in the first

on the

studies (formerly

period that his palette lightened and his technique

(developed to describe the underlying structure of objects in

nature. In

[first

rhum ou L'Apres-midi a Naples).'^ The

nude seen from behind is a pose that Cezanne had

studied with variations in a sequence of drawings relating to

initial

heavy, impastoed technique using

Close association with Pissarro

Olympia

investigated as early as 1863-5.'^ Thereafter, the pose

the mid- 1860s he

divided his time between Paris and Aix. Cezanne's

^4

two

recto, the earlier of the

male and female reclining figures and the nude reclining figure

extraordinary powers of observation of the

natural world are also reflected in the lightly drawn, but

laken

two sides of this double-sided sheet

summary of the subject-matter of Cezanne's

together, the

can be read as a

exception of landscapes): included are a

art (with the

still-life

on the

recto. Self-portraits of

the 1860S and early 1870s are not found

amongst Cezanne's

surviving drawings, although strong, dramatic images exist

paintings of the earlier decade." However, there

element; portraits; a bather; figure studies that relate to his

in oil

early imaginary scenes; a caricature;

a cluster of drawings dated 1873-6,^^ the period of the

works of old masters and

As with

all

these studies

drawn from
with

its

his

is still

and studies

after the

sculpture.

self-portrait

drawings, the precise function served by

unclear.

Some

of the studies are evidently

nature, as, for example, the apple

shadow and

carefully cast

on the recto

the studies of his wife and

now

group of nine

Musee

in the

sheets,

in

Charles Blanc's Ecole espagnole

own

faintly

drawings executed c.1859,"

watercolour.

self-portrait.

of

distribution of the images

many

on the page

is

characteristic

of Cezanne's drawings, and the apparently-random

accumulation of images found on

only

is

this sheet

is

common. Not

the relationship of scale disregarded within each

sheet, but there appears to be neither an

between the individual

of handling.

It is

these

subjects,

two

obvious logical

nor a consistency

in

link

the style

latter points that contribute to the

problems surrounding the dating of such works. Chappuis

has suggested dating the Woodner page to two consecutive
periods in Cezanne's
to

1880-81.

FRENCH SCHOOL

life,

the recto to

1877-80 and

the verso

further

seem stylistically closer to the self-portrait on this sheet.

Cezanne copied the self-portrait of Goya from an engraving

investigations for compositions ultimately executed in oil or

The

d'Orsay, Paris. ^'

is

dated by Chappuis 1880 c.1883,^''

on the verso. Others are transcriptions of details from

works of art by other artists. Still others represent preliminary
child

246

intensely observed self-portrait

(Paris,

1869) after Goya's

etching placed at the beginning of the Caprichos. The

The

drawn

caricature, related in spirit to

finished study of the

may be
Goya

on the verso

Charles Blanc's book,

is

in

caricature

the

Goya

self-portrait links the recto

to the verso of this sheet, for the study of the

the back

two
on

a variation

boy seen from

from an engraving

also taken

this case after

in

Pedro de Moya's

painting of Joseph Sold by his Brothers.^'' Cezanne constantly

turned for inspiration to the

was

catholic

art of his predecessors: his taste

and included Rubens, Raphael, Puget, Delacroix

and Goya. More than one-fifth of

studies from other

works of

art

and

his extant
it

such studies were 'indispensable' to the

a sense of the impetus of art

drawings are

has been argued that

artist,

giving him 'both

and an understanding of method'.'^

Cezanne's study of

art also

On

antique and modern.

extended to sculpture, both

the verso, this interest

is

recorded

in

copy of a draped female figure from a Charles x clock

(now lost), which Cezanne had studied on two separate sheets
of 18769.'* In the study shown here, Cezanne has virtually
his

disengaged the figure from her role as the personification of

Time and has created an independent form ready

reworked into a completely

to be

different context.'^

on the verso, apart from the studies of two unidentified heads and a sketch of a hand leaning against a
cheek,^ there are two studies of the artist's wife, Hortense,
and one study of the artist's son Paul (b.1872). Cezanne used
Finally,

his family constantly as

The head

models

for his

drawings and paintings.

of Paul appears to be close in handling to three

studies of him,

which have been dated

Provenance: the

artist's son,

purchased

Paul Cezanne; Paul Guillaume; from

1933 by Lord Clark, Saltwood

in

slightly earlier.^'

Castle; Stanley

whom
New

Moss,

York.
Exhibitions: Vienna 1961, no. 105; Aix-en-Provence 1961, no. 47;
Collection,

Munich 1986,

no. xvi;

Woodner

Collection,

Woodner

Madrid 1986-7,

no. 110.

Bibliography: Vollard 1914, p. 14; Bernard 1920, p. 286; Meier-Graefe

1922, p. 20 (ill); Meier-Graefe 1927, p. 593; Venturi 1936, no. 1474;
Dorival 1948,

p.

130; Fachlik 1958, pl.i; Reff 1956,

no. zys'' Longhi 1961, p. 72; Shapiro 1968, p. 34;

Chappuis 1973, nos 405

see also

Woodner

(recto),

821

p.

26; Berthold 1958,

Anderson 1970, no.

21;

(verso); Adriani 1978, pp. 51, 84, 138;

Collection catalogues.

Notes
1

Venturi 1936, nos 106, 112.

Chappuis 1973, no. 95.

3 For the drawings, see Chappuis, nos 257-8, 261-2; for the picture, see
Venturi, nos 247, 895, 904.

4 1869-72; Chappuis, no. 181.

5 Ibid., nos 182-3.
6 Venturi, no. 276.
7 Cf. Chappuis, no. 510.

Ibid.,

no. 351.

Ibid.,

no. 406.

10 See,
11

e.g.,

Ibid.,

Venturi, nos jo,

bb (1860s) and 190

(early 1870s).

nos 18 (1858-61), 81 (1865-6).

12 Chappuis, nos 400-4.

13 Venturi, no. 288.

14 Chappuis, nos 610-18.

15

Ibid.,

16 See

nos 27, 37.

no.

ibid.,

731,

for a

more complete copy

of the

same work

(1879-80).

17 Introduction by Lawrence

Cowing

in

London 1973b,

p. 12.

18 Chappuis, nos 457-8.

19 See,

20 See
21

e.g., ibid.,
ibid.,

Ibid.,

nos 579-80, 582.

no. 875.

nos 713, 715, 726.

FRENCH SCHOOL

247

\\\
"

^^

^'

^c^iK.n

^^

.f

'/':; P

'V

?\,-

1^'

g-^

''v:'_

.,

Paul Cezanne
Aix-en-Provence, 1839

PS

- Aix-en-Provence, 1906

Sloping Trees
Graphite on off-white

laid paper:

306 x 470 mm.

LOT Cezanne, drawings made

how

notes of

tially

of the motif were essen-

in front

He

nature worked.

thus often recorded

on paper what would have been inadmissible in his finished

works, namely momentary effects of light and shade and
incidental details.'

At one

sheet, almost architectonic in

its

volumes, suggests

certain parallels with similar diagonal arrangements of figures

and

trees in bather subjects, such as the Grandes baigneuses

(1899-1906; Philadelphia

Museum

of Art).*

present drawing seems

level, the

approach to nature.

to demonstrate this

Woodner

In

it

the artist has

studied a particular grouping of trees, contrasting the gnarled

old trunks with the

smooth young

saplings. Yet, as several

scholars have noted, a sheet such as this

plex, since

it

raises issues

essential character

The

also highly

com-

such as the means by which nature's

may be

distilled

the status of outline in Cezanne's

from the landscape, and

art.

exploration of solids and voids in this sheet appears

have forced the

to

is

tree trunks into a carefully conceived,

densely-woven pattern of diagonals which criss-cross the

surface of the paper. Cezanne's capacity to summarise the
intrinsic

harmonies and patterns

in

nature reveals a funda-

mental understanding of the interplay between

and

line

space.^

This drawing of trees seems to focus quite specifically on the

nature of line or contour, which for Cezanne was one of the

ways

stability

and balance could be injected into

Cezanne was not concerned

a motif.

to provide literal transcriptions

of the external world, but rather to depict nature through

sensations controlled by the intellect. His main aim

was

to

himself of the Renaissance traditions of scientific perspec-

rid

and of the

tive

single

with a
pencil

belief that

beauty should be described by

Thus Cezanne replaced the

line that had hitherto described and confined the form
boundary between volume and space made up of small
strokes placed side by side. It was this novel technique

perfect

that led

drawing

(i.e.

Novotny

'transmuted'

line.^

outline).

to claim that

Cezanne had 'devalued' or

Rewald notes

that despite the

monochro-

matic nature of a sheet such as

this, its interests

parallel to those of his paintings

and watercolours:

are directly

Provenance: Thannhauser, Berlin: L. Lichtenhan, Basel; A. Deuber, Basel;

R.A. Daulte, Lausanne; Edwin Vogel, New York: Stanley Moss, New
York.

Cezanne never spoke of drawings without mentioning

was a form of logic,
though a hybrid logic between arithmetic, geometry and

colour. Drawing, according to him,

colour.

Since line and modelling did not exist for Cezanne,

drawing was basically

a relationship

Exhibitions: Basel 1036, no. 145: Genoa 1951, no. 89;

tion,

Malibu and elsewhere 1983-5, no.

1986, no. 94;

tion,

Woodner

Madrid 19867,

Collection,

71:

Woodner

Munich 1986,

Woodner

no. 94;

Woodner

Bibliography: Venturi 1936, no. 1499; Chappuis and Ramuz 1957, pp. 44,
Chappuis 1973, no. 1181; Venturi 1978, pp. 94, 164; see also

of contrasts."

Woodner Collection
this sheet

1896-9.'

It

relates closely to a

the

same

is

dated to

period.* Both of these sheets demonstrate a

com-

bination of straight and curving strokes (the latter no doubt

initially

generated by the subjects themselves), which

is

absent

catalogues.

Notes
1

Study of Trees (present location unknown), which

2
3

introduction by Lawrence

Novotny 1938,
Novotny 1950,

Gowing

a small

group of studies of

years of the 1890s. ^

250

FRENCH SCHOOL

trees dated to the earlier

The arching diagonal

structure in the

pp. 25off., quoted in

4 Rewald 1951, introduction.

5 Chappuis 1973, no. 1181.

Chappuis, nos

in

London 1073b,

p. 11.

p. 74.

6 Chappuis, no. 1180.

from

Collec-

no. 111.

go;

Chappuis dates

Collec-

Collection, Vienna

161-65

8 Venturi 1978, no. 719.

bis.

Chappuis 1973,

p. 13.

'^^.

^-

N.

Paul Cezanne
Aix-en-Provence, 1839 - Aix-en-Provence, 1906

^6

Skull on Drapery
Pencil

and watercolour: 312 x 475 mm.

D,'rawn
Already

water-

In the case of the

absolute mastery of the medium.

possible terminus ante

Cezanne's

in the last four years of

colour demonstrates the

in

artist's

the late 1880s,

constructed of a criss-cross

when

this

his oil paintings

weave

began to apply watercolour

life,

were

still

Cezanne

of brushstrokes,

as patches of colour recording

and shadow. Starting from a smooth white sheet of

light

worked out the preliminary composition

paper, he

and then brushed

in

in pencil

areas of pure colour, fully appreciating

because of the medium's transparency, each patch

that,

Woodner

watercolour, there exists a

quem of 1903. Georges Riviere spoke

of a canvas painted in the studio at Les Lauves in 1903, which
showed 'une tete de mort sur un tapis .^ Although there is an
painting with three skulls resting on what

oil

no

to be a carpet,'

Thus
the

it

oil

would appear
is known.

painting with a single skull

has been suggested that Riviere was mistaken about

medium and was

referring to the present watercolour.^"

re-

make an independent statement.

As his technique evolved through the 1890s, Cezanne refined
his palette, juxtaposing patches of distinct hues - green, ochre,
blue, violet - to create 'a brilliant fabric of abruptly tilted
tained

its

and

clarity

ability to

surfaces'.^

Within

this

context of colour, the pencil lines and areas of

white paper also take on important functions. The pencil lines

provide

initial

'mapping' of the subject and are also used for

areas of accentuation, such as the dense voids of the eye

sockets and nose of the skull in Cat. g6.

intended to be read as 'highlight'

ists,

map

Cowing

work of the Impression-

Cezanne watercolour projects

the white paper in a

positive way; as
a

in the

Whereas white was

observed,

[from which] the surface

it is

like 'a

summit

in a

...

on

carved back by a series of

is

hues'. ^ In the case of this watercolour, the skull thrusts for-

ward

as in a bas-relief, with the drapery peeling

towards the background. Depth

is

course to Renaissance methods of

the areas of white

and

at the

away from

it

thus created without re-

scientific perspective.

Even

emerging through the patterned drapery

edges of the image

fail

to subvert the

primacy of

the scarcely touched baldness of the skull.

were represented by Cezanne early in his career in a

drawing of iS6^-g^ and in two oil paintings from the same
Skulls

period."

Yet

works the

in these

with other objects, and

context of a memento

The
is

may

skulls

form part of

still life

thus be read within the traditional

Provenance: Ambroise Vollard,

Alexander Rosenberg,

Paris;

Marianne

Feilchenfeldt, Zurich;

York; Paul Mellon, Upperville va;

sale.

New

York, Sotheby's, 10S7.

Exhibitions:

New

York -

Paris

i977-8b, no.

73.

)}iori.

skull studied in isolation in the present late

watercolour

Bibliography: Vollard 1914,

p.

135; Venturi 1936, no. 1129: Rewald

1984, no. 612.

almost certainly one of the four skulls used slightly earlier

Cezanne's painting Pyramid of Skulls (private collection,

Zurich),' executed c.iSgS-igoo in the artist's studio on the

Notes

in

rue Boulegon, Aix-en-Provence. After the completion of

Cezanne's

new

studio at Les Lauves in 1902, the skulls were

Introduction

(Venturi 1936, no. 61), and

now

in

the Art

Ibid.,

Chappuis, nos 121415.

which are dated to the same

late period.

However

skull

FRENCH SCHOOL

is

observed from the

side.

SHU

with

Life

Sl<idl

and

Carafe, private collec-

no. 1131.

8 Riviere 1923,

9 Three

neither sheet appears to relate directly to Cat. g6, since in

both cases the

p. 16.

5 Venturi, no. 753.

dated igo2-6. There are two further drawings depicting

skulls,^

London 1973,

Switzerland (Venturi no. 69).

Both of these watercolours have been

Institute of Chicago."

in

Chappuis 1973, no. 125B.

Still Life with Skull and Cnndlestick, on loan to the Kunsthaus, Zurich
tion,

colour and another entitled Three Skulls,

by Lawrence Gowing

2 Ibid., p. 14.

taken there, where they became the subject of both this water-

2.52.

New

p.

Skulls on

224.

an Oriental Carpet,

c.

1904, private collection, Switzerland

(Venturi, no. 759).

10

New York - Paris

i977-8b, no.

73.

Odilon Redon
Bordeaux, 1840 -Paris, 1916

Redon was brought up

by an uncle on the family

largely

creations.

him throughout

to haunt

his

life.

He

first

and then as

Gerome (1824-1904).

a painter

After failing to gain a place at the

(q.v.).

of

My system

was

During the 1870s he devoted himself almost exclusively

to charcoal drawings through which he evolved his distinctive,
private language of myth and symbol. Introduced to
his first set of prints in 1879.

Over

exhibited at the

and

last

worked mostly

critical

first

upon

work

in

directly the real

all

their particularities

and with

all

their

experience mental elation;

move

to the repre-

becomes

Redon's 'inventions'

fall

mimetic, since

least shackled

it is

He

into the category of art suggestif.

believed that the highest form of art was that which

1904.

all

copying minutely a pebble,

movements and was

or context to the visible world.

is

least

by associations of content

also

nisable elements in such a

the Nabis and artists in Belgium and the

way

new

that their original characters

images to shed

their original

set of relationships creates

an unnatural,

are transmuted that causes the

meanings. The

the combination of recog-

It is

ambiguous or suggestive world open

'Suggestive art

Cactus

by reproduc-

my spring, my yeast, my ferment. From

these origins come my real (truthful) inventions.^
infused,

Netherlands.

97

that

sentation of the imaginary. Nature, thus scrutinised and

Salon des Independants

his

this logic

acclaim from leading writers of the

French symbolist and decadent

influential

was

then need to create, to allow myself to

in

Impressionist exhibition (1886), at

which accorded him a complete room for

work received

copy

organic or inorganic world,

he produced

(cj.v.),

Les Vingt in Brussels (1886) and at the Salon d'Automne,

His

it

blade of grass, a hand, a face, or any other object from the

the next twenty years he

created 166 lithographs. After 1900 he

He

to

...

accidents. After the effort of

year.

oil.

And

revealed.

After 1870, he lived in Paris, but

lithography in c.1876 by Fantin-Latour

was through the

it

ing with great attention objects in external nature in

returned to the south-west of France for long periods each

(1884), the eighth

soi-meme,

art:

their detail, in

pastel or

triggered the imagination of the artist and thus produced the

work

under Jean-Leon

Ecole des Beaux-Arts, he returned to Bordeaux, where he

studied with Bresdin

was

logic of nature

trained briefly, but unsuccessfully, in Paris (1859-C.1862),

as an architect

stated in

minute observation of the physical world that the underlying

estate of Peyrelebade in the Landes, a desolate coastal area

whose landscape was

As he

Man

where thought
define.

like

is

to

many

interpretations:

an expansion of things

also finds a place.

My

They determine nothing. They

in a

dream,

drawings do not

place us, as does

By

music, in the ambiguous world of the indeterminate'."

wove paper (extensive scratch work;

fixed): 490 X 322 mm.
Signed at lower left, in charcoal, odilon redon.

Charcoal on tan

has probably been

presenting such an equivocal image,

Redon hoped

to

provoke

the spectator to think in front of his work, and thus to take

part in the creative process

itself.

ihis cactus plant which has taken on the form of a human

head

illustrates

Redon's belief

tween man and natural forms,

in the interchangeability

theme

variety of media throughout his career.

be-

that

he explored

The

juxtaposition of

in a

head, plant and jardiniere seems to force the spectator to read

the image as a gigantic apparition. In other startling examples

of similar transformations, serpents turn into haloes, butterflies

columns into trees, and human heads - apparently

of 'primordial' importance to the artist - become cliff faces,
into flowers,

meteors and flowers. This system of transmutation

is

based

on the work of Bresdin and the romantic belief in the equality

of man and nature within a general concept of UniversalMt.
It

is

also found in the

developments

Redon was

in

with the botanist

Bordeaux

in

'enthralled

Clavaud,

whom

he had met

in

1862, that provided him with a specific theory

for his images.

animals

Armand

Clavaud claimed that man had evolved from

in the sea, a

theory that Redon applied

element

is

illogicalities of the

Cnctus Mini, each

minutely studied from the model. Redon always

maintained that nature was a source of inspiration for his

254

FRENCH SCHOOL

de

Boilly,

Paris;

private

collection,

London;

New York-Chicago 1961-2, no. loo;

York 1970, no. 134; Bordeaux 1985, no. 40;
Woodner Redon Collection, Munich 1986, p. 87; Woodner Collection,
Vienna 1986, no. 95; Woodner Collection, Munich 1986, no. 95; Woodner
Collection, Madrid 1986-7, no. 112.
Exhibitions: London 1959, no. 15;

Venice 1962, no. 36;

New

Bibliography: Berger 1965, no. 621; Seznec 1972, p. 289, fig. 187 de
Gaigneron 1977, p. 105; Wilson 1978, p. 25, fig. 12; see also Woodner
Redon and Woodner Collection catalogues.
:

in his first set

of lithographs, Les origines, published in 1879.^

Despite the apparent

Marquis

Matthiesen Gallery, London.

nineteenth-century

by the human horizons which geology and the world of microbes had opened
up in the 19th century'.' In particular, it was his friendship
scientific theories.

Provenance:

Notes
1

Mellerio 1920,

p. 145.

2 Mellerio 1913, nos 44-52.

3

Redon 1961,

Ibid., p.

26.

pp.

28-9.

<.

>v

'J

Odilon Redon
Bordeaux, 1840 -Paris, 1916

p8

Diogenes
mm.
odilon redon.

Charcoal on blue-grey paper: 523 x 374

Signed

at

lower

charcoal,

left, in

1 his charcoal drawing probably

the

life

illustrates

an episode from

of Diogenes, the Greek philosopher and founder of

who

Athens from 413 to 327 bc.

Redon has chosen the story of Diogenes passing through
the School of Cynics,

Athens

in

lived in

broad daylight with a lighted lamp

in search of 'an

honest man'. Characteristically, Redon has given the story a

personal interpretation, casting the scene at night, rather

than

day; the figure of the philosopher virtually melts

in the

into the darkness, and the lantern,

human face, now

which has acquired

illuminates the gloom.

It

lamp personifies the

that the face in the

has been suggested

ideal

sought by the

philosopher: Wisdom.'

Technically this sheet

the charcoal with a

skill

is

Redon manipulates
exploits both the medium

outstanding.

that fully

and the texture of the paper. The range of tonal

effects

the

glowing untouched paper,

crisp black lines against the softly

the subtly modulated greys, and the dense blacks of the

shadows - produces an orchestration of light and shadow

equivalent to the full gamut of colour. In 1913, Redon commented upon this property of charcoal:
Black

the

is

most

exaltation and
of our being.
prostitute

sensibilities.

It

it.

essential colour.

its life
.

It

above

all

draws

its

from the discreet and dark recesses

One must

respect black.

Nothing must

does not please the eye nor awake any

It is

the agent of the spirit far

more than

the

beautiful prismatic colours of the palette.^

In

its

preoccupation with the balance of light and shadow,

this charcoal

drawing reveals the

artist's

appreciation of the

work of Rembrandt (q.v.). Redon held the seventeenth-century

Dutch master in high regard, recognising the pre-eminence
given to shadow as a source of mystery in Rembrandt's art:
'He (Rembrandt]
ecstasy.

He

is

the great creator of the infinite, of our

has breathed

life

chiaroscuro as Phidias did

into the shadow.

line.

He

has created

His drawing unveils

naturally and easily from the vision, the mysterious

shadows'.^
technique,
in a

itself

world of

Redon was influenced not only by Rembrandt's

but also by his subject-matter, as is demonstrated

lithograph such as Le liseur*

Provenance: Ambroise Vollard; Muriel

lulius,

1959.

Exhibitions: Washington, dc and elsewhere 1965-6, no. 46; Bloomington

1968, no. 86; Woodner Collection, Malibu and elsewhere 1983-5, no. 70;
Bordeaux 1985, no. 37; Woodner Redon Collection, Jerusalem 1985-6,
no.

yo;

Woodner Redon

Collection, Vienna
no. 96;

Woodner

Collection,

1986, no. 96;

Collection,

Munich 1986,

Woodner

p.

Collection,

125;

Woodner

Munich 1986,

Madrid 1986-7, no. 113.

Bibliography: see Woodner Redon and Woodner Collection catalogues.

Notes
1

Bordeaux 1985, no.

37.

2 Redon 1961, pp. 124-5.

3 Ibid., p. 35.

4 1892; Mellerio 1913, no. 119.

256

FRENCH SCHOOL

Odilon Redon
Bordeaux, 1840 -Paris, 1916

PP

Head

of Christ

Charcoal, on buff paper:

Signed

lower

at

R.^edon

was

odilon redon.

attracted to religious subjects for

However,

career.

570 x 470 mm.

right, in charcoal,

in

much

keeping with other Symbolist

of his

artists,

he

tended to project a highly individual interpretation of such

The image of Christ as a young man. His head encircled in a crown of thorns, is close to another charcoal of
the same subject dated 1895.'^ Its beautiful, melancholic face
themes.'

is

stark contrast to the anguished,

in

Christ as

indeed as

He

tormented image of

by Western artists, and

was represented by Redon himself in his lithograph
usually depicted

is

of eight years earlier.'

The

lack of proper indication of the shoulders of Christ

relate this

drawing to the theme of the decapitated head,

which Redon explored

images of St John

either explicitly in

the Baptist" or Orpheus,' or indirectly in such works as Les

yeux

clos.^

As with

the other

two charcoal drawings by Redon exhibited

here (Cat. gj, 98), the date of this sheet can only be approximate.

It

is

generally thought that the majority of Redon's

Redon

charcoals were produced in the 1870s.

this

view

in a letter to

himself reinforced

Andre Mellerio of 1898, implying that

in order to take up lithography

he had abandoned drawing

and so reproduce and disseminate

his 'visions'.'

It

clear,

is

however, that he continued to execute charcoals into the

1890s, and the delicacy of the handling, the emphasis

upon

the subtle contours and the gently shaded background associate this sheet with his lithographic style of this later decade.*

Provenance: Richard Nathanson, London.

Exhibitions: Paris 1956-7, no. 38; Philadelphia 1967; Bordeaux 1985,
no. 32;

Woodner Redon

Munich 1986,

Collection,

p.

83:

Woodner

Collec-

Vienna 1986, no. 97; Woodner Collection, Munich 1986, no. gj;
Woodner Collection, Madrid 1986-7, no. 114.
tion,

Bibliography: de Bayser 1984,

Woodner Collection

p.

79;

see also

Woodner Redon and

catalogues.

Notes
1

Cf.

La barque mystique, Cat. 100.

2 Bacou 1956,

fig.

48.

3 Lithograph of Christ, 1887 (Mellerio 1913, no. 71).

Pencil drawing, private collection.

5 Cf. Tete d'Orphee ou Gloire tombee, charcoal, Rijksmuseum Kroller-Muller,

Otterlo. In his images of Orpheus,

Redon appears

Moreau's painting Orphee, exhibited

6 Oil on canvas, Musee d'Orsay,
7 Letter of 21 July 1898, in

8 See, for example,

258

at the

have been indebted to

Paris.

Redon [1878-1916] 1923,

Briinnhilde, crepuscule des dieux,

FRENCH SCHOOL

to

Salon of 1886.

p. 30.

1894 (Mellerio, no.

130).

Odilon Redon
Bordeaux, 1840 -

Paris,

1916

00 La barque mystique
Pastel

and black

Signed

at

on buff paper: 520 x 646 mm.

odilon redon.

chalk,

lower

right, in black chalk,

Seascapes occur

early in Redon's oeuvre.

They

are used to

represent vast, desolate expanses from which individual objects

showing through

in

places to give the extraordinary iridescence

to the sky.

Redon's commitment to the unique properties of each

emerge' or over which seemingly incongruous animals or

constructions float/

medium was fundamental

Redon took

work:

the

As his initial source for these compositions,

empty coastlands of the Landes near his
however,

family's estate at Peyrelebade. In 1897,

after

twenty-

was sold. Redon

the one hand, he ex-

three years of legal wrangles, Peyrelebade

had mixed feelings about the

sale.

On

'I

to the final effects achieved in his

believe that suggestive art

impact of the

medium upon

the

is

artist.

dependent upon the

An

artist

who

is

truly

same invention in different media,

influence him in a unique way'.'

sensitive will not find the

because each one

will

perienced an intense nostalgia born out of the recognition

that the estate

and

had been the source of so much of his inspiration

On the other hand, he seems to have regarded

his art.

it

as

With Peyrelebade gone, Redon started to spend

summers at St Georges de Didonne, near Royan. He
appears to have relished the place,^ and from it came a series
of pastels and oil paintings of boats on the water and horsemen
on the seashore.
It has been suggested that the boat with its two figures in
a liberation.
his

this pastel

is

a loose interpretation of the Proven<;al

legend

of the 'Mystic Boat'." According to this popular French myth,

after the

accompanied by the

Lazarus,

Mary Magdalen and

Bishop Maximinius, Mary the

Ascension of Christ, Martha,

Mary

wife of Cleophas and

boat without

sails,

the mother of James, set off in a

oars or rudder and, through the intervention

where they converted

Redon treated the legend more

of an angel, landed safely in Marseilles

Tarascon to Christianity.

La barque rouge.^ In the present example, as

literally in

Femme dans une

La Sainte

in

barque" and La Sainte Marie debout

dans une barque J the legend has been severely modified, not

only

number

the

in

of figures portrayed but also in the in-

clusion of both sails and rudder

religious interpretation of the

places

within

it

on the boat. Should the

Woodner

sheet be correct,

context of religious

the

it

subject-matter

which Redon began to explore more extensively

in his

work

Provenance: De Bois collection, Haarlem, c.1925; on loan to the Stedelijk

Museum, Amsterdam, 196065; on loan to the Singer Museum, Laren,
1965-71; sale, London, Christie's, 5 December 1983, lot 10.

lection,

after C.I 900.

Although
nique of

Jerusalem 1985-6, no. 14;

1986, p. 121; Woodner Collection,

Munich 1986, no. 98; Woodner Collection, Madrid 1986-7,

essentially a celebration of pure colour, the tech-

this pastel

still

tones, notably in the

retains

body

some

Bibliography: See

of the boat, suggesting a certain

Redon was

by the early 1880s, primarily for portraits."

Towards the end of the 1890s, as he moved away from the
sombre world of charcoal and lithography, he began to
already using pastel

full

colour potential of pastel.

From

the beginning

Cf. the lithograph

La flew du marecage, une

Goya, 1885 (Mellerio 1913, no. $s)2 Cf. the lithograph L'Oeil conmie un ballon bizarre

o(A
3 See

Edgar

Po'e,

1882 (Mellerio, no.

Redon 1961,

Musee d'Orsay,

Paris,

sail;

Formerly Bonger
Amsterdam.

softer,
8 Cf,

itself;

and

combination of

chalk strokes and rubbed areas with the texture of the paper

FRENCH SCHOOL

2 of

se dirige vers I'infini. pi. 1

38).

Donation Ari

rubbed areas for the blue boat

et triste, pi.

p. 18.

from the medium.

strokes of chalk for the green sea and the yellow

humaine

4 Bordeaux 1985, no. 183.

6 Stedelijk Museum, Amsterdam.

La barque )nysiique he uses short, dense

lete

Hommage a

he seems to have understood the range of effects obtainable

In

Collection catalogues.

Notes
1

exploit the

Woodner Redon and Woodner

no. 115.

areas of darker, denser

overlap with Redon's charcoals (see Cat. gj-gg).

260

Woodner Redon ColWoodner Redon Collection, Munich

Vienna 1986, no. 98; Woodner Collection,

Exhibitions: Laren 1958, Bordeaux, 1985, no. 183;

for

example,

Donation Ari

et

collection,

Mme

Suzanne Redon.

now Rijksmuseum

Redon brodant,

Suzanne Redon.

9 Redon I1878-1916I 1923,

et

p. 33.

1880,

Vincent van Gogh,

Musee d'Orsay,

Paris,

Georges Seurat
Paris,

1859 -

1891

Paris,

Seurat studied at the Ecole des Beaux-Arts as a pupil of

Henri Lehman (1814-1882). After undertaking military

1879-80, he began to concentrate on painting and

service in

drawing, developing an interest

As

colour theory.

in

a result

of this investigation, Seurat introduced the principle of

most famous example

'pointillisme' into his paintings, the

being Sunday on the Grande-jatte, which was included

last

Impressionist exhibition (1886).

contemporary

He painted

scenes from

but also marine subjects on the

life,

in the

Normandy

coast.

01

Drawbridge

in Paris
mm.

Black conte crayon: 243 x 305

Watermark: michallet.
Inscribed

and

on the verso,

at

lower

in

blue crayon, a Seurat; in graphite, Mouss\l]

right, in red chalk, 228.

he subject of

drawing may have been inspired by the

this

suburbs to the north of

Paris,

where Seurat made

of studies during the early 1880s.

The

number

is

where Richard Thomson concludes

that

the

Woodner

drawing was made, c.1882.^

industrial landscape in

these areas formed a stark contrast with the artist's bourgeois

background, and

his interest in

by reading

stimulated

{1848-1907),

among

such scenes

may have been

the novels of Joris-Karl

others. Seurat's

Huysmans

drawings of the northern

suburbs capture the feeling of anonymity in an increasingly-

mechanised society. Even when he includes figures

sheets, Seurat

does not define

in these

and

their activities closely

tends to concentrate on the bleakness of the environment.

At

same time there is a certain ambiguity about the

images, as they move between the divergent areas of social
the

realism and poetic fancy.

The drawing

in Seurat's early

is

he had evolved his

drawing

retains

features,

some

own method

mature

style, shortly after

of tenebrism. While the

agitated linear characteristics,

its

tenebrist

achieved through the use of conte crayon on thick

rag paper, are given greater emphasis by the positive value

of the white paper.

The

softness of the

medium and

surface allowed the artist to create a

qualities.^

similar technique

the rough

wide range of tonal

had been used

earlier

by

Jean-

Frangois Millet (1814-1875) and Fantin-Latour (see Cat. 93),

but Seurat, partly as a result of his study of the tonal aspects

of prints by Rembrandt

{q.v.)

and Goya

(q.v.),

brought the

style to a higher level of interpretive sophistication than

any

of his predecessors.

Provenance: Mr and Mrs Samuel A. Lewisohn; then by descent

Mrs David Crowell; Mr and Mrs Sidney Simon, New York.

New York 1944a, p. 97; San Francisco

York 1949, no. 58; Chicago 1958, no. 45; New York
1977, no. 26; Woodner Collection, Malibu and elsewhere 1983-5, no. 67;
Woodner Collection, Vienna 1986, no. 10 1; Woodner Collection, Munich
1986, no. 101; Woodner Collection, Madrid 1986-7, no. 118.
Exhibitions: Paris 19089, no. 113;
1947, no. 150;

raised

drawbridge

is

silhouetted against the sky and the

shapes of the factories or warehouses can be discerned

the background.
certain.

It

is

that

it

may

one over

262

its

The exact

location of the drawbridge

is

in

not

unlikely to be in the suburbs to the north-west

of Paris, as there

is

New

Bibliography: Rewald 1943,

p.

The

no

canal system there. Herbert suggests

to

78;

Rewald 1948,

p.

p. 71;

Laprade 1945,

131; Herbert 1958,

p.

pi.

78;

149; de

Seligman 1947,

Hauke 1961,

11,

no. 608: Herbert 1962, pp. 61, 81, 182; Russell 1965, p. 1,89; see also

Woodner

Collection catalogues.

Notes
1

Thomson
The

1985, pp. 60-64.

classic description of the technique

3 Verbal

is

in

Herbert 1962, pp. 46-53.

a date of

communication with the compiler. De Hauke gives

be one over the Canal Saint-Martin or perhaps

C.1884 and Rewald C1890, presumably on the strength of a possible

extension, namely the Canal de

connection with the

FRENCH SCHOOL

la Villette,

which

late

marine paintings.

y>i

F'A,>i"^Vt

-^f

Georges Seurat
Paris,

1859 -Paris, 1891

01 Les saltimbanques
Black conte crayon, on cream-coloured paper: 243 x 318

mm.

Watermark: michallet.

Thhe

theme of urban entertainment

concert or the circus

artists

in the

form of the

cafe-

became increasingly popular with French

during the second half of the nineteenth century. This

interest

was

certainly not

new

in France,

having

its

ancestry

early-eighteenth-century world of Gillot (see Cat. yd)

in the

and Watteau

(q.v.),

but

it

was given

Daumier {i8o8-i8yg) and was

fresh impetus

further developed

Toulouse-Lautrec (18641901) and Picasso

artists,

however, sought deeper meanings

subject-matter:

it

(q.v.).

by Honore
by Seurat,

These

this

in

later

type of

enabled them not only to observe social

divisions, but also to associate their

own

plight

on the

fringe

of society with that of the performer.'

There has been a tendency to discuss

thematic basis and to date

du cirque of c.1886-7,

New

it

in the

drawing on a

close to the painting La parade

Metropolitan

The connections between

York.^

Woodner drawing

this

Museum

of Art,

the painting and the

are only of a general nature: the tension

between horizontal and

vertical

in

the upper half of the

composition and the use of a head and shoulders as a repoussoir

motif

in the

iq.v.),

as well as in popular imagery.

foreground can also be found

in

works by Degas

Yet the emphasis on

line

throughout the drawing and the dependence on broken

patches of powerful tonal shading suggest a date closer to
the Drawbridge in Paris (Cat. 101),

where the

tenebrist style

is

equally undeveloped.

Herbert dates the present drawing c.1886, although he does

not relate

it

directly with La parade du cirque, but a date

C.1881-2, as proposed by Thomson,

is

more

acceptable.^

Both the subject and the style of Cat. 102 are comparable with
The Drummer and Clowns with a Pony (both in the Phillips
Collection,

Washington

dc);" the

former

fermeil iSS: parades saltimbanques Place des

is

inscribed,

Mont-

Maronmers. Several

other early drawings demonstrate Seurat's nascent interest

circus

life.'

in

Provenance: Paul Signac (1863-1935); then by descent

to

Mme

Berthe

Paul Signac.

Exhibitions: Paris 1908-9, no. 173; Paris 1926, no. 60; London 1977
(no

cat. no.);

Woodner

Woodner

Collection,

Malibu and elsewhere 1983-5, no.

Collection, Vienna 1986, no. 102;

1986, no. 102;

Woodner

Collection,

Woodner

Collection,

68;

Munich

Madrid 1986-7, no. 119.

Bibliography: Kahn 1928, pi. 65; de Hauke 1961,

1962, pp. 122-3, 183; Homer 1963, p. 283.

11,

no. 670; Herbert

Notes
1

For general observations on the theme, see Herbert 1962, pp. 121-5,

and Haskell 1987, pp. 11728.

2

De Hauke

1961,

11,

no. 670; see also previous

Woodner

Collection

Rewald 1959, no. 181. The

connection between the two works was rejected by Homer 1963, in his
catalogues. For the picture, see Dorra and

review of de Hauke.
3 Verbal communication with the compiler.

4
5

264

FRENCH SCHOOL

De Hauke, nos 442 (c.i88i) and 668

De Hauke, nos 382, 384-5.

(c.1887) respectively.

Georges Seurat
Paris,

03

1859 -Paris, 1891

Nursemaid Holding a Child

Black conte crayon:

Th
.his

230 mm.

made

was

at least four

They

of nursemaids c.1882-3.^

still

developing

all

are

among

which the

two of the drawings

Seurat was concerned

at this date. In

the nursemaids are seen from the back.^

above

one of

is

studies executed in the tenebrist style

first

artist

distinguished figure drawing

studies Seurat

the

300

with making the figure stand out from the dark

background.

possible that the uniform

It is

nurses at this period in Paris (with

its

worn by

children's

pure white bonnet and

white apron) helped him to conceive of the form almost as a

sculptural unit.

The

artist

seems to have had particular

difficulty

with the

by the nurse: its shawl seen in the half-shadow

somewhat resembles a shroud. As Herbert has observed, for
child held

such drawings Seurat probably studied the Caprichos by

Goya

which the mixed technique of etching and

in

iq.v.)

aquatint creates similar tonal values.

The columnar emphasis

ing

anticipates

artist's
c.

is

of the figure in the

studies

made

major painting Sunday on

1884-6.^

back

the

In that

in

Woodner draw-

preparation for the

the Grande-Jaile, dating

depicted in the

left half.

Seurat's preoccupafion with certain distincHve types

everyday

from

composition a wetnurse seen from the

observed

was inspired by a rich iconographic

by such artists as Edme Bouchardon
(1698-1762) and Honore Daumier (1808-1879).* By concentrating on particular types, Seurat trained himself to represent
in

Paris

life in

tradition epitomised

personal and social characteristics

by gradually reducing them

to absolute essentials.

Provenance: family of Ihe artist; Octave Mirbeau (1848-1917);

Mme

Mirbeau,

Kelekian, sale,
lot 12;

his

widow,

Durand-Ruel, 24 February 1919, lot 52; Dikran

York, American Art Association, 30-31 January 1922,

sale, Paris,

New

Albert Rothbart.

New York 1924, no. 31;

Malibu and elsewhere 1983-5, no. 66; Woodner

Exhibitions: Paris 1900 (hors de catalogue);

Woodner

Collection,

Collection, Vienna
no. loo;

1986, no. 100; Woodner

Woodner Collection, Madrid 1986-7,

Collection,

Munich 1986,

no. 117.

Bibliography: Apollonio 1945, pi. 2; Seligman 1947, pp. 24, 80; de Hauke
1961, 11, no. 488; Herbert 1962, pp. 73-4, 180; Russell 1965, pp. 87, 140,
280; Sutton 1978, p. 55; de Gaigneron 1981, pp. 78-9; see also Woodner
Collection catalogues.

Notes
1 De Hauke 1961,
2
3

266

11,

nos 485-7.

De Hauke, nos 485-6.

De Hauke, no. 162.
Thomson 1985, p. 73.
11,

1,

FRENCH SCHOOL

Georges Seurat
Paris,

1859 -

Paris,

1891

104 Haystacks
Black conte crayon: 240 x 3 10

mm.

Watermark: michallet

along lower right edge).

1 he

(visible

style of this drawing, with

with an interest

and the

its

emphasis on

more formal

Hauke suggests

line

combined

qualities of the landscape

from Seurat's early

effects of light, indicates a date

maturity; de

of the

the

in

c.1883. In the energetic application

medium, the sheet may be compared with La

chiffonier

of the

mood

and La zone^ but the

Woodner drawing

derived from the

is

piuie,

Le

The theme
work of Jean-

different.

is

Frangois Millet (1814-1875); Seurat also based other drawings

on the model of

Millet, for

lahourage and Le glaneur,

all

Woodner

features of the

example Crepuscuk du

The

dating from c.1883.^

Le

soir,

abstract

drawing, however, suggest com-

parisons with the sheets of this date that depict landscapes

devoid of

figures,

Maison sur une

such as Maisons

colline

Given the formal

and Arhre

et

arbres en silhouette,

et route.^

characteristics of a haystack,

it

surprising that Seurat did not explore the motif

present drawing and a small

oil

sketch.

"*

The

is

perhaps

beyond

the

subject seems to

have especially appealed to Impressionist

series of paintings of haystacks

dates from 1891.

It

artists: the famous

by Claude Monet (18401926)

should also be noted that Camille Pissarro

(1830-1903), a friend and admirer of the young Seurat,

painted this subject in 1883,'' probably at about the same

time as Cat. 104 was drawn. Yet there

direct connection, since the
first

time until

two years

Provenance: Emile
4 December 1941,

two

is little

artists

possibility of a

did not meet for the

later.

Seurat; Felix Feneon, Paris, sale, Paris, Hotel Drouot,

lot 13;

Lord Clark, Saltwood Castle.

Exhibitions: Paris 1900 {hors de catalogue); Paris 1908-9, no. 107; Paris
1920, no. 55; Paris 1926, no. 36; Paris 1936a, no. 98; Paris 1936b, no. 40;

Reims and elsewhere 1938, no. 30; Bielefeld-BadenBaden X983-4, no. 44.
Paris 1937, no. 89;

Bibliography: Kahn 1928,

pi.

23; Laprade 1945,

pi.

81; de

Hauke 1961,

11,

no. 540.

Notes
1 De Hauke 1961,
2

11, nos 519, 520, 521 respectively.

nos 522, 525, 559 (British Museum) respectively; most
were probably drawn near or at Le Raincy to the north-east of Paris

De

Hauke,

where

Seurat's father

De Hauke,
4 De Hauke,
3

5 Pissarro

268

11,

11,

1,

owned

property.

nos 537, 538 (Rotterdam), 539 respectively.

no. 44.

and Venturi 1939, no. 589,

FRENCH SCHOOL

entitled Paysage avec meules a Osny.

Henri Matisse
-

Le Cateau-Cambresis, 1869

Matisse

first

Nice, 1954

He took up

trained as a lawyer.

painting in

Matisse's drawing technique of long, sweeping

Moreau (q.v.) at the Ecole des

Beaux-Arts from 1892. Although he was bom in the north of
France, he spent much of his career around the Mediterranean.
He travelled to Morocco and Algeria in 1906 and again in
1912 and 1913. He visited Nice for the first time in 1917,'
1890, studying under Gustave

returning there regularly for the rest of his

Gauguin (1848-1903), van Gogh (1853-1890), Cezanne

(q.v.) and the Nabis, encouraged Matisse to abandon

human

however, always retained

figure,

indebted to Gauguin and the Nabis.

freed from the need to transcribe the external world

accurately, these artists

abandoned the use of

three-dimensional objects on a

sense of spatial depth

a central

is

Vlaminck {1876-ig^S), Camoin (1879-1964) and Marquet

front of the paper surface.*

In

critic

them

to call

Les Fauves (The

Matisse's work ranged from small

and

still lifes

Wild

of,

the chair, the extension of her

the void and the forcing of both chair and figure close

Unlike his immediate predecessors

(1875-1947); their outrageously unnaturalistic colours and

forms led a

and used

instead

it

highly-finished, tonal drawings

Beasts).

returned to

portraits, interior scenes

its

more

windows and panels constructed

He also designed book illustrations and

in

(cf.

who

arm
up

into

to the

used charcoal for

Courbet, Cat. 87), Matisse

traditional use in the preliminary or

He

exploratory stage.'

to large decorative works, including murals,

Thus

human form remains dominant, all

negated by the framing of the body

within the curves

art.

surface

Matisse's sheet, while the

1905 his work was exhibited at the

Salon d'Automne with works by Derain (18801954),
position in his

flat

record

line to

positive and negative forms within a composition.

naturalism and to explore the decorative potential of line and

colour; the

Once

is

page or canvas. This approach not only re-established the

primacy of the picture surface, but also gave equal weight to

under Moreau, together with contact with the work of

'

and the spaces beyond,

which

lines,

the figure and the chair

to turn objects into decorative elements spread across the

His training

life.

circumscribe both solid forms

tended to employ charcoal for his

first

stage designs, stained-glass

studies of a model, prior to committing the subject to the

oi gouaches decoupees.

more considered
purest and most

executed sculpture.

the

lines of pencil,

which he regarded

direct translation of

Woodner drawing
it

also,

as 'the

emotions'.* In

the charcoal not only creates bold,

sweeping contours, with hints of the

of the image, but

-[his]

internal

development

where rubbed, permits the suggestion

of colour.

:o^

Woman

Seated

478 mm.

Charcoal, on off-white paper: 562 x

Signed and dated

inscribed

at

lower

on the verso,

left,

in charcoal,

in graphite,

M,

Henri I Matisse

with the town of Nice

.atisse's fascination

I sept 4.0;

h.

;;

landscapes, views through hotel or apartment

is

recorded

in

windows on

to the bay and figures in interiors. Until 1923 the artist's

daughter Marguerite had served as a model for many of his
figure paintings. After her marriage in that year,

however,

Matisse had to make use almost exclusively of hired models.

drawing was executed, Matisse

In 1940, the year in

which

was once again

Nice, concerned about both the

in

his declining health.

him pretty

The pose

model
by him.^

of the

sheet of paper.

The

war and

arranged with film agents to send

girls to

to be 'animated'

details,

He

this

for

Provenance: Stanley Moss,

model
artist

him because they did not have

in

this

drawing dominates the

appears to care

little

for specific

such as the features of the face or the texture of the

Woodner

Collection,

Malibu and elsewhere 1983-5, no.

Collection, Vienna 1986, no. 104;

1986, no. 104;

Woodner

Collection,

dress or chair cover. In this respect the drawing illustrates a

Bibliography: de Gaigneron 1981,

comment Matisse made

catalogues.

My

human

models,

interior.

entirely

They
on

the year before

figures, are

are the principal

my

model,

it

was executed:

never

theme of

observe

just 'extras' in

my

take a

new model,

intuit the

at liberty,

pose that

FRENCH SCHOOL

depend

and then

When

will suit her

her un-self-conscious attitudes of repose, and then

the slave of that pose.^

an

from

become

Woodner

Collection,

73;

Munich

Madrid 1986-7, no. 121.

p.

78; see also

Woodner

Collection

Notes
1

work.

decide on the pose which best suits her nature.

270

Exhibitions:

Woodner

New York.

Diehl 1954,

p.

154, has proposed a

first visit

to Nice in 1916: Cowart, in

Washington DC 1986-7, p. 16, doubts this proposal on the grounds of

lack of documentary and artistic evidence.
2 Pierre Matisse, letter, in Barr 1951, p. 256.
3 Flam 1973, p. 81.
4 See London 1982, pp. 17-22.

5 Jirat-Wasiutinski 1980, pp.

6 Flam,

loc. cit.

128-35.

SPANISH

SCHOOL

Francisco Jose

Goya y

Lucientes

Fuendetodos, 1746 -Bordeaux, 1828

Goya,

was

who

recorded Spanish society

in

upheavel and decline,

trained in Zaragosa under the church decorator Jose

Luzan 1710-1785 and then from 1766

in

Madrid

Bayeu (17341795). After visiting Italy between

and
1771, he returned to Zaragosa, where he executed
1769
frescoes in the style of Giovanni Battista Tiepolo (q.v.), who

From 1775 Goya was working

in Spain.

in

Madrid, creating cartoons for the Royal tapestry manufacture.

By

was employed

the early 1780s he

wide range of

by a
and other members

as a portraitist

including Charles in

clients,

1780 he was made a member of the

Royal Academy of San Fernando and from 1789 he held a
of the Royal family. In

succession of

official

appointments: court painter

director of painting at the

Royal Academy

in

in

became

deaf, after

etchings

he

series of

War

- for which he became

well

known. He remained

Goya

positions,

Basque

However,

origins.

was almost

Goya's

certainly

Bernardo

his illustrados friends Jovellanos,

Melendez Valdes and in particular Moretin,

Madrid in early 1797, that aroused his
interest in such subjects. In February 1797 Moretin had begun
to annotate the 'Report on the famous auto-de-fe at Logoho
de

the poet

Iriate,

after his return to

on witchcraft which he almost certainly

Goya. As with

in 1610,' a treatise

discussed

among

Mascaras

crueles,

his circle of friends, including

only the

first

word

of the

been written by Goya, the other two added

may have

title

at a later date

by

another hand.

the album.

While

earlier pages, at least

in the character of

up to

B.50,^ are con-

cerned with the subject of women surrounded by other figures,

by males and

escorted

and caricatures make

in

Madrid during the French occupation (1808-13) and after

the restoration of the Spanish monarchy under Ferdinand vii,
he was again employed as court painter. Despite

it

his

set against landscape or

dense wash

backgrounds, from the present page (B.55/56) masks, witches

(1810-23), the Disparates (181524) and the Tauromachia

(1825)

through

This sheet marks an important change

first

illness,

which he began to produce the

the Caprichos (1799), the Disasters of

renewed contact with

1789,

1795 and

court painter in 1799. In 1792, following a severe

familiar

as Gassier has pointed out,^

in the studio

of Francisco

had worked

may have been

his official

did not create works which accorded with

also the
this

first

appearance for the

their

first

time.

It is

instance in which captions have been added.

At

point in the album, the captions, as on both the recto

and verso of Cat. 107, were usually single words, but by B.60
Goya adopted expanded titles which describe or comment

on the image on the

sheet.

the prevailing style of Neoclassicism. Rather he used his art

for social

comment, recording

poses and manipulating paint

his sitters in less than flattering

in

Gassier has argued that

ninety-four drawings in

were intended from the beginning to be

an extraordinary but

unconventional way. Out of the bitter events of the French

all

occupation, he painted The }rd of May (1814; Prado, Madrid),

in the

work which haunted subsequent generations

became an icon of revolutionary art.

them

all

of artists and

same large format, and Goya seems to have numbered

both recto and verso. The suggested date

all,

is

Cadiz

early 1797, thus implying that

in

the winter of

Goya

106

Mascaras crueles
(Cruel Masks) (recto) and

in

it

executed

for the

either

it

Madrid
wholly

it

Madrid.

A number of the sheets in this album relate closely to plates

etched series of the Caprichos. This suite of eighty

in the

and published by 17 January 1799. The

majority of the designs were made between the spring of
prints

Brujas a holar (Witches about

to Fly)

started

lygd-y and completed

after his return in the spring of 1797, or

in

the sheets are executed in pen and ink and wash, they are

album
in

Album

a suite of drawings;

was

finished

1797 and the summer of 1798, that is, close in date to the
execution of at least the second half of the Madrid album.

(verso)

The

Caprichos were immediately preceded

by

a series of

nineteen drawings entitled Suenos (Dreams), which formed

Pen and ink wash, on slightly bluish paper: 237 x 150 mni.
Inscribed on i:he recto, in ink, at upper left, mascaras/ crueles; at upper right,
70, and S5- On the verso, in ink at upper left, 56; and upper right, 9; and at
lower

T,his

right, Brujas a holar.

Album b or
human face has

wash drawings, known

as

Madrid album. In Mascaras crueles, the

been transformed into the mask, a process that was ultimately
the

to

end

in the 'plausible monstrosities' of the

images

etched series of the Caprichos (lygg). The word

probably added
being

cruel,

leering, as

later,

many

of the compositions in the Caprichos.

verso of the present sheet, Brujas a

no. 3;'

it

was

The

Suefios

holar, recurs as

etched, with minor modifications, as

pi.

jo

(Devota profesion) of the Caprichos.

double-sided drawing comes from a volume of ninety-

four pen-and-ink and

the basis for

Provenance: Paul Lebas, Paris; sale,

72 (as 'La Cruelle and 'Les Chanteurs'
de Beumonville,

sale, Paris,

dealer Philippe for 105

fr.);

Paris,

Hotel Drouot, 3 April 1877, lot

22 fr.); Baron E.

to de Beumonville for

Clement, 16-19 February 1885,

Bruno de Bayser,

lot

51

(to the

Paris; private collection, Paris;

A. Strolin, Lausanne.

Exhibition: Martigny 1982, nos 13

(recto),

14 (verso).

in the

crueles

was

Bibliography: Gassier and Wilson 1971, nos 415-16; Gassier 1973,

nos B.55 (60), B.56 (61).

perhaps by another hand. Rather than

the carnival

masks are

in fact

grotesque and

they inspect the woman's bared breast.

Brujas a bolar illustrates a satanic scene with

which Goya

Notes
1 Gassier 1973, pp. 46, 130.
2 B.51/52 and B.53/54 are both

lost.

3 Gassier 1975, no. 41.

SPANISH SCHOOL

2.75

A
'nu.'fJ

106 verso

YlJ iC^^

^/^/a'^

Goya y

Francisco Jose

Lucientes

Fuendetodos, 1746 -Bordeaux, 1828

107 Loco furioso (Raging Lunatic)

Black chalk, on grey-blue paper: 193 x 145

mm.

Inscribed at upper centre right, in black chalk, Loco furioso 3 at lower

:

black chalk, Goya;

.his drawing
Th

on the

one of

is

i:hirteen

describing various i:ypes of

lunai:ics (locos)

from the so-called Album

the largest and

most impressive group of such

by Goya.
at the

In the

left, in

verso, also in black chalk, Goya.

Woodner

They

g.^

subjects created

man

sheet the figure of a

world from the gloom of

his cell.

He

represent

is

looks out

shown

naked,

with his head and one arm thrust defiantly between the gaps

wooden cage

the

in

even

dignified,

and

of his
his

cell.

His gaze appears to be tranquil,

body, albeit distorted

in attitude,

repose, reflecting a state of

mind

that suggested in the

Late in his career,

to

title.

themes of superstition

which

(see Cat.

reflect the precarious

the irrational.

The

madness induced by

locos

in

apparent contradiction to

Goya

returned

106 verso) and madness,

balance between the rational and

vary from victims suffering from

behaviour to generic categories

anti-social

Goya had

such as Loco Afrkano}

in

is

treated the

theme of madness

example Yard with Lunatics (1793-4;

Meadows Museum, Dallas) and The Madhouse (c.1812 19;
in earlier paintings, for

Royal Academy of San Fernando, Madrid).^

Album G

was almost

(see also Cat. 108)

certainly executed

between September 1824 and c.1826 and precedes the socalled Album H. Both albums contain drawings executed in
black chalk, with frequent additions of lithographic crayon,

suggesting that they

may have been

intended as designs for

a series of lithographs.

Provenance: Hyades, Bordeaux; J. Boilly, Paris,"

19-20 March 1869, lot 48 (to Leurceau for 450
private collection.

Collection

11,

New

York and elsewhere 1973-4,

no. 116; Stuttgart 1980, no. 215; Frankfurt 1981, p. 219;

lection,

Hotel Drouot,

A. Strolin, Lausanne;

New York.

Woodner

Exhibitions:

sale, Paris,
fr.);

Woodner

Col-

Malibu and elsewhere 1983-5, no. 61; Woodner Collection, Vienna

1986, no. 105;

Collection,

Woodner

Collection,

Madrid 1986-7,

Munich 1986,

no. 105;

Woodner

no. 122.

Bibliography: Mayer 1934, p. 22; Gassier and Wilson 1971, no. 1738;
Gassier 1973, g.3(37) (391); de Gaigneron 1977, p. 105; Held 1980, p. 141;
see also Woodner Collection catalogues.

Notes
1 Gassier 1973, G.33-G.45.
2 Gassier, G.34.

3 Gassier and Wilson 1971, nos 330, 968.

Gassier, pp.

502-3,

lists

the present drawing

should be

Hyades

278

in

))),

as

1869.

SPANISH SCHOOL

is

c.33 (the second numeral of the inscription on

indistinct,

one of the

but by a process of elimination,

fifteen sheets acquired

by

it

Boilly from

ci
s../

Goya y

Francisco Jose

Lucientes

Fuendetodos, 1746 - Bordeaux, 1828

108 The Mutilated

Man

Black chalk, and possibly lithographic crayon: 194 x 148

mm.

Inscribed at upper right, in black chalk, 16; at the lower edge,

in

Amanecio

asi,

(He appeared

mutilado, en I Zaragoza, a principios I de ijoo

like this, mutilated,

Zaragosa, early

in 1700).

number of pictures of suffering and torture

in Goya's art, but few are as horrific as this image. The huge
bag of limbs slung before a wall from a hook only slowly
reveals the full horror of its contents. At the base of the bag,
blood has soaked through the fabric, the legs hang limp, and
here are a great

which pokes out from the mouth of the bag

the head

lifeless. It is
is

how

is

staring,

the caption that elucidates the terrible event: this

an atrociously mutilated

Zaragosa early

man was found one day

The

in

lithography.

depends upon the dates

two Bordeaux albums, which, according to Gassier,
must have been executed between Goya's return to Bordeaux
precise dating of this drawing

of the

September 1824 and the closing months of

1827.^ It is thought that Album g, from which this sheet and
Cat. 107 both come, preceded Album is h, which contains
from Paris

in

drawings with references to the

fair in

Bordeaux of 1826.^

1700.

in

There are two possible sources for the inspiration of

drawing. Gassier proposes that
the story

in

with the effects that can be achieved

when studying

in

after his return to that city

this

Goya may have heard

of

Zaragosa under Jose Luzan or

following his sojourn

in Italy

(1769-71).^ Alternatively, he might have learnt of the event

from Aragonese

exiles with

emigration to Bordeaux

in

whom

he associated

after his

1824.

This drawing comes from the penultimate album of drawings

made by Goya. After his move to Bordeaux in 1824, he

produced two albums, which are known as Albums g and h
or the Bordeaux albums. Both albums have the same format:
the drawings share similar subjects, are

drawn

in

black chalk

and appear to have been made with a view to producing

series of lithographs or etchings. Gassier points to the similarity of

first

subject-matter between these

two albums, a and

these later volumes

two albums and Goya's

he notes that

b (see Cat. 106);^ but

Goya used an

in

new medium,

entirely

lithographic crayon, in conjunction with black chalk, whereas

two albums he had employed brush and wash.

Goya had been introduced to lithography in 1819 by his
in the earlier

Maria Cardaho. After the re-establishment of the

Spanish monarchy under Ferdinand vii in 1823, Cardaho left
friend Jose

Spain and settled

days of

in Paris.

his arrival in

Goya

travelled to Paris within three

Bordeaux, and

Drouot, 1920 March 1869,

Lausanne; private collection,

it

51

lot

and 1789-1863). Cardaho had been associated with both

(377)-

when

in Paris in

1818, and

On

who had
was

it

would appear

that

acquired from the Vernets the technical proficiency

lithography that enabled him to take the

level.

his return to

Bordeaux,

medium

to

its

Goya met Gaulon,

in

highest

a printer

who

to publish his Bulls of Bordeaux (1825). Gassier argues

none of the drawings

albums was ever turned into

of black chalk

was hardly

SPANISH SCHOOL

Boilly, Paris, sale, Paris,

fr.);

Hotel

A. Strolin,

in either

of the

a lithograph, the artist's

surprising given

its

Bibliography: Gassier and Wilson 1971, no. 1724; Gassier 1973, G.16

Notes
1

Gassier 1973,

2 Gassier,

established a lithographic press in 1818 and

that although

J.

Leurceau for 50

Paris.

Exhibition: Martigny 1982, no. 19.

Goya

(to

has been suggested that

one of the attractions must have been the prospect of visiting

Cardafio and meeting Carle and Horace Vernet (1758-1836
these artists

2S0

Provenance:^ possibly Hyades, Bordeaux;

last

two

adoption

close affinity

p.

p.

562.

499.

3 Gassier, pp. 500-1.

4 Gassier, H.40, H.41, H.45,

5

The provenance
has stated that
is

H. 54.

of this drawing

it

thought to have acquired

Bordeaux album from Hyades

the fifteen sheets from

mention

this

is

not entirely

clear. Gassier, pp.

passed through the Boilly sale

drawing.

fifteen
in

in Paris in

502-3,

1869. Boilly

sheets belonging to the earlier

Bordeaux. However,

Album c once belonging

in Gassier's list of

to Boilly,

he does not

/ /;
,

./

'<
'.

Goya y

Francisco Jose

Lucientes

(?)

Fuendetodos, 1746 -Bordeaux, 1828

lop

Man Dressed in a

Cape

Brush and black wash, with touches of white gouache: 254 x 180
Inscribed

on the

verso, This drawing

queen of Spain 26 December i8s9

mm.

was given by Madrazzo painter of the

in

Madrid. Collection of the son of Goya.

Madrazzo, signed C. Case.

Gcfoya depicted
in his

this

cloaked figure, the emhozado, frequently

work. The figure

El paeso de

is

found on the right-hand side of

Andalucia of 1777 (Prado, Madrid)^ and as late as

in sheet H.31 of Album H, a drawing of which Goya

made an etching.^ In all three works - painting, drawing
and etching - the emhozado wears a conical, flat-topped hat
as opposed to the round, soft hat of the middle-class townsman
shown in the present drawing. Only one other drawing in
Goya's oeuvre, sheet G.56 from Album g (for other drawings
in the same album, see Cat. 107, 108), made in Bordeaux

C.1826
later

between September 1824 and c.1826, shows

a similar piece

of costume.

1971 Gassier and Wilson accepted this drawing as the

of Goya. But in 1975 Gassier cast some doubt over this
attribution. He suggested that, given the slight clumsiness in
In

work

the handling of the

background wash, the drawing might have

been executed by Rosario Weiss, the daughter of Leocadia

Weiss, with

whom Goya

had emigrated

Maria del Rosario Weiss was

bom

in

to

Bordeaux

in

1824.

1814 and from about

the age of seven received drawing lessons from Goya.^

Provenance: the artist's son, Javier Goya; Jose de Madrazzo; Charles

Gasc (see Lugt 542-4); Gobin (Lugt S. 11Z4'); private collection, Paris;
Libert and Castor sale, Paris, 1987, lot 50.
Exhibitions: not known.

Bibliography: Gassier and Wilson 1971, no. 1838; Gassier 1975, no. 388.

Notes
1 Gassier and Wilson 1971, no. 78.
2 Gassier and Wilson, no. X827/1828.

3 See Gassier and Wilson, nos 1842-70.

282

SPANISH SCHOOL

Pablo Picasso
Malaga, 1881 - Mougins, 1973

Throughout

long

his

and inventive

life,

His work of the 1890s shows his awareness of Degas

was an extremely prolific

graphic artist and book

Picasso

painter, sculptor,

Toulouse-Lautrec (1864-1901) and Steinlen (1859-1923).

The style of the two latter artists in particular was presumably

transmitted through the work of Casas to Picasso, where it is

whose work profoundly affected the course of

twentieth-century art. The son of an artist, he trained at the
illustrator,

School of Fine Arts (La Lonja)

the Royal

He went

Academy

in

Barcelona in 1895 and at

reflected in the strong, simplifying graphic quality of the

of San Fernando in Madrid from 1897.

to Paris for the

first

present sheet.

time in 1900 and settled there

1904. He met Gertrude Stein in 1905, and through her

was introduced to Matisse (q.v.) and Derain (1880-1954),

This drawing belongs to an extensive group of some

in

and

later to

by

their

categories, the 'Blue'

dominant

tonality,

fall

Cezanne

(q.v.)

two

Museum

friends

and fellow

artists.^

apparently executed

of

The majority

1912, and from 1917 became involved in ballet and theatre

moved

his

work returned

to a

more

figurative style.

He exhibited

show

1925. In 1937 he painted Guernica as his

in Paris in

in

de Sant Joan

January 1900. The group

falls

at the first Surrealist painting

line;

Casagemas had
pen framing

half-length; full-length with descriptive or anecdotal

backgrounds, possibly dating from December 1899; and

length executed at great speed with

War. From the end of the 1940s he spent more time sculpting,

background.

making lithographs and ceramics; he

portrait belongs. Despite compositional variations,

began

his series of

upon the works of old masters, such as Poussin

Rembrandt {q.v.) and Delacroix (17981863).

It

is

little

to this latter category that the

free variations

almost

{q.v.),

chalk, watercolour or pastel, as well as ink

all

There

is

Woodner
however,

the portrait drawings use colour, either coloured

and black

chalk.

another portrait drawing of de Soto which belongs

to this group.

110 Portrait of Mateo Fernandez

or

full-

no recognisable

statement of outrage at the atrocities of the Spanish Civil

also

in

roughly into four

categories: head and shoulders, often including a

classical,

sitters,

of the portraits were

in the studio in Riere

Modem Art, New York). He created his first papiers colles in

From 191 7

por-

then Picasso should fare equally well with portraits of his

Barcelona, into which Picasso and Carles

designs.

fifty

one-man exhibition

Casas could successfully exhibit portraits of bourgeois

and the work

Cubism, heralded by

his controversial Demoiselles d'Avignon {igoj;

in his

The idea of showing a group of portraits

came from Picasso's friends, who suggested that if

initially

(1902-5) and the 'Rose' {igo^-6)

led to the evolution of

drawings which Picasso included

at El Quatre Gats.

into

periods. His subsequent study of primitive art

of

trait

Braque (1882-1963). His early works,

characterised

{q.v.),

It is

half-length and

its

media are

restricted to

ink and watercolour wash.^

de Soto
Pencil,

conte crayon and charcoal, blue chalk, with blue and red watercolour,

on cream-coloured paper: 514 x 235 mm.

Signed at lower left, in conte crayon, -P.R. Picasso-; inscribed below

this,

Soto-I-.

his

is

a portrait

drawing of

Mateo Fernandez de
studio after his
the

two

artists

move

Soto, with

young Spanish

whom

Picasso shared a

to Barcelona in 1899;

were again together

in Paris. In

were both habitues of the avant-garde

sculptor,

two years

later

Barcelona they

arts cafe El

Quatre Gats.

This meeting-place for painters, sculptors, illustrators and

writers had

opened

in

1897;

one of the centres of the

it

quickly

became recognised

as

'renaissance' in the arts of Catalonia

that took place in Barcelona at

the turn of the century.

Picasso joined the group in 1899 and

was accorded

one-man

exhibition in the salagran of the cafe in February 1900.

Picasso has used a variety of media

charcoal, chalk
portrait,

pencil,

conte crayon,

and watercolour - to define the figure

which was executed before

in this

his first visit to Paris in

Provenance: not known.

Exhibitions: presumably Barcelona 1900;
1986, no. 106;
Collection,

1900. Its somewhat radical treatment of the figure, firmly

bounded by an insistent dark outline and rendered with little

Woodner

Collection,

Madrid 1986-7,

Collection, Vienna
no.

106;

Woodner

no. 123.

Bibliography: Zervos 1969,

no. 423; see also

Woodner

Munich 1986,

xxi, no.

Woodner Collection

loo; Palau

Fabre 1981,

p.

188,

catalogues.

regard for volume, was almost certainly influenced by the

work

of his friend and fellow cafe

member Ramon Casas

Notes
1

(1866-1932). Casas had gone to study

in Paris in 1882,

where

he frequented the studios and cafe-concerts of Montmartre.

284

SPANISH SCHOOL

Sabartes 1946,

p.

60.

2 1900; Daix and Boudaille 1967, no. 421; Zervos 1969,

to 1899).

vi,

no.

269 (dated

Pablo Picasso
Malaga, 1881 -Mougins, 1973

111

Deux

elegantes

Charcoal:

410 x 240 mm.

Signed

lower

at

left in charcoal, P. Ruiz Picasso.

Dated

at

lower

left, in

blue

chalk, 1900.

A,Llthough executed
Soto

(Cat.

no),

same year as the portrait of de

drawing is a far more confident work,
in the

this

which suggests that

was made

it

Picasso's return to Barcelona.

either in Paris or after

demonstrates Picasso's mast-

It

ery of contour and texture, achieved with charcoal alone,

and

thorough understanding of the work of Steinlen

reflects a

(1859-1923).
other
Gats.

Its

graphic style

members of the group at

The use of bold outline is

Ramon

and posters of

Ramon Casas and

Pere

also indebted to that of

is

the Barcelona cafe El Quatre

to be found in the paintings

Casas (1866-1932), for example

Romeu on

a Tandem,^ and in the

work

of Isidro Nonell (18731911). In addition, the drawing style

of Miguel Utrillo (1883-1955) of the early 1890s, strongly
influenced

may

also

by the work of Toulouse-Lautrec (1864-1901),

have been important

for the

younger

artist's

devel-

opment.^

It

was through both Casas and

this bold, linear style.

he explored

Although

its

his

full

Utrillo that Picasso discovered

For approximately two years (19001),

potential in a

number

of sketchbooks.^

subject-matter and palette were to change

fairly radically after

1901

as he entered his 'Blue' period, the

strong contours were retained

buting to the essentially

flat

in his

subsequent work, contri-

non-naturalism of his

art

from

1902 to 1905.

Provenance: private

collection, Switzerland;

Exhibitions: Berne 1984-5, no. loi;

no. 107;

Woodner Collection, Munich

Nathan Gallery, Zurich.

Woodner

Collection, Vienna 1986,

1986, no. 107;

Woodner

Collection,

Madrid 1986-7, no. 124.

Bibliography: see

Woodner Collection

catalogues.

Notes
1

1895;
Pere

Museo de Arte Modemo,

Romeu

of

1900

in the

same

2 Cf. Parisian Fantasy, c.i&go;

3 See

286

London 1986c,

SPANISH SCHOOL

Barcelona. Cf. also the poster 4 Gais:

collection.

Museo de Arte Modcrno,

pp. 3079, nos 19-27.

Barcelona.

Bibliography

Benesch 1973
Otto Benesch, The Drawings of Rembrandt, revised and expanded by Eva Benesch,

Adhemar 1950
Jean Adhemar, Watteau: sa

vie,

son oeuvre, Paris, 1950

Adriani 1978

6 vols, London, 1973

G. Adriani, Paul Cezanne: Zeichnungen, Cologne, 1978

Berenson 1903

Alexander 1970
J.).G.

Bernard Berenson, The Drawings of the Florentine

van Alkemade

Bernard Berenson, The Drawings of

[n.d.j

Comelis van Alkemade,

Register van Adelyke Huijsen,

Holland, Utregt. Gelderland

164.6 en

etc.

getekent door Roeland

647 (MS inventory preserved

Kastelen

Roghman

gelegen in

etc.

meest in de jaren

in the Rijksprentenkabinet,

Amsterdam)

Amaury-Duval,

L'Atelierd'Ingres, Paris,

Berenson 1961

1986

1980

Anderson 1970
W. Anderson, Cezanne's
Andrews 1971

E.

Bernard, 'La technique de Paul Cezanne',

Uoe\ Annesley, 'Raphael's Charge

London, 1978, pp. 96ff.

Scotland: Catalogue of Italian Drawings, 2 vols,

i,

1920

Marianne Bernhard, Hans Baldung Grien: Handzeichnungen und Druckgraphik,

Munich, 1978

W.

to

Saint Peter', Christie's Review of the Season,

1962-3

der Meister der Gewandstudien', Zeit-

'Miniature dell'Angelico

Deutschen Vereins fiir Kunstwissenschaft, xviii, 1964, pp.

1963, pp.

Fedja Anzelewsky, Alhrecht Dtirer: Der malerische Werk, Berlin, 1971

Blankert 1982

Apollonio 1945

Albert Blankert,

Anthony

Barbaglia, L'Opera completa del Cellini,

Milan,

Roseline Bacou, Odilon Redon, 2 vols, Geneva, 1956

New York,

1870

Amsterdam, 1982

Frozen Silence,

Drawings of G.B. Castiglione and Stefano della

Her Majesty the Queen at Windsor Castle, London, 1954

Blunt, The

Collection of

Anthony

1951

Blunt,

Master Drawings,

Bartsch

1800-21. (For reproductions

Walter Strauss,

Tlie Illustrated Bartsch, ed.

in progress])

1908

Paintings of Nicolas Poussin:

Bella in the

Critical Catalogue,

London,

'Newly
xii,

Identified

no.

3,

Drawings by Poussin and

1974, pp.

his Followers',

239-48

Blunt 1979

Anthony Blunt, The Drawings of Poussin,

Bober and Rubinstein 1986
Phyllis Pray

Bastelaer, Les estampes de Peter Bruegel I'ancien, Brussels,

New Haven,

1979

Bober and Ruth Rubinstein, Renaissance Artists and Antique

Oxford, 1986

Sculpture:

A Handbook of Sources,

1908

Baum 1948

Bock 1929

Baum, Martin Schongauer, Vienna, 1948

de Bayser 1984
Bruno de Bayser, 'Reves de collectionneur', Connaissance

Elfried Bock, Die Zeichnungen in der Universitatsbibliothek Eriangen, Frankfurt

].

des arts,

December

75-9
Bean 1960

Boerner 1964
Katalog C. G. Boerner, Diisseldorf, 1964

Borsook 1980

Jacob Bean, Inventaire general des dessins des Musees de Province: Musee Bonnat,

les

i960

Bean 1969
Jacob Bean, 'Review of Andrews, National Gallery of Scotland: Catalogue of
Drawings', Master Drawings, vii, no. 1, 1969, pp. 55-7

Eve Borsook, The Mural Painters

Bredius and Gerson 1969

Abraham
Italian

Bean and Turcic 1982

Jacob Bean with the assistance of Lawrence Turcic, isth and 16th Century Italian
Dratvings in the Metropolitan Museum of Art, New York, 1982

Oxford, 1980

Bredius, Rembrandt: The Complete Edition of the Paintings, revised

Bredt 1921
E.W. Bredt, Rembrandt Briquet

CM.

Bihel: Altes Testament,

Briquet, Les filigranes,

1968)

Hans-Ulrich Beck, Jan van Goyen, is^6-j656, 2 vols, Amsterdam, 1973

Brod 1963-6

Benesch 1935
Otto Benesch, Rembrandt: Werk und Forschung, Vienna, 1935
Benesch 1947
Otto Benesch, Rembrandt: Selected Drawings, London, 1947
Benesch 1954-7
Otto Benesch, The Drawings of Rembrandt, 6 vols, London, 1954-7
Benesch 1964
Otto Benesch, 'Neuentdeckte Zeichnungen von Rembrandt', Jahrhuch der Berliner
Museen, vi, 1964, pp. 10^^0
Benesch 1970
Otto Benesch, Collected Writings, I: Rembrandt, ed. Eva Benesch, London,
1970

of Tuscany,

by

Horst Gerson, London, 1969

Beck 1973

2S8

am

Main, 1929

1984. pp.

dessins itahens de la collection Bonnat, Paris,

111,

1966
Blunt 1974

Barrl951

volume of

ouvrages, Paris,

vie, ses

Blunt 1966
Anthony Blunt, The

1981

Bacou 1956

Bartsch, Le peintre-graveur, 21 vols, Vienna,

1962, pp. 177-gS;

Blunt 1954

Venice, 1945

Alfred Barr, Matisse: His Art and his Public,

11,

Blanc 1870

43-53

C. Blanc, Ingres: sa

Umbro Apollonio, Disegni di Seurat,

Avery and Barbaglia 1981

(e altro)', Acropoli,

1-38

Anzelewsky 1971

of prints, see the relevant

Munich,

G. Berthold, Cezanne und die alien Meister, Stuttgart, 1958

Berti

Hemmel und

Avery and Susanna

Munich, 1980

Kreis,

Bernt, Die niederldndischen Zeichner des 1/. fahrhunderts, 2 vols,

L. Berti,

Fedja Anzelewsky, 'Peter

Rene van

I'art,

1957
Berthold 1958

Anzelewsky 1964

Bastelaer

Amour de

Marianne Bernhard, Martin Schongauer undsein

Bernt 1957

Drawings, Cambridge ma, 1970

Annesley 1978

[still

L'

Bernhard 1978

Bernhard 1980
Portrait

Keith Andrews, National Gallery of

Cambridge, 1971

York, 1978-

New York,

1965
Bernard 1920

Alexandre .Ananoff, L' Oeuvre dessine de Jean-Honore Fragonard, Paris, 1968

Ananoff and Wildenstein 1980
Alexandre Ananoff and Daniel Wildenstein, L'Opera compkta di Boucher, Milan,

New

revised and amplified edn, 3 vols,

Klaus Berger, Odilon Redon: Fantasy and Colour, trans. Michael Bullock,

New Haven-London,

Ananoff 1968

Adam

I disegni dei pittori fiorentini,

Berger 1965

1878

Francis Ames-Lewis, The Draftsman Raphael,

Charles

the Florentine Painters, amplified edn, 3 vols,

Milan, 1961

Ames-Lewis 1986

schrift der

London, 1903

Chicago, 1938
Bernard Berenson,

Amaury-Duval 1878
E.E.

Painters, 2 vols,

Berenson 1938

Alexander, The Master of Mary of Burgundi/, London, 1970

vols,

Catalogue Alfred Brod, London,

Geneva, 1907

Neues Testament, Munich, 1921

(reprint with

addenda, Amsterdam,

1963-6

Brookner 1980
Anita Brookner, Jaccjues-Louis David, London, 1980

Brugnoli 1974
Pierpaolo Brugnoli, Maestri della pittura Veronese, Verona, 1974

Buchner 1941
E.

Buchner, Martin Schongauer

als

Maler, Berlin, 1941

Bush 1976
Virginia Bush, Colossal Sculpture of the Cinquecento,

New

York, 1976

Bussmann 1966
Bussman,
1966

G.

Manierismus im

Spiitioerk

Hans Baldung

Griens,

Heidelberg,

Dodgson 1929

Butler 1974
Joseph T. Butler, 'Old Master Drawings from the
Connoisseur, clxxxvi, 1974, pp. 56-7

Woodner

Collection

ii',

The

Byam Shaw,

The Drawings of Domenico Tiepolo, London, 1962

ten Doesschate Chu, French Realism and

Dorival 1948
P.

Byam Shaw 1976

James

Byam Shaw, Drawings

by Old Masters at Christ Church, Oxford, 2 vols, Oxford,

Byam Shaw 1983a

B. Dorival, Cezanne, Paris,

Byam Shaw,

H. Dorra and

The

Italian

Drawings of

the Frits Lugt Collection, 3 vols, Paris,

J.

Rewald,

Seurat, Paris,

Dussler 192 7

James Byam Shaw, Review of Pouncey and Gere 1982, Burlington Magazine,
cxxx, 1983, p. 552

L.

Cancogni and Perocco 1967

M. Cancogni and G. Perocco, L'Opera

Eckert and von Imhoff 1971

Canedy 1970
N.W. Canedy, 'Some

86-94
Cavazzocca Mazzanti 1912
V. Cavazzocca Mazzanti,

Madonna

pittori Badile',

'I

Verona, vi, 1912, pp.

6584

Hope and Alessandro Nova,

Cellini ed.

Pope-Hennessy 1949

The

Benvenuto

Cellini

Catalogue Raisonne, 2 vols,

Museum

16th, lyth.

and iSth

Dessins de Cezanne, Lausanne,

of Art, Catalogue of Paintings,

/;/;

European Paintings of the

i,

Musees de

Province:

Collection

Besangon, 1957

World:

Study

in Intellectual History,

i;;76-i622,

1958

Museum

Studies,

m, 1968,

Everett Fahy, The Wrightsman Collection,

v:

Paintings, Drawings, Sculpture,

New

York, 1973

Fahy 1976
Everett Fahy, Some Followers of Domenico Ghirlandaio,

New York,

1976

Murray 1905-12
/.

Pierpont

Morgan

Collection of

Drawings by

the

Old

Masters Formed by C. Fairfax Murray, 4 vols, London, 190512

Catalogue complet, 1849-1 ^o^f., de Fantin-Latour, Paris, 1911

Fermier 1977-8
La

vie et I'oeuvre de

Gustave Courbet: Catalogue raisonne, Lausanne-Paris,

1977
Gillot',

La Revue de

445
Daix and Boudaille 1967
Daix and G. Boudaille,

The Blue and Rose Periods:

Picasso,

of the Paintings 1900-1906,

New York,

Catalogue Raisonne

1967

Davis 1981
Davis, 'Legends with a Light Touch', Country

Life,

14

May

1981,

p.

1326

Slid- iind Mittelitalien,

4 vols,

Berlin,

Italienischen Zeichnungen,

1300-7450,

i:

Oskar

1870

Ingres: sa vie, ses travaux, sa doctrine, Paris,

Umbrer, Berlin, 1917

1928

Fischel, Stift

Fischel

Dements 1937

1917

Fischel, Die Zeichnungen der

Fischel

Oskar

1968

Delaborde 1870
Henri Delaborde,

Maria Luisa Ferrari, // Romanino, Milan, 1961

Fiocco 1930
Giuseppe Fiocco, Carpaccio, Paris, 1930 (2nd edn 1931)
Fiocco 1958
Giuseppe Fiocco, Carpaccio, Novara, 1958

Oskar

Degenhart and A. Schmitt, Corpus der

1961

Ferrari

Fischel

Degenhart and Schmitt 1968

und Feder

|n.p.],

1928

and Oberhuber 1972

Fischel,

Raphael Zeichnungen,

ix:

Inventaire general de dessins des ecoles du nord: ecoles allemande

et Suisse,

Berlin,

Werken Raphaels und seiner

and amplified by Konrad Oberhuber,

Entwiirfe zu

Schule im Vatican 157 i/j2 bis 1520, revised

1972

Flam 1973

1937

Dempsey 1968
Charles Dempsey,
l,

J.D. Flam, Matisse on Art,

'

"Et nos

1968, pp.

cedamus amori": Observations on the Famese

Gallery',

363-74

Desonay, Le

les

poetes parnassiens, Paris,

1928

(reprint 1974)

London, 1973

1928-31

Flechsig, Albrecht Durer: Sein Leben

Berlin,

reve hellenique cliez

Diderot ed. Seznecand

Flechsig
E.

Desonay (1928) 1974

E.

his

21-41
Fahy 1973

R. Fermier,

Art, XLV, 1925, pp.

Bulletin,

Fachlik, Cezanne, Prague,

Mme Fantin-Latour,
Inventaire general des dessins des

Emile Dacier, 'Les scenes et figures theatrales de Claude

Art

and

Fantin-Latour 1911

193-204

Dacier 1925

Demonts,

II

Oxford, 1973
Fachlik 1958

Fairfax

1982

Centuries, Cleveland,

Koniglich Preussischen Kunstsammlungen, xviii, 1897, pp.

Paris,

485-8

Evans 1973

Charles Fairfax Murray,

Pierre-Adrian Paris,

Munich, 1918

pp.

Cornillol957

L.

als Landschafter,

Everett Fahy, 'The Master of Apollo and Daphne',

1957

Colvin, 'Uber einige Zeichnungen des Carpaccio in England', Jahrhuch der

M.L. Cornillo,

Leipzig,

Fahy 1968

Colvin 1897

B.

Rembrandt
Ephrussi 1880

F.

Kenneth Clark, The Drawings of Leonardo da Vinci in the Collection of Her Majesty
the Queen at Windsor Castle, second edn revised with the assistance of Carlo
Pedretti, 3 vols, London, 1968
Cleveland Museum, Cat. European Paintings 1982
Cleveland

11,

1918

Eisler,

R.W.J. Evans, Rudolf

(reprint i960)

Adrien Chappuis, The Drawings of Paul Cezanne:

London, 1973

Kimsllerlexicon,

Charles Ephrussi, 'Exposition des Artistes Independents', Gazette des Beaux-Arts,

Written by Himself, ed. Sir John Pope-Hennessy,

Chappuis and Ramuz 1957

Adrien Chappuis and C.F. Ramuz,
Clark and Pedretti 1968

Eisler

XXI, 1880, pp.

trans. John Addington Symonds, London, 1949

Chappuis 1973

Spiegel seiner

Eisenmann 1878

M.

The Autobiography of Benvenuto Cellini, ed. Charles

trans, by John Addington Symonds, Oxford, 1983
Life of

von Imhoff, Willihald Pirckheimer: Divers Freund im

Werke und seiner Umwelt, Cologne, 1971

Eckert and C.

O. Eisenmann, 'Hans Baldung', juhus Meyers allgemeines

1878

Hope and Nova 1983

Cellini ed.

Bohmen, Prague, 1956

1927

Lebens seiner

Preparatory Drawings by Girolamo da Carpi', Burhngton

in

Dussler, Klassiker der Kunst, xxxiv: SignorelU, Des Meisters Gemdlde, Berlin-

Leipzig,

W.

completa del Carpaccio, Milan, 1967

Magazine, cxii, 1970, pp.

F.

Dutch Masters, Utrecht, 1974

1959

Zoroslava Drobna, Die gotische Zeichnung

P.

the

Drobna 1956

1983

I'

iv,

1948

Byam Shaw 1983b

S.

Old Master Drawings,

Dorra and Rewald 1959

1976
James

Squirrel',

50-51
ten Doesschate Chu 1974
1929, pp.

Byam Shaw 1962

James

Campbell Dodgson, 'Hans Hoffmann:

Focillon

seine kunstlerische Entwicklung, 2 vols,

1918

Henri Focillon, Giovanni Battista

Adhemar 1957

und

1928-31
Piranesi: essai de catalogue raisonne de son oeuvre,

1918
Forlani Tempest! 1970

Denis Diderot, Salons, ed. Jean Scznec and Jean Adhemar, Oxford, 1957
Diehl 1954

Paris,

Gaston Diehl, Henri Matisse,

A. Forlani Tempesti, Capolavori del Rinascimento:

Paris,

1954

Dodgson 1898
Campbell Dodgson, The

II

prima Cinquecento toscano,

Milan, 1970
Diirer Society,

1,

Fosca 1928

London, 1898

Dodgson 1911
Campbell Dodgson, The Diirer
I-X I1S9S190S), London, 1911

F.

Society: Index to the Plates

and Text of

Portfolios

Fosca, Liotard. iyo2iy89, Paris,

1928

Freedberg 1963
S.J.

Freedberg, Andrea del Sarto, 2 vols, Cambridge ma, 1963

BIBLIOGRAPHY

289

Halm 1962

Freedberg 1980
David Freedberg, Dutch Landscape
1980
Friedlander

Max

London,

Prints of the Seventeenth Century,

Leyden- Brussels, 1967-76

Friedlander. Fjirly Netlierlandish Painting, 14 vols,

Berlin,

Friend

Jr,

and the Hercules Borghese-Piccolomini', Art

'Diirer

Bulletin,

London', Weltkimst,

in

June

und

die Florentiner Renaissance, 2 vols,

Woodner, amateur americain de reputation mondiale,

sa collection', Connaissance des Arts,

cccxLvni, February 1981, pp.

Mr

Woodner', Connaissance

des

78ff.

Milan, 1936
Fiolbein d.].: Kritischer Katalog, Berlin,

1937

son oeuvre, 2 vols, Paris, 1961

Haverkamp-Begemann, Review of Benesch 1954-7,

50-57, 85-91

Kunstchronik, xiv, 1961,

Haverkamp-Begemann 1979
Haverkamp-Begemann,

van

'Joos

Liere', Pieter Bruegel

und

seine Welt: Fine

Institut der freien Universitiit Berlin

und dem Kupferstichkabinett der Staatliche Museen Preussischer Kulturbesitz

1). und 14. November 1975, Berlin, 1979, pp. 17-28

am

Hayward, 'A Newly Discovered Bronze Modello by Benvenuto

& Co.: Art at Auction, London 1968, pp. 264ff.

Cellini',

Heawood
Heawood, Watermarks: Mainly

E.
le

jeune: Catalogue raisonne,

Geneva, 1939

of the Seventeenth

and Eighteenth

Centuries,

Hilversum, 1950 (corrected reprint 1969)

Hediard 1901

Ganz 1943
Paul Ganz, FFandzeichnungen Hans Holbein derjiingere

in

Auswahl, Basel, 1943

Gassier 1973

G. Hediard, 'Les dessins de Fantin-Latour', Gazette des Beaux-Arts, xxvi, 1901,

459-67
Heikamp 1966
pp.

Gassier, The Drawings of Goya: The Complete Albums,

London, 1973

Gassier 1975

Detlef Heikamp,

Gassier, The Drawings of Goya: The Sketches, Studies

London, 1975
Gassier and Wilson 1971
P. Gassier and ]. Wilson, Goya: His

and Individual Drawings,

Descriptive Catalogue of

Heinemann,

R.

...

Stiftung

Held, Francisco de

Gathome-

Rembeck, 1980
Henriot 1928

New York-London,

Herbert 1958

Hon. A.

in the Possession of the

E.

Hardy, Ballantyne Press, 1902

Gealt 1986
Adelheid Gealt, Domenico

margine

The Punchinello Drawings,

1986

Sammlung

Goya

R.L. Herbert, 'Seurat in

Lugano Castagnola, 193741

Schloss Rohoncz,

in

Selhstzeugnissen

und Bilddokumenten, Hamburg-

Chicago and

New

York', Burlington Magazine,

c,

1958,

146-55
Herbert 1962
pp.

Alhrecht Diirers Zeichnungen im Lubomirski-

Vienna, 1929

R.L. Herbert, Seiirat's Draivings,

New York,

1962

Heseltine 1903

Taddeo Zuccaro: His Development Studied

in

his

Drawings, London,

1969

Goldberg 1980
Gisela Goldberg, 'Zur

"Vita di Baccio Bandinelli" del Vasari', Paragone,

Gabriel Henriot, Collection David Weill: Dessins. Paris, 1928

Tiepolo:

Gebarowicz and Tietze 1929

M. Gebarowicz and H. Tietze,

Museum in Lemberg,
Gere 1969

alia

Held 1980

and Work, London, 1971

Life

].

Drawings

'In

191/11, 1966, pp. 5162

xvii, no.

Heinemann 1937-41

Gathome-Hardy 1902

Auspragung der

Diirer Renaissance in Miinchen',

jahrhuch der Bildenden Kunst, xxxi, 1980, pp.

Mmchner

12975

Gombrich 1976
E.H. Gombrich, Leonardo's

Heseltine, Reproductions of Original Draivings

J.

P.

J.

P. Heseltine,

Hill

1930
Hill,

Hill

and Pollard 1967

of Analysis

and Permutation: the Grotesque

Hill,

Colour from the Collection of

Corpus of Italian Medals of the Renaissance before

Cellini,

London, 1930

Renaissance Medals from the Samuel H. Kress Collection at the National

Gallery of Art, revised and enlarged

by G.

Pollard,

London, 1967

Hoferl947

de Goncourt 1875

Hofer, 'A

P.

de Goncourt, Catalogue raisonne de

in

Bushey, Herts, 1903

G.F.

G.F.

Method

Heads', The Heritage of Apelles, London, 1976

I'oeuvre peint, dessine, et

grave de Antoine

Newly Discovered Book with

Painted Decorations from Willibald

Pirckheimer's Library', Harvard Library Bulletin,

1,

1947, pp.

66-75

Hoff 1937-8

Watteau, Paris, 1875

Gould 1976

U. Hoff, 'Meditations in Solitude', Journal of the Warburg and Courtauld

Cecil Gould, The Paintings of Correggio,

London, 1976

disegno italiano del Trecento al Seicento,

Rome, 1956

Gniyer 1886

Hollstein,

Gustave Gruyer, Fra Bartolommeo

1886

della

Cuerin 1931
M. Guerin, Diineuf portraits de Degas pour
Guiflfrey and Marcel 1909

Porta

et

Mariotto AlbertineUi, Paris,

Versailles, iv, Paris,

F.W.H.

lui-meme, Paris, 1931

Musee du Louvre

1909

Hollstein,

vols,

Homer 1963
W.I. Homer, Review of de

Guinness 1899

pp.

H. Guinness, Andrea del Sarlo, London, 1899

Humbert

von Hadein 1925

E.

Detlev von Hadein, Venezianische Zeichnungen des Quattrocento, Berlin, 1925

1897

BIBLIOGRAPHY

German

German Engravings, Etchings and Woodcuts, c. 14.00-1/00,

Amsterdam, 1954-80
Hollstein, Dutch and Flemish
F.W.H. Hollstein, Dutch and Flemish Etchings, Engravings and Woodcuts, C.14SOlyoo, 25 vols, Amsterdam, 1949- (still in progress)
27

Jean Guiffrey and Pierre Marcel, Inventaire general des dessins du

Institutes,

1937-8, pp. zgzH.

Hofstede de Groot 1906
Comelis Hofstede de Groot, Die Handzeichnungen Rembrandts, Haarlem, 1906
1,

Grassi 1956

290

et

Sotheby

Ganz, Die Handzeichnungen Fians

du Musee de

Haven-London, 1987,

pp. 10-14, 19-28,

J.F.

Paul Ganz, Les dessins de Flans Fiolhein

el

Nineteenth-Century Myth',

New

Hay ward 1968

Botticelli,

Ganz 1939

//

11728

Colloquium veranstaltet vom Kunsthistorischen

Ganz 1937

Grassi,

Clown: Some Notes on

and Taste: Selected Essays,

Present in Art

Cesar de Hauke, Seurat

E.

Gamba 1936

L.

and

Past

E.

'Ian

Axelle de Gaigneron, 'Les nouveaux choix de

].A. Gere,

Alexander der Grosse, Berlin, 1978

Haverkamp-Begemann 1961

commente quelques oeuvres majeures de

cccx, December 1977, pp. i02ff.
de Gaigneron 1981

Carlo Gamba,

als

11 1

deHauke 1961
Fra Bartolommeo

1922

Axelle de Gaigneron,

E.

Richard Harprath, Papst Paul

pp.

deGaigneron 1977

P.

1898

Francis Haskell, 'The Sad

Frohlich-Bum, 'Handzeichnungen alter Meister

Cabelentz 1922
Hans von Gabelentz,

P.

Boilly, Paris,

Haskell 1987

1956

P.

1962, pp. 75162

Harprath 1978

40-49
Frohlich-Bum 1956

Arts.

xiii,

D. Hannema, Catalogue of the H.E. ten Cate Collection, Rotterdam, 1955

H. Harisse, Louis-Leopold

1932

XXV, 1943, pp.

Leipzig,

Llnbekanntes Material und neue

i:

Harisse 1898

Friend 1943

L.

Zeichner,

als

Hannema 1955

1967-76

Friedlander and Rosenberg 1932

M. Friedlander and J. Rosenberg, Die Gemalde von Lucas Cranach,

A.M.

Halm, 'Hans Burgkmair

P.

Zuschreibungen', Mimchner Jahrbuch fiir bildenden Kunst,

Hauke 1961,

TTie

Burhngton Magazine, cv, 1963,

282-4
ef

Humbert

et

a/.

al.

1897
La

vie et les a'uvres

de jean-Etienne Liotard, 1702-1789,

Amsterdam,

Humfrey 1983
Peter Humfrey,

Kurz 1955
Cimn da

Conegliano, Cambridge,

Otto Kurz, Bolognese Drawings of the xvuand xviii Centuries

Majesty the Queen at Windsor Castle, London, 1955

1983

Jean-Richard 1978
Pierette Jean-Richard, L'Oeuvre grave de Fran(ois Boucher dans la Collection

de Rothschild, Paris,

1978

Jirat-Wasiutynski

1980

Edmond

V. and T. Jirat-Wasiutynski, Tlie Uses of Cliarcoal in Drawing', Arts Magazine,

October 1980
Joachim and McCullough 1979
Harold Joachim and Suzanne Folds McCullough, Italian Drawings
Institute of Chicago, Chicago-London, 1979
Joannides 1983
Paul Joannides, The Drawings of Raphael, London-Berkeley, 1983
Jullien

1962

Lauts
in

the

Art

Lemoisne 1946
Lemoisne, Degas
Leprieur e^ a/. 1909
P. A.

P.

Leprieur

et

et

1946

son ceuvre, 4 vols, Paris,

ai, Catalogue raisonne de la collection

Martin Le Roy,

K. Oberhuber,

Musiciens d'aujourd'hui, 2 vols, Paris, 1892

J. Levenson
Washington DC, 1973

Art,

G. Kahn, Les dessins de Georges Seurat, Paris, 1928

Levey 1965

KaiSassl976

Michael Levey,

la

recherche d'un portrait disparu de Christian IL roi de Danemark,

peint par Albrecht Diirer en 1521', Hafnia: Copenhagen Papers in the History of
Art, IV, 1976, pp.

163-84

wissenschaft, XLVii, 1926, pp.

Tiepolo:

et al..

Early Italian Engravings in the National Gallery of

The Banquet of Cleopatra, London, 1965

Levey 1986
Michael Levey, Giambattista
Leiss

H. Kauffmann, 'Zur Kritik der Rembrandtzeichnungen', Repertoriurn

fiir

Kunst-

157-78

Kemp 1984

1979-82

Landschaften Pieter Bruegels der Alter im Licht seines

Gesamtwerkes', Kunsthistorisches Jahrhuch Graz, xv-xvi, 197980, pp. 1116;

Maximus, Factorum

35-150;

xviii,

A Pictorial

Lightbown 1978

lxx, 1984,

Ronald Lightbown, Sandra

1982, pp. 79-164

BotticeUi,

2 vols, London, 1978

Lippmann 1883-1929
F.

Lippmann, Zeichnungen von Albrecht

Diirer in Nachbildungen, 7 vols, Berlin,

1888

1883-1929
Lippmann and Hofstede de Groot 18881911

Kenseth 1975

F.

et

dictorum memorabihum, ed. C. Kempf, Leipzig,

Kenseth, Jacopo Ligozzi: Pittore mmiatore, dissertation. Harvard University,

Mitsch and K. Oberhuber, Raphael: Die Zeichnungen, Stuttgart, 1983

Knapp 1903
Fritz

S.

Knapp, Fra Bartolommeo

della Porta

and

die Schule

von San Marco, Halle,

Lombardi, Jean

1903

R. Longhi,

1961,

Knapp, Andrea

Phototype,

vols, Berlin

and elsewhere, 1888-1911

del Sarto, Leipzig,

Foucjuet, Florence,

p.

'Cezanne d'apres Passerotti e Antonio del

M. Lowry, The World

Burlington Magazine,

Knox 1974
Cleopatra', Master Drawings,

Venice,

of Aldus Manutius: Business

xii,

the

Theme

of

Anthony and

Drawings

in

the Victoria

and Albert

George Knox, 'Francesco Guardi

as an Apprentice in the Studio of Giambattista

Madison

wi,

1976

Knox 1980
George Knox, Giambattista and Domenico
of the Chalk Drawings, Oxford,

Lugt

Tiepolo:

Viltore Carpaccio:

La

vita e

le

opere,

A Study and Catalogue Raisonne

1980

marques de

collections de dessins et d'estampes,

marques de

collections de dessins et d'estampes:

Amsterdam, 1921

S.

Frits Lugt, Les

Knox 1976
Tiepolo', Studies in Eighteenth Century Culture,

Renaissance

Milan, 1906
Frits Lugt, Les

Tiepolo

Lugt

no. 4, 1974, pp. 3 78 ff.

Knox 1975
George Knox, A Catalogue of the
Museum, 2nd edn, London, 1975

and Scholarship

Oxford, 1979

Ludwig and Molmenti 1906

Gustavo Ludwig and Pompeo Molmenti,

CLLL, 1961, pp. 269ff.

George Knox, 'Giambattista Tiepolo: Variations on

Castillo', Paragone, no. 133,

yz

Lowry 1979

1907 (2nd edn 1928)

Knox 1961
George Knox, 'The Orloff Album of Tiepolo Drawings',

1973

Longhi 1961

Knapp 1907
Fritz

in

Museum, Oxford, 1980

Locke and Roethlisberger 1978
R. Locke and M. Roethlisberger, L'Opera completa di Liotard, Milan, 1978
Lombardi 1973

London, 1978

Veritatis,

Knab, Mitsch and Oberhuber 1983

E.

C. Hofstede de Groot, Original Drawings by Rembrandt Harmensz.

C. Lloyd, Renaissance Bronzes in the Ashmolean

Michael Kitson, Claude Lorrain: Liber

Knab,

Lippmann and

van Rijn Reproduced

Lloyd 1980

Cambridge ma, 1975

Kitson 1978

E.

New Haven London,

and Art,

Tiepolo: His Life

R. Leiss, 'Die kleinen

xvii, 1981, pp.

M. Kemp, 'Geometrical Perspective from Brunelleschi to Desargues:

Means or an Intellectural End?', Proceedings of the British Academy,
pp. 89-132
Kempf 1888

J.

1909

1986

Kauffmann 1926

Valerius

v, Paris,

Levenson 1973

Jullien,

Kai Sass, 'A

mo, 1982

Jacques de Laprade, Georges Seurat, Monaco, 1945

Kahn 1928

E.

Gaddi, Columbia

of Her

Jan Lauts, Carpaccio: Paintings and Drawings, Complete Edition, London, 1962

1892

Adolphe

Ladis 1982
Andrew Ladis, Taddeo
Laprade 1945

in the Collection

1956
Lugt 1920
Frits Lugt, Mil Rembrandt

in

Amsterdam,

Berlin,

Macandrew 1980
Hugh Macandrew, Ashmolean Museum
Drawings,

III: Italian

Supplement,

The Hague,

1920

Oxford, Catalogue of the Collection of

Oxford, 1980

Schools: Supplement,

Knox 1983

Magnussen and Thorlacius-Ussing 19589

George Knox, 'Domenico Tiepolo's Punchinello Drawings: Satire or Labour of

Love?', Satire in the Eighteenth Century, New York-London, 1983

Magnussen and V. Thorlacius-Ussing, 'Willibald Pirckheimer og Albrecht

Nyt Fund', Fund og Forskning det kongelige Biblioteks Samlinger, v-vi,
1958-9, pp. 110-28
Malvasia trans. Engass 1980

Koch 1941
K. Koch, Die

Zeichmmgen Hans Baldung

Griens, Berlin,

1941

Koepplin and Falk 1974

I.

Diirer: Et

Carlo Cesare Malvasia, The

D. Koepplin and T. Falk, Lukas Cranach

I,

2 vols, Basel-Stuttgart,

Life of

Guido Rem,

trans.

Catherine and Robert

Engass, University Park pa, 1980

1974

van Marie 1923-38

Koreny 1983-4
Koreny, 'A Hare among Plants by Hans Hoffmann', Sotheby and Co.: Art
Auction, London, 19834, pp. 1923
F.

at

Raymond van

Marie, The Development of the

Koschatzky and StrobI 1971

Marmottan 1913

W. Koschatzky and
Krauss 1985

P. Marmottan,
Martin 1905

A. StrobI, Die Diirer Zeichnungen der Albertina, Vienna, 1971

H.P. Krauss, Illuminated Manuscripts,

New York,

Le peintre Louis Boilly, Paris,

19

vols.

1913

Jean Martin, Catalogue raisonne de I'oeuvre peint

1985

Kurzl937
Otto Kurz, 'Giorgio
pp. 1-15

Italian Schools of Painting,

The Hague, 1923-38

1905
Martin 1965
John Rupert Martin, The Farnese

et

dessine de jean-Baptisle Greuze,

Paris,

Vasari's Libro de' Disegni',

Old Master Drawings,

xii,

1937,

Gallery, Princeton,

1965

BIBLIOGRAPHY

291

Mathieu 1976

Offenbacher 1938

Pierre-Louis Mathieu, Gustave Moreau, with Cntnlogue of the Finished Paintings,

E.

ami Drawings, Boston, 1976

Wiitercoloiirs,

Matteson, 'Old Master Drawings from the

Woodner

Collection', Pantheon, xli,

Meder 1919
Joseph Meder, Die Handzeichning, Vienna, 1919

Meier-Graefe 1922
J.

Meicr-Craefc, Cezanne and sein

Kreis,

Munich, 1922

Meier-Graefe, Entwickhingsgeschichte, Munich, 1927

Josep Palau

Berlin,

Warburg

of the

Fabre, Picasso: The Early Years, -1881-1907,

New York,

1081

Panofsky 1943

Mellen 1971
P.

1983
Pacht 1929
Otto Pacht, Osterreichische Tafelmalerei der Gotik, Augsburg, 1929
Pacht 1943
Otto Pacht, 'A Giottesque Episode in English Medieval Art', journal
and Courtaiild Institutes, vi, 1943, pp. 5170

PalauiPabre 1981

Meier-Graefe 1927
).

Harald Olsen, Federico Barocci, Copenhagen, 1962 (1st edn 1955)

Gert von des Osten, Hans Baldung Grien: Gemdlde und Dokumente,

'Some Unknown Drawings by Francisco Goya', Old Master Draw-

XXX IV, 1934

ings,

1938,

vonderOsten 1983

386-87
Mayer 1934
1983, pp.

A.L. Mayer,

Bibliofilia, xl,

24 iff.

Olsen 1962

Matteson 1983
L.

Offenbacher, 'La bibliotheque de Willibald Pirckheimer', La

pp.

Mellen, jean

Cloiiet,

Erwin Panofsky, Albrecht

London, 1971

Diirer, 2 vols, Princeton,

1943

Mellerio 1913

Parker 1928

Andre

K.T. Parker, Elsdssische Handzeichnungen des xv. und xvi. jahrhunderts, Freiburg

Mellerio, Odilon Redon, Paris, 1913

Mellerio 1920

Andre Mellerio, 'Odilon Redon, 1840-1916',

pp. 137-56

Gazette des Beaux-Arts,

11,

1920,

im Breisgau, 1928
Parker 1933
K.T. Parker, 'Pietro Testa:

Mende 1978

Hounds and

Amorini', Old Master Drawings,

M. Mende, Hans Baldung

Das graphische Werk, Unterschneidheim, 1978

Grien:

Menz 1962

Parker 1945
K.T. Parker, The Drawings of Hans Holbein

Henner Menz, The Dresden

Mezzetti 1977
A. Mezzetti, Girolamo da

Gallery,

Dresden, 1962

Windsor

at

in the Collection

Parker 1956
K.T. Parker, Catalogue of the Collection of Drawings
The Italian Schools, Oxford, 1956

Hans Mielke, Review of Florence-Paris 1980-81, Master Drawings, xxiii-xxiv,

no. 1, 1985-6, pp. 75-90

Parker and Mathey 1957

K.T. Parker and ]. Mathey, Catalogue de

M6hlel942

1957
Parronchi 1969
A. Parronchi, 'Une
Parronchi 1972

Ferrari! detto

da Carpi, Milan, 1977

Review of Koch 1941,

Zeitschrift fur Knmtgeschichte, x,

H. Mohle, Review of Karlsruhe 1959 exhibition, Zeitschrift

1942, pp.

214-21

fiir

Kunstgeschichte,

124-32

1959, pp.

A. Parronchi,

Monod and Hautecoeur 1923

F.

Monod

and

L.

de satyr de

tete

Plaisir de France,

Hautecoeur, Les dessins de Greuze conserves a I'Academie des

R. Pennington,

Morassi 1955
Antonio Morassi, G.B.
Morassi 1959

Pepper 1981
Tiepolo: His Life

/05C1,

Morassi 1962
Antonio Morassi,
bu

his

inediti del

Romanino',

Festschrift

Karl

M. Swoboda

Revue de lArt,

Petrioli Tofani

Work

Complete Catalogue of

Complete Catalogue of the Paintings of G. B. Tiepolo, Including

Pupils and Followers Wrongly Attributed to Him, London, 1962

W.

Michelangelo Muraro, Corpius graplucum:

(still in

disegni di Vittore Carpaccio, 2 vols,

Pilz,

Master Drawings,

fiir

Niirnberg,

deMurr 1797

Pilz

C.T. de Murr, Description du cabinet de Monsieur Paul de Praun a Nuremberg,

K. Pilz, 'Willibald Pirckheimers

Nuremberg, 1797

Pirckheimer. ij^yo-iQjo: Dokumente, Studien. Perspektiven,

Musper 1952
H.T. Musper, Albrecht

Der gegenwdrtige Stand der Forschung, Stuttgart,

1952

L.R. Pissarro

L.

Ingres Drawings,

Quarterly, xx, 1957, pp. 289-91

Naef 1980
Hans Naef, Die Bildniszeichnungen von
Napoleon 1838

11:

Mademoiselle Vernet', The Art

and

L.

Kunstsammlung und

art.

son oeuvre, Paris, 1939

Planiscig, 'Pietro, Tullio

Sammlungen

in

Wien,

xi,

und Antonio Lombardo', jahrbuch

87-115

der Kunsthistorischen

1937, pp.

Italian Renaissance Sculpture.

et

sur

les choses, Paris,

Wiener jahrbuch

fiir

1838

Vienna, 1038

Kunstgeschichte, xiv,

225-40
Oberhuber 1983

(1st

edn 1952)

Pope-Hennessy 1982
Cellini',

Burlington Magazine, cxxiv,

406-12
Pope-Hennessy 1985
1982, pp.

John Pope-Hennessy,

Cellini.

New York,

1985

Popham 1926

1950, pp.

Oberhuber, Sur quelques dessins germaniques', Connaissance des

London, 1971

Pope-Hennessy 1974

Novotny 1950

BIBLIOGRAPHY

Willibald

Nuremberg, 1970

1937

John Pope-Hennessy, 'A Bronze Satyr by

76-81

Bibliothek', in

1939

Venturi, Camille Pissarro: son

John Pope-Hennessy, Fra Angelica, London, 1974

hommes

F.nde der wissenschaftlichen Perspektive,

als Zeichner',

Geschichte der Stadt

1962, pp. 254ff.

John Pope-Hennessy,
J.A.D. Ingres, 5 vols, Berne, 1980

Novotny 1938

Novotny, 'Cezanne

no. 4, 1963,

Pope-Hennessy 1971

ses opinions et jugements sur les

Novotny, Cezanne und das

i,

1970

Planiscig

Naef 1957
Hans Naef, 'Notes on

ii,

Pissarro and Venturi

Diirer:

Stuttgart,

'Hans Hoffmann: Ein Nuremberger Durer-Nachahmer aus der zweiten

Halfte der 16. Jahrhunderts', Mitteilungen der Vereins

Florence, 1977

292

Intro-

progress)

Terisio Pignatti, 'Review of Lauts, Carpaccio

Miinz, Die graphischen Kimste, Vienna, 1936

1983, pp.

Works with an

1985

14 vols, Stuttgart, 1961Pignatti 1963

Muraro 1977

K.

his

Wenceslaus Hollar,

Gerhard Piccard, Die Wasserzeichenkartei Piccard im Hanptstaatsarchiv

Michelangelo Muraro, Carpaccia, Florence, 1966

F.

of

Piccard

PP- 47-53
Pilz 1962

F.

1969, pp. 43 ff.

v,

A. Petrioli Tofani, Andrea del Sarto: Disegni, Florence, 1985

Vienna, 1959

Muraro 1966

Napoleon:

2 vols,

December 1972

D. Stephen Pepper, Guido Rent:

and Work. London, 1955

Miinz 1936
L.

dAntome Watteau,

ductory Text, Oxford, 198

Antonio Morassi, 'Alcuni disegni

2S januar

Cellini',

Descriptive Catalogue of the Etched

i6oyi6jj, Cambridge, 1982

Pictures

I'ceuvre dessine

II:

Pennington 1982

Beaux-Arts de Saint-Petershonrg, Paris, 1923

Zum

Ashmolean Museum,

in the

Paris,

Mohle 1959
XX]],

of His Majesti/ the King

Oxford London, 1945

Castle,

Mielkel987

H. Mohle,

viii,

1933. PP-37ff-

A.E.
arts,

cccxxvi,

Popham, Drawings

of the Early Flemish School.

London, 1926

Popham 1931
A.E. Popham, Italian Drawings Exhibited at the Royal

Academy London, 1931

.

Popham 195 7

Rosenberg 1959

A.E. Popham, Correggio's Drawings, London, 1957

Jakob Rosenberg, Great Draughtsmen from Pisanello

Popham 1967

Rosenthal 1928

A.E. Popham, Italian Drawings in the Department of Prints and Drawings

British

Museum:

Working

Artists

Parma

in

in the Sixteenth Centuri/,

in the

2 vols, London,

A.E. Popham,

Catalogue of the Drawings of Parmigianino, 2 vols, London, 1971

Rosenthal, 'Diirers Buchmalereien

Roskill

Popham and P.M.R. Pouncey, Italian Drawings in the Department of Prints

the British Museum: The Fourteenth and Fifteenth Centuries, 2 vols,

Mark

Roskill, 'Ingres,

Popham and Wilde 1949

Rupprich 1966

Wilde, The

J.

Majesty

the

Italian

Drawings of

King at Windsor

Castle,

xv and xvi Centuries

London, 1949
the

in the

iSy^ijii: Catalogue de

I'ceuvre grave,

Paris,

1930

Pouncey and Gere 1962

P.M.R. Pouncey and ].A. Gere, Italian Drawings in the Department of Prints and
Drawings in the British Museum: Raphael and his Circle, 2 vols, London, 1962
Preston 1953
Stuart Preston, 'Ingres', House and Garden, civ, October 1953

Prokopp 1983
Maria Prokopp,
ticularly

Murals

in

East Central Europe, Par-

el

Paul Proute, Catalogue

'Signac', Paris,

1983

Puyvelde 1944
Leo van Puyvelde, The Dutch Drawings in the
Windsor Castle, London -New York, 1944
Quintavalle 1970

Collection of His

Majesty the King

at

Ragghianti Collobi,

//

Libro de' Disegni del Vasari, 2 vols, Florence,

Francis Russell, 'Review of

in fiinf

1974

fahrhunderten deutscher Malerei, Berlin, 1938

Ruurs 1985
'Review of Dutch Church

Olid Holland, xcix, 1985, pp.

Painters:

Saenredam's Great Church at Haarlem',

161-4

illustrierten

Hand-

schriften des Lateinischen Mittelalters, III: Handschriften in Englischen Bibliotheken,

prospettive'

Maske und

1984

Schadendorf 1964

W.

Lettres d'Odilon Redon, 11175-1 piti, Paris-Brussels,

Schadendorf, Line Proportionsstudie aus dem Jahre 1^00, privately printed,

Fiirth,

1964

1923

Schadendorf 1969

Redon 1960
Gauguin, Gide, Huysman, faninies, Mallarrne, Verhaeren

Lettres de

W.

Schadendorf, Fine Zeichnung Diirers von 7492/93, Nuremberg, 1969

Schapiro 1968

Odilon Redon, Paris, i960

Redon 1961

M.

Odilon Redon, A soi-rneme, Paris, 1961

Reff 1956
Theodore Reff, Studies in Cezanne's Drawings, dissertation. Harvard University,
Cambridge ma, 1956
Reff 1976
Theodore Reff, Degas: The Artist's Mind, London, 1976

Scharf 1935

1927
Collection of Dijrer Drawings', Burlington Magazine,

1927, pp. 153-9

Rewald 1943

Peter Schatborn, 'Van

New York,

Rembrandt

tot Crozat:

W.

'Uomini famosi'.

Scheller,

Bulletin

van het Rijksmuseum Amsterdam,

1962,

1934
Altdeutsche Meisterzeichnungen, Frankfurt

H.A. Schmid, Hans Holbein der Jungere:

New

x,

pp. 56ff.

am

Main, 1934

Schmid 1945

1943

Rewald 1948
Rewald, Georges Seurat,

Vroege verzamelingen met teken-

ingen van Rembrandt', Nederlands Kunsthistorisch faarhoek, xxxii, 1981, pp. 1-54
Scheller 1962

E. Schilling,

Seurat,

News Annual, xxxiv, 1968

Alfred Scharf, Filippino Lippi, Vienna, 1935

Schilling

I,

Rewald, Georges

Schapiro, 'The Apples of Cezanne', Art

Schatborn 1981

R.

Unknown

H.S. Reitlinger, 'An

York, 1948

englischer

Stil,

Basel,

sein Aufstieg zur Meisterschaft

und

sein

1945

Schnapper 1969

Rewald 1951
Rewald, Paul Cezanne: Garnets de
Richter 1901

J.

dessins, catalogue raisonne, Paris,

Antoine Schnapper, 'Antoine Coypel: La Galerie d'Enee au

1951

de

Icon to Narrative:

The Rise of the Dramatic Close-Up

Fifteenth-Century

Devotional Painting, Abo, 1965

Robinson 1869
Descripjtive

the Collection of John

Catalogue of the Drawings by the Old Masters, Forming

of Poltalloch, Esq., London, i860 (2nd edn 1876)

Malcolm

Roethlisberger 1962
Marcel Roethlisberger, Claude Lorrain: The Wildenstein Album, Paris, 1962
Roethlisberger 1968
Marcel Roethlisberger, Claude Lorrain: The Drawings, Berkeley, 1968
Roethlisberger 1971
Marcel Roethlisberger, The Claude Lorrain Album in the Norton Simon Museum
Art, Los Angeles,

1971

I'

Art, V, 1969, pp.

Palais Royal',

Revue

33-42

Schnelbogl 1966a

Catalogue of Pictures at Locko Park, London, 1901

Ringbom 1965

Robinson,

Ladis, Taddeo Gaddi, 1982', Journal of the

278-9

Kothurn, xv, 1969, pp. ii2ff.

Scarpellini 1984

Redon [1878-19161 1923

J.C.

Andrew

Royal Society of Arts, March 1984, pp.

Pietro Scarpellini, Perugino, Milan,

P.O. Rave, Deutsche Landschaft

Ringbom,

of Art,

John Russell, Seurat, London, 1965

Russell 1984

Arthur H. Saxon, 'Giuseppe Galli-Bibiena's Architetture

Quintavalle, L'Opera completa del Correggio, Milan, 1970

].P. Richter,

National Gallery

London, 1953

Rave 1935

S.

of the Itahan Paintings in the

Saxon 1969

Ragghianti Collobi 1974

J.

1961

Milan, 1980

Sabartes, Picasso: Portraits et souvenirs, Paris, 1946

Salmi and Mellini 1972
M. Salmi and G.L. Mellini, The Grimani Breviary, London, 1972
Saxl and Meier 1953
F. Saxl and H. Meier, Verzeichnis astrologischer und mythologischer

modernes, Paris, 1978

Proute 1983

].

lx,

].

Paul Proute, Dessins originaux, anciens

Reitlinger

del Panrugianino,

Art News,

Sabartes 1946

Hungary, Budapest, 1983

Proute 1978

A. Redon,

Crisis',

Washington, 2 vols, Washington DC, 1979

Russell 1965

R. Ruurs,

Trecento Influence on

Italian

175-8

H. Rupprich, Albrecht Diirer: Schriftlicher Nachlass, Nuremberg, 1966

Fern Rusk Shapley, Catalogue

Gillot,

1930, pp.

li,

Rusk Shapley 1979

Populus 1930
Bernard Populus, Claude

Pirckheimers Bibliothek: Ein Nachtrag',

Master of the Modern

Paolo Rossi, L'Opera completa

Popham and

Collection of His

fiir

1961

Rossi 1980

L.

Pirckheimers Bibliothek', jahrhuch der

fiir

Jahrbuch der Preussischen Kunstsammlungen,

and Drawings in
London, 1950

A.C

1959

Preussischen Kunstsammlungen, XLix, 1928, pp. 1- 54

E.

Popham and Pouncey 1950

A.E.

New York,

Rosenthal 1930

1967

Popham 1971

A.E.

Rosenthal, 'Durers Buchmalereien

E.

to Picasso,

'Life and Work of the Nuremberg Cartographer Erhard Etzlaub

Imago Miindi: A Review of Early Cartography, xx, 1966, pp. 11-26
Schnelbogl 1966b
F. Schnelbogl, Dokumente zur Nurnberger Kartographie, Nuremberg, 1966
F.

Schnelbogl,

(d.

1532)',

Schonbrunner and Meder 1896-1908

Josef Schonbrunner and Johannes Meder, Handzeichnungen alter Meister aus der

Albertma und andercn Sammlungen, 12 vols, Vienna, 1896-1908

Scholz 1958
Janos Scholz, 'On Brescian Renaissance Drawings',
(Gazette des Beaux-Arts, 1950-58),

New York,

Izssays in

1958, pp.

Honour of Hans

Tietze,

415-16

Scholz 1976
of

Janos Scholz, Itahan Master Drawings, 1)^0-1800, from the Janos Scholz Collection,

New

York, 1976

BIBLIOGRAPHY

293

Schramm 1934
A. Schramm, Der Bilderschmuck der Friihdrucke, xvii: Die Drucker
1.

Niimberg,

in

Anton Koberger, Leipzig, 1934

Seligman 1947

New York,

XXII, no. 2,

1947

1984, pp.

Seymour Jr, The

Sculpture of Verrocchio,

W.R.

London, 1971

Seznec 1972

Redon and

Literature, ed. Ulrich Finke,

Century Painting and

Literature', in French i^th

Manchester, 1972

Shearman 1965
John Shearman, Andrea

del Sarto, z vols,

Oxford, 1965
the Queen,

and

Shearman 1983
John Shearman, The Pictures in the Collection of Her Majesty
Italian Pictures, Cambridge, 1983

1925-34

i&y&-S^

the

Queen: The Early

The Vasari Society for the Reproduction of Drawings by Old Masters

Venturi 1901-41
Adolfo Venturi, Storia dell' arte italiana, 11 vols, Milan, 190140
Venturi 1939
Adolfo Venturi, 'I manoscritti ed disegni di Leonardo da Vinci', Commissione
i

Shoemaker 1975

Vinciana, v, 1939, pp. yd.

innes H. Shoemaker, Filippino Lippi as a Draughtsman, dissertation, Columbia

Venturi 1936

York, 1975

L.

Venturi, Cezanne: son

of the Arts', Journal of the

Giordano Orsini as a Prince of the Church and a Patron

Warburg and Courtauld Institutes, xxix, 1966, pp. i35ff.

1965
Seymour Slive, Drawings

of Rembrandt, 2 vols.

'Cardinal

New York,

L.

Venturi, Cezanne, Genoa, 1978

Vitzthum 1966

1965

Spicer 1979
Joaneath Spicer, The Drawings of Roelant Savery, dissertation, Yale University,

VoUard 1914

New

Haven, 1979
Stange 1958

Waagen 1866-7

A. Stange, Deutsche Malerei der Gotik, 11 vols, Munich, 1958

Ward 1978

1893

W.L.
W.L.

v,

1893, pp. i35ff.

New York,

Drawings of Albrecht

Diirer,

5 vols.

Drawings of Albrecht

Diirer:

Supplement

2,

New York,

1982

1985

Strauss, 'Diirer in Vienna', Drawing, vii, no. 3, 1985, pp.

Prints,

Eng. edn, London, 1982

Duke of Devonshire
Sutton 1978

at Chatsworth,

J.

G. Swarzenski and
Frankfurt

in the Collection of the

Clara

J.

revised

E. Schilling,

Apollo, cvii, 1978, pp.

48-55

Welcker, Hendrick Avercamp en Barent Avercamp:

Welcker, Hendrick Avercamp en Barent Avercamp:

by

D.J.

Hensbroek-van der

Pantheon, xxii, 1964, pp.

Handzeichnungen

alter

Meister aus deutschen Privat-

am Main, 1924

Poel,

'Schilders tot

Canipen,

'Schilders tot

Campen',

Amsterdam, 1979

211-19

White 1969
Christopher White, Rembrandt as an

Etcher, 2 vols,

London, 1969

White and Boon 1969

P.T. A. Swillens, Pieter janszoon Saenredam,

Amsterdam, 1935

Christopher White and Karel Boon, Rembrandts Etchings:

von Terey 1894

Catalogue, 2 vols,

G. von Terey, Verzeichnis der Gemalde der Hans Baldung gen. Grien, Strasbourg,

Whitely 1977

1894

London-New

An

Illustrated Critical

York, 1969

Whitely, Ingres, London, 1977

Wildenstein 1955
Georges Wildenstein, 'Les gravures de Poussin au xviiie
J.

Thausing 1882

M. Thausing,

Diirer: Geschichte seines Lebens

and

seiner Kunst,

Eng. edn, London,

1882

Beaux-Arts,

Thomases a/. 1933

Thomas

et al..

Arms and Armour:

Thirteenth to the Nineteenth Century,

Masterpieces by European Craftsmen from the

London, 1964

Thomson 1985
Thomson,

Thuillier

Seurat,

Oxford, 1985

1974

Tietze

Tietze, Kritisches Verzeichnis der

burg,

1928-34

Tietze

F.

Werke Albrecht

Diirers,

2 vols in

3,

Augs-

1947

Toesca 1952
Toesca, Gli "Uomini famosi" della Biblioteca Cockerell', Paragone,

BIBLIOGRAPHY

Gazette des

Frankfurt

am Main, 1935

Winkler, Die fldmische Buchmalerei der xv. und xvi. Jahrhunderts, Leipzig, 1925
Winkler, Stadtkolnische Buchmaler-Werkstatten im 15. Jahrhundert', Wallraf-

Richarlz jahrbuch, iii-iv,

F.

Master Drawings m the United States, New York, 1947

Tietze and Tietze-Conrat 1944
Hans Tietze and Erica Tietze-Conrat, The Drawings of the Venetian Painters, New
York, 1944 (reprint 1970)

16-20

siecle'.

1955 (1957), pp. 81-371

19267, pp. 123-9

Winkler 1930a

Tietze, European

1952, pp.

xlvi,

Winkler 1926-7

Milan-Paris, 1974

1928-34

Hans

n.s. 6,

Wilson 1978
M. Wilson, Odilon Redon, Oxford, 1978
Wimmer 1935
G. Wimmer, Rembrandts Landschafts-Zeichnungen,
Winkler 1925
F.

Thuillier, Tout I'auvre peint de Poussin,

294

1966

H. Wentzel, "Neuerworbene Glas-malereien der Stuttgartes Landesmuseums',

Swillens 1935

I.

Berlin,

Wentzel 1964

Don Juan of Idealism',

Swarzenski and Schilling 1924

Hans

of Baccio Bandmelli, dissertation, Courtauld Institute

Zwolle, 1933

London, 1902

D. Sutton, 'A

J.

1866-7

Welcker and Hensbroek-van der Poel 1979

S.A. Strong, Reproductions of Drawings by Old Masters

R.

Wien, Vienna,

in

Wegner 1966

Clara

Drawings,

Strong 1902

B.

1965-6',

of Art, London, 1978

M. Wegner, Die Musensarkophage,

Welcker 1933

61-4

1982

P. Strieder, Diirer: Paintings,

besitz,

Collections,

P. Ward-Jackson, 'Some Rare Drawings by Melchior Lorch', The Connoisseur,

cxxxv, 1955, pp. 83-93

1974

1982

Strieder

York

Ward-Jackson 1955

Strauss, The

Strauss

Zeichnungen', Kunstchronik,

1974

Strauss, The

Strauss

Waagen, Die vornehmsten Kunstdenkmdier

Roger Ward, The Drawings

I:

New

A. Vollard, Cezanne, Paris, 1914

G.F.

R. Stiassny, 'Baldungstudien,

W.L.

son oeuvre, Paris, 1936

Walter Vitzthum, 'Review of Drawings from

Burlington Magazine, cviii, 1966, pp. 109-10

Slive

Strauss

art.

Venturi 1978

Simpson 1966

Stiassny

Lugt Collection, 1983', Master Drawings,

206-12

Vasari Soc.

John Shearman, Raphael's Cartoons in the Collection of Her Majesty

the Tapestries for the Sistine Chapel, London, 1972

W. A. Simpson,

62fif.

Vasari ed. Milanesi

Giorgio Vasari, Le Vite de piu eccellenti pittori scultori ed architettori, 1568 edn,
with notes by Gaetano Milanesi, 9 vols (including Scritti minori, and index),
Florence,

Shearman 1972

New

Byam Shaw

1970, pp.

Valentiner, Rembrandt: Des Meisters Handzeichnungen, 2 vols, Stuttgart-

Berlin,

Jean Seznec, 'Odilon

Cockerell', Paragone, xxi,

1925-34

Valentiner

Seymour 1971

University,

Cronaca

sulla

Nicholas Turner, 'Review of

G. Seligman, The Drawings of Georges Seurat,

Charles

Toesca 1970
L Toesca, 'Di nuovo
Turner 1984

Winkler, 'Ein Kolnisches Gebetbuch aus der Mitte der 15. Jahrhunderts',

Wallraf-Richartz Jahrbuch, ns

1,

1930, pp.

110-13

Winkler 1930b
F.

Winkler, 'Skizzenbiicher eines unbekannten rheinischen Meisters

Wallraf-Richartz jahrbuch, ns

i,

1930, pp.

um

1500',

123-52

Winkler 1932
in, no. 25,

F.

Winkler, 'Diirerstudien,

iii:

Verschollene Meisterzeichnungcn

der Preussischen Kunstsammlungen,

Llli,

1932, pp.

68-89

Diorers',

jahrbuch

Winkler 1936-9
F.

Bordeaux 1985

Winkler, Die Zeichnungen Alhrechi Diirers, 4 vols, Berlin,

Bordeaux, Galerie des Beaux-Arts, Odilon Redon, 18401^16, 1985

1936-9

Bremen and elsewhere 19678

Winkler 1942
F.

Winkler, Die Zeichnungen Hans

Berlin,

Siiss

von Kulmbachs and Hans Leonard Schdufekins,

Winkler, Alhrechi Diirer: Leben und Werk, Berlin, 1957

Brescia, Galleria

by

Winkler 1964
F.

Winkler, Das

Werk des Hugo van

Winner 1968
M. Winner, 'Federskizzen

der Goes, Berlin,

des Benvenuto

1964

Cellini', Zeitschrifl fiir Kunstgeschichte,

Tosio Martinengo, La

Brescia

1965

Brescia,

Duomo Vecchio

exh. cat.

di Brescia

and elsewhere, Mostra

Cambridge ma, Fogg Art Museum,

John Nicholas Brown, 1962

Cambridge

Winzinger 1979
Winzinger, 'Fine verkannbe Zeichnung Martin Schongauers',

Deutschen Vereins fUr Kunstwissenschafl, xxxiii, 1979, pp.

Zeitschrifl des

248

F.

Unknown German Drawing

no. 1, 1980, pp. 27-9

Winzinger, 'An

Drawings, xxiii,

of the Gothic Period', Master

Winzinger 1982
F.

Winzinger, 'Fine unbekannte Zeichnung Albrecht Diirers aus seiner Wander-

zeit'.

Pantheon, xi, 1982, pp.

Wolfflin 1905

Wolfflin

Diirers,

Zeri

i86yip6y,

Centennial Exhibition,

Ingres

MA 1970

Cambridge ma, Fogg Art Museum,

George Knox, 1970
Chigaco 1958

Tiepolo:

Bicentenary Exhibition, exh. cat.

by

Chicago, Art Institute of Chicago, Seurat Paintings and Drawings, 1958

the

1920

et al.,

the Collection of

Musee du

Roman Drawings

of the Sixteenth Century

from

197980
Cleveland-New Haven 1978

Munich, 1905

Cima de Conegliano', Der Kunstwanderer, December 1920

Zerie^a/. 1984
F.

Master Drawings from

MA 1967

Chicago, Art Institute of Chicago,

H. Wolfflin, 'Diirer und

Girolamo Romanino,

Chicago 1979-80

229-32

H. Wolfflin, Die Kunst Albrecht

Forty

Cambridge ma, Fogg Art Museum,

1967

Cambridge

Winzinger 1980

di

MA 1962

Cambridge

Winzinger, Die Zeichnungen Martin Schongauers, Berlin, 1962

pittura bresciana del Rinascimento, exh. cat.

by G. Panazza, 1965

Winzinger 1962

F.

Meister aus Schweizer

Lechi and G. Panazza, 1939

F.

XXXI, 1968, pp. 294ff.

F.

alter

19678
Brescia 1939

Winkler 1957
F.

Bremen, Kunsthalle, and elsewhere, Handzeichnungen

Privatbesitz,

1942

Louvre.

Cleveland, Cleveland

Museum

of Art, and

New

Haven, Yale University Art

Gallery, The Graphic Art of Federico Barocci: Selected Drawings and Prints, exh. cat.

Dipinti toscani e oggetti d'arte della Collezione Vittorio Cim, Vicenza,

by Edward

P.

Pillsbury

and Louise

S.

Richards, 1978

Cologne 1972

1984

Cologne, Wallraf-Richartz Museum, Die Schwarze Sonne des Traums: Radierungen

Lithographien und Zeichnungen von Rodolphe Bresdin, 1822-188^, exh. cat. by

Zervos 1969
C. Zervos, Pablo Picasso: Supplement aus annees 18^21^02, xxi, Paris,

1969

Albert Peters, 1972

Copenhagen 1962

Museum

Copenhagen, Royal

Exhibition Catalogues

of Fine Arts, Melchior Lorck: Drawings from the

Evelyn Collection at Stonor Park, England, and from the Department of Prints and

Museum

Aarhus 1973

Drawings, the Royal

Aarhus, Kunstmuseum, Mestertegningen fra Chatsworth, 1973

Aix-en-Provence 1961

1962
Detroit 1983

Aix-en-Provence, Pavilion de Vendome, Exposition Cezanne, ig6i

Detroit, Detroit Institute of Arts,

Amsterdam 1952

Books

Amsterdam, Houthakker, Dessins

Austin 1979
Austin, University Art

exposes chez Bernard Houthakker,

Museum, University

of Texas at Austin, Eighteenth and

Barcelona 1900
Barcelona, El Quatre Gats [One-man show of works by

Hall, Italian i6th-Century

Edinburgh, National Gallery of Scotland, Dutch Church

Great Church at Haarlem

Florence
Picasso],

Museen, Von spdten

in

Context, exh. cat.

1973

A.

als Zeichner,

Berlin

1983

Berlin,

Albrecht Neuhaus, Deutscher Kunsthandel

Berne 1984-5
Beme, Kunstmuseum, Der junge Picasso:
Bielefeld-Baden-Baden 1983-4
Bielefeld, Kunsthalle,

1984

1979-80

sua scuola, exh.

della

cat.

by Chris

Fischer,

sec.

xxvii,

Bartolommeo

Uffizi, Disegni di Fra

1986

irn

Florence, Pitti Gallery, Andrea del Sarto, I4p6-is30: Dipinti

1975

Schloss Charlottenburg,

Friihwerk und blaue Period,

1983

19845
Seurat:

19834
Binghamton-Notre Dame 1970
Dame, University Art
Bloomington 1968

Frankfurt

of Chicago, exh. cat.

Age

by

et Pierre

Karel Boon,

1977

Frankfurt, Stadelsches Kunstinstitut, Franzosische Zeichnungen aus

New

Gallery, The

a Firenze,

1980-81

and Baden-Baden, Staatliche Kunsthalle, Georges

Binghamton, State University of

e disegni

1986
Florence-Paris 1980-81
Florence, Uffizi, and Paris, Institut Neerlandais, L'Epoque de Lucas de Leyde
Brueghel: Dessins des anciens pays-has. Collection Frits Lugt, exh. cat.

Zeichnungen,

York, University Art Gallery, and Notre

of Vasari,

dem Art

Institute

by Margaret Stuffmann, 1977

Frankfurt 1981
Frankfurt,

1970

Bloomington, Indiana University Art Museum, The Academic

Stadelsches

Kunstinstitut,

Goya

Zeichnungen

und

Druckgraphik,

1981
Tradition,

1968

Bloomington 1979
Bloomington, Indiana University Art Museum, Domenico Tiepolo's Punchinello
Drawmgs, intro. essay by Adelheid M. Gealt and exh. cat. by Marcia E. Vetroq,

Glasgow 1953
Glasgow, Glasgow City Art Gallery, Drawings by Bolognese and Other Masters
Lent from a Glasgow Collection, 1953

Hamburg 1965

1979

Hamburg, Kunsthalle, Meisterzeichnungen, 1965

Bologna 1975

Hamburg 1977-8

Museo

Saenredam's

et al,

Florence 1986b

1975

1975

Interiors:

by Hugh Macandrew

Florence 1986a
Florence, Gabinetto Disegni e Stampe degli

Kunstsammlung, 1936

Mittelalter bis zu Jacques-Louis David,

Berlin, Kupferstichkabinett, Pieter Bruegel d.

Bologna,

British Private

Florence, Biblioteca Laurenziana, Disegm nei manoscritti Laurenziani

1900

1973

Emiliani,

Drawings flom

1969

igyg80

Basel, Kunsthalle, Paul Cezanne: Offentliche

Berlin

1936

Berlin, Staatliche

Drawings and

Fortress: Prints,

by Christiane Andersson and

Edinburgh 1984

Museum, University of Texas at Austin, Nuremberg:

1^00-1618, exh. cat. by Jeffrey Chipps Smith, 1983

Austin, University Art

Berlin

From a Mighty

of Luther, 1483-1546, exh. cat.

Edinburgh 1969
Edinburgh, The Merchants'
Collections,

Austin 1983

Basel

Age

Erik Fischer,

Charles Talbot, 1983

1952

Nineteenth-Century French Drawings and Prints, 1979

Renaissance City,

in the

by

of Fine Arts, Copenhagen, exh. cat.

Civico, Moslra di Federico Barocci, exh. cat. ed.

by Andrea

Hamburg, Kunsthalle, Courbet und Deutschland, exh.

cat.

by Margaret Stuffmann,

1977-8

BIBLIOGRAPHY

295

1976-7

Hartford and elsewhere

Hartford,

Wadsworth Atheneum and elsewhere, Jean-BapHste

Greuze, 1725-1S05,

Hartford-Hanover Ml 1973-4
Hartford, Wadsworth Atheneum, and Hanover nh, Hopkins Center Art
Dartmouth College, 100 Master Drawings from New Eiiglnmi
1973-4
Karlsruhe 1959
Karlsruhe, Staatlichen Kunsthalle, Hans Bahiung Grien, 1959
Laren 1958

Museum,

Fine Art Gallery, Master Drawings Presented by Adolphe Stein,

1984

exh. cat. by Edgar Munhall, 1976

Larcn, Singer

London 1984a
London, Douwes

Galleries,

Private Collections,

London 1984b
London, Royal Academy
Painters in North Africa

of Arts, The Orientalists: Delacroix to Matisse, European

and

the

Near

East, exh. cat. ed.

M. A,

Stevens, 1984

London 1986a
London, British Museum,
by Nicholas Turner, 1986

Drawings of

Florentine

the Sixteenth Coitury, exh. cat.

London 1986b
London, National Gallery, Dutch Landscape: The Early Years, Haarlem and Amstercat. by Christopher Brown, 1986

Kunstbesitz Roniiom Laren, 1958

Leeds 1868

dam. 1^9016^0, exh,

Leeds, City Art Gallery, National Exhibition of

London 1986c

Works of Art, 1868

London 1869

London, Royal Academy of Arts,

London, Burlington Fine Arts Club, Albert Diireranii Lucas van Leyden, 1869

1986

London 1896

London-Oxford 1971-2

London, Society of Antiquaries, Catalogue of

Paintings and Illustrated Manuscripts, 1896

ati

Exhibition of English

Medieval

]e suis

le

cahier:

The Sketchbooks of

Picasso,

London, P.&D. Colnaghi, and Oxford, Ashmolean Museum, Loan Exhibition of

Old Masters from the Collection of Mr. Geoffrey Gathorne-Hardy, 1971-2

London 1897

Los Angeles 1976

London, Quaritch, Monuments of Typography, 1897

London 1906

Los Angeles, Los Angeles County Museum of Art, Old Master Drawings from
American Collections, exh. cat. by Ebria Feinblatt, 1976

London, Burlington Fine Arts Club, Early German Art, 1906

Malibu-New York 1983

London 1929

Malibu,

London, Royal Academy of Arts, Commemorative Catalogue of

Dutch Art, exh. cat. by A.M. Hind, 1929

the Exhibition of

Paul Getty

Museum, and New York, Pierpont Morgan

Manchester, Manchester City Art Gallery, German Art, 1400-1800, from

London, Royal Academy of Arts, Exhibition of

drawings by A.E. Popham, 1930

Italian Art,

1200 ipoo, entries on

tions in

Manchester, Manchester City Art Gallery, Old Master Drawings from Chatsworth,

London, Arts Council of Great

Old Master Drawings from Chatsworth,

Britain,

1061

Martigny 1982

by A.E. Popham, 1949

London 1950-51
London, Royal Academy

Martigny, Fondation Pierre Gianadda, Goya dans

of Arts, Catalogue of the Exhibition of

and Other Masters of the 16th and lyth

2nd edn, 1950-51

Centuries, exh. cat.

by

Works by

Ellis

Eiolbein

K. Waterhouse,

cat.

by A.E.

Museum

Munich, Glaspalast,

London 1957

deutscher Meister.

London. P.&D. Colnaghi, Exhibition of Old Master Drawings, 1957

Munich 1983

London 1959

Munich, Haus der Kunst, Im

London, Matthiesen Gallery, Odilon Redon, 184.0-1^1^: A Loan Exhibition of

Pamtmgs, Pastels and Drawings in Aid of the Corneal Graft and Eye Bank Research,

Newark 1954

1959

1954

London 1969

of Fine Arts,

Berlioz

and

the

Romantic Imagmation,

1969
London, Victoria and Albert Museum,

Museum, Haarlem,
Ward-Jackson, 1970

Dratvijigs

by ].Q. van Regteren Altena and

P.

from

the Teyler

Kiitalog der Kunst-

Christie's, Fanfare for Europe,

London 1973b
London, Hayward

1973

Watercolours

Gallery,

and

Pencil

Drawings by

Cezanne,

1973

London 1973c

Licht von

New

Mrs. C. Suydam Cutting,

cat.

by

Elaine Evans

York, Joseph

Brummer

Galleries, Paintings

London, Terry Engell Gallery, Old Master Drawings Presented by Adolphe

Slein,

1^973

London 1973-4
London, Victoria and Albert Museum, Old Master Drawings from Chatsworth: A
Loan Exhibition from the Devonshire Collection, exh. cat. by James Byam Shaw,

Art,

New York 1961

New York, Paul Rosenberg Gallery, higres in American
New York 1965
New York, Museum of Modern Art, Nineteenth and

London, Fine Arts Society,

The

Italian

1977

19656

New York 1966

Museum,

New

Century of Modern Drawings from The

Museum

of

York, 1982

London 1983
British

Museum, Drawings by Raphael from the Royal Library,

Museum, Chatsworth and other English Collections, exh.

British

A. Gere and Nicholas Turner, 1983

BIBLIOGRAPHY

the
cat.

1961

Twentieth-Century Master

of Art, Drawings from

High Renaissance, exh.

London 1982
British

Collections,

Ingres,

Drazoings, 1965

New York 1965-6

New York, Metropolitan Museum

Pamtmgs, Sculpture and Works on Paper,

1944

Loan Exhibition of Paintings and Drawings by

1973-4 (reprinted from Washington DC and elsewhere 1969-70)

London 1977
Selection of

Seurat,

Modern Drawings, 1944

New York, Wildenstein, French Pastels and Drawings from Clouet to Degas,
New York 1949
New York, Knoedler Gallery, Seurat: Paintings and Drawings, 1949

1952

Loive,

and Drawings by Georges

1924

London 1973d

296

the Collection of

Newark, The Newark Museum, Old Master Drawings, exh.

Gerdts and William H. Gerdts, i960

New York 1952

New York, Knoedler Gallery,

).

und neuer

Industrieausstellung alter

Claude Lorrain, 1983

Newark, The Newark Museum, From

-1-973

London, National Book League, Old Master Drawings Presented by Lorna

by

und

1876

New York 1944a

New York, Museum of Modern
New York 1944b

London 1973a

London,

1953

New York 1924

London 1970

Ashmolean, the

Centuries of Drawings,

Newark 1960

London, Victoria and Albert Museum,

Art,

Fwe

Munich 1876

Popham, 1953

Modern

1982

Milan, Pinacoteca di Brera, Arte lombarda dai Visconti agli Sforza, 1958

Montreal, Montreal

London, Royal Academy of Arts, Drawings by Old Masters, exh.

London,

les collections Suisse,

Milan 1958

Montreal 1953

London 1953

London,

Collec-

Great Britain, 1961

Manchester 1961b

London 1949

exh. cat.

Library,

Manchester 1961a

London 1930

exh. cat.

J.

Renaissance Painting in Manuscripts: Treasures from the British Library, 1983

cat.

New

York

by Jacob Bean and

New York, Jacques Seligmann & Co., Master Drawings, 1966

New York 1970
New York, Spencer Samuels Gallery, The Symbolists, 1970
New York 1971
New York, Metropolitan Museum of Art, Drawings from New
III:

The Eighteenth Century, exh.

cat.

by Jacob Bean and

Collections,

i:

Felice Stampfle,

York

Felice Stampfle,

Collections,

1971

New York 1974

New York, William H. Schab Gallery, Old Master Drawings arid Prints, 1974
New York 1975
New York, Pierpont Morgan Library, Drawings from the Collection of Mr &

Paris

1977-8

Paris,

Grand

Paris

1982-3

Palais,

Paris,

Grand

Paris

1983-4

1975

Paris,

Grand

New York 1977

New York, Metropolitan Museum

Paris

1984

Paris,

Grand

Mrs

Eugene

New

York

V.

Thaw, exh.

Collections,

and Cara Dufour Denison,

Felice Stampfle

of Art, Seurat: Drawings and Oil Sketches from

by Colin

1981

Eisler,

and Chicago, Art

Art,

Odilon Redon/Gustave Moreau/Rodolphe Bresdin,

Institute of Chicago,

19612

New York-Nuremberg 1986

York, Metropolitan

Museum

of Art, and Nuremberg, Germanisches National-

museum, Gothic and Renaissance Art

New York-Paris 1977-8a

New
and

York, Pierpont

his

Morgan

Nuremberg, i}oo-isso, 1986

in

Collection, Institut Neerlandais, exh. cat.

Museum

of

Paris, Institut Neerlandais,

Rembrandt

by Carlos van

1977-8

Hasselt,

Modern

Art,

and

Paris,

Grand

Palais,

Cezanne: The Late

Work, 1895-1906, igyy-8

Northampton

Palais,

Raphael

collections franfaises,

les

el I'art

1983-4

1984

franfais,

1967

Rare Graphics and Drawings, exh. cat. by G.S. Hoffmann, 1967

Princeton and elsewhere 19823
Princeton, The Art Museum, Princeton University, and elsewhere, Drawings from
the Holy Roman Empire, 1540-1680, exh. cat. by Thomas DaCosta Kauffmann,

1982-3
Reims and elsewhere 1938
Reims, Musee de Reims, L'hnpressionisme:

ses origines et

son heritage au xixe

Rome, Museo Nazionale de Castel Sant'Angelo,

SantAngelo: progetto ed esecuzione 1545-1548, exh.

Gli affreschi di Paolo

by P.M. A. and

cat.

1981-2
Rotterdam 1969
Rotterdam, Boymans-van Beuningen Museum, 150

Tekeningen

de versameling van Sir Robert Bruce en Lady higram, exh. cat.

MA 1978

1978

1956,

Nottingham, University Art Gallery,

Pictures

of Art, Anticjuity

Renaissance,

in the

a Castel

Gaudioso,

uit vier

eeuwen

uit

Hasselt,

Nuremberg, Germanisches Museum, Albrecht Durer

Ausstellung,

1928

sins

Rembrandt, 1606

1956

Rotterdam-Paris 1974
Rotterdam, Boymans-van Beuningen Museum, and

from Locko Park, 1968

Nuremberg 1928

flamands

et hollandais

du dix-septieme

siecle,

Paris, Institut Neerlandais,

exh. cat.

by Carlos van

Hasselt,

Des-

1974

San Francisco 1947

Nuremberg 1971
Nuremberg, Germanisches Nationalmuseum, Albrecht

Diirer, 14.711971, igyi.

Ottawa 1969

San Francisco, California Palace of the Legion of Honor, Nineteenth-Century

French Drawings, 1947

Ottawa, National Gallery of Canada, European Drawings from

by M.

of Canada, exh. cat.

Laskin,

the National Gallery

Stanford and elsewhere

1969-70

Stanford, Stanford University Art Gallery, Old Master Drawings from the Collection

1969

Ottawa 1973

of Kurt Meissner, Zurich,

Ottawa, National Gallery of Canada, Fontainehleau: Art

in France,

1528-1610, exh.

1969-70

Stockholm 1956
Stockholm, Nationalmuseum, Rembrandt, 1956
Stuttgart 1980

by Sylvie Beguin, 1973

1867

111

1969

Nottingham 1968

Paris

E.

by Carlos van

Rotterdam Amsterdam 1956

Rotterdam, Boymans Museum, and Amsterdam, Rijksmuseum,

Northampton ma. Smith College Museum

cat.

siecle,

Rome 1981-2
and

Library,

Century: Dutch Drawings of the Seventeenth Century from the Frits Lugt

York,

Raphael dans

1938

New York-Paris 1977-8b

New

Palais,

Philadelphia, C.P. van Pelt Library, University of Pennsylvania, Odilon Redon:

Center, Sculptors' Draivings over Six Centuries, 14.00-

New York-Chicago 1961-2

New York, Museum of Modern
New

19823

Palais, Fantin-Latour,

Philadelphia

igT]

New York 1981

New York, The Drawing
1950, exh. cat. ed.

by

cat.

Gustave Courhet (181^1877), 1977-8

Goya

1980

Paris,

Ecole des Beaux-Arts, Ingres, 1867

Stuttgart, Staatsgalerie Stuttgart,

Paris

1882

Toronto 1972

Paris,

Ecole des Beaux- Arts, Exposition des auvres de G. Courhet, 1882

Paris

1900

Toronto, Art Gallery of Ontario, French Master Drawings of the 17th and 18th
Centuries in North American Collections, exh. cat. by Pierre Rosenberg, 1972

Paris,

La Revue Blanche, Georges Seurat: Oeuvres peints

Paris

1905

Paris,

Grand

et dessines,

d'higres,

1908-9

Paris,

Galerie Bemheim-Jeune, Retrospective Georges Seurat,

Paris

1920

Paris
Paris,

Venice 1963
li

cat.

by Pietro

di Pisanello e di

maesti del suo tempo,

by Annegrit Schmitt, 1966

Vienna 1961

Rosenberg, Georges Seurat, 1936

Vienna, Belvedere, Cezanne, 1961

Natanson

'Les Cadres', Les peintres de la Revue Blanche,

1936

1937

Vienna 1967-8
Vienna, Albertina, Zwischen Renaissance und Barock, exh.

Paris,

Orangerie des

Paris

1972

Kaganovitch, Dessins franfais de David a nos jours, 1937

Tuilleries,

Odilon Redon, exh.

cat.

by Roseline Bacou, 1956-7

cat.

by Konrad Oberhuber,

1967-8
Vienna 1980
Vienna, Schonbriinn, Maria Theresa und

ihre Zeit,

1980

Vienna 1981

Paris, Institut Neerlandais, Flemish

Collection, exh. cat.

by Carlos van

Drawings of the 17th century from

1972

the Frits Lugt

Hasselt,

1972-3

Vienna, Albertina, Guido Rem: Zeichnungen, exh.

cat.

by Veronika

Birke,

1981

Vienna 1985
Vienna, Albertina, Albrecht Diirer und die Tier und Pflanzenstudien der Renaissance,

Palais, L'Ecole de Fontainehleau, entries

on drawings by Sylvie Beguin,

exh. cat.

by

Fritz

Koreny, 1985

Washington DC 1971
Washington DC, National Gallery

1973a

Paris, Galerie

Paris

Venice, Fondazione Giorgio Cini, Disegni

1926

Les dessins de Seurat,

1936b

Grand
1972-3

Venice, Palazzo Ducale, Catalogo della mostra Vittore Carpaccio, exh.

Zampetti, 1963

1921

regazzi],

exh. cat.

Paris

Paris

Domenico

1936a

Max
1956-7

Paris,

Venice, Biennale, Retrospective Odilon Redon, 1962

Decoratifs [Exhibition of 103 drawings by

Bemheim-Jeune,

Paris, Galerie

Paris

by Michelangelo Muraro, 1957

Venice 1962

Venice 1966

Paris, Bolette

Paris

Saenredam, 1961

cat.

1926

Paris, Galerie Paul

Paris

19089

Bernheim-jeune, Georges Seurat, 1920

1921
Musee des Arts

Paris, Galerie

Paris

Pieter jansz.

Venice, Fondazione Giorgio Cini, Disegni veneti della collezione Janos Scholz, exh.

Tiepolo for his Divertimento per

Paris

Museum,

Venice 195 7

1905

Paris

Paris, Galerie

der Krise seiner Zeit,

Utrecht 1961

1900

Utrecht, Centraal

Oeuvres

Palais,

in

du Fleuve, Aspects du XIXe

siecle franfais,

1973b

Paris, Galerie J.-C.

Gaubert, Sources du fantastique, 1973

1973

of Art, Ingres en

Roma, 1971

Washington DC 1986-7
Washington DC, National Gallery of Art, Henri Matisse: The
1916-1950, exh. cat. by Jack Cowart, 1986-7

Early Years in Nice,

BIBLIOGRAPHY

297

Washington DC and elsewhere 1962-3

Washington DC, National Gallery of

Art,

Library, Sixteenth-Century Italian

and elsewhere. Old Master Drawings

A Loan Ejcliibition from the Devonshire Collection, exh. cat. by

1962-3
Washington DC and elsewhere 1969-70
Washington DC, National Gallery of Art, and elsewhere. Old Master Drawings
from Chatsworth: A Loan Exhibition from the Devonshire Collection, exh. cat. by
James Byam Shaw, 1969-70
Washington DC and elsewhere 1977
Washington DC, National Gallery of Art, and elsewhere, Seventeenth-Century
from Chatsworth:
A.E. Popham,

Dutch Dratvings from American

Collections, exh. cat.

by Franklin W. Robinson,

1977

Drawings from

1973-4
Washington DC-New York 1984
Washington oc. National Gallery of
Library,

Old Master Dratvings from

Washington

Art,

and

the Alhertina,

the Collection of Janos Scholz,

New

York, Pierpont

Morgan

1984

DC-New York 1986-7

Washington DC, National Gallery of Art, and New York, Pierpont Morgan
Library. The Age of Bruegel: Netherlandish Drawings of the Sixteenth Century.

1986-7
Washington DC-Paris 1982-3
Washington dc, National Gallery of Art, and Paris, Grand Palais, Claude
1600-1682, exh. cat. by Pierre Rosenberg and H. Diane Russell, 1982-3

Lorrain,

Washington DC and elsewhere 19845

Washington DC-Parma 1984

Washington DC, National Gallery of Art, and elsewhere, Watteau, 1684-J/21,

exh. cat. by Pierre Rosenberg and Margaret Morgan Grasselli, 1984-5

Washington, DC, National Gallery of Art, and Parma, Galleria Nazionale, Correggio
and his Legacy, exh. cat. by Diane DeGrazia, 1984

Washington

DC-New Haven 1981

Woodner

Washington dc. National Gallery of Art, and New Haven, Yale University Art
Gallery, Hans Baldung Grien: Prints and Drawmgs, 1981

Washington

DC-New York 1973-4

Washington DC, National Gallery of

298

BIBLIOGRAPHY

Art,

and

New

York, Pierpont

Morgan

Collection Catalogues

See separate

list

on

p.

16

Zurich 1984
Zurich, Galerie Kurt Meissner, 200 Zeichnungen aus funf fahrhunderten: so Jahre
Galerie Kurt Meissner, 1984

Photographic Acknowledgements

Florence, Biblioteca Laurenziana: p. 141

London, British Museum: p. 46

Nuremberg, Germanisches Nationalmuseum:
Vienna, Albertina: pp. 122, 147

Windsor

Castle,

Royal Library:

p.

42

p.

150

Prudence Cuming Associates Limited, London: pp. 23, 61, 113, 175
Lynton Gardiner, New York: pp. 27, 33, 35, 43, 47, iT, 131, 159, 161, 167, 181,
217, 241, 253, 276, 277, 279, 283
Sam Shaw, New York: p. 2
All other photography by Eric Pollitzer, New York

299

Index of Artists

ABBATE,

ITALIAN OR FRENCH SCHOOL

Niccolodel' 23

LEONARDO DA VINCI

ALLEGRI, Antonio s<;eCORREGGIO

ANCELICO,

Fra 2

AUSTRIAN OR BOHEMIAN SCHOOL

AVERCAMP, Hendrick 60
BADILE, Giovanni

BAROCCI,

BEHAM.

52,53

10

MATISSE,

Federico 25

HansSebald 56
68

BENING, Simon

BOHEMIAN SCHOOL

sf^

AUSTRIAN OR BOHEMIAN SCHOOL

BOUTS,

80

VAGA

7,8
Benedetlio 29

17

COURBET, Gustave

87

COYPEL. Antoine 75
CR AN ACH, Lucas (The Elder) 50
DEGAS, Hilaire-Germaine-Edgar 91, 92
DURER, Albrecht 44,45,46,47,48,49

FANTIN-LATOUR,

Ignace-Henri-Jean-Theodore 93

FRAGONARD,Jean-Honore 83
FRENCH SCHOOL see ITALIAN OR FRENCH SCHOOL
GADDI, Taddeo 1
GALLI-BIBIENA, Giuseppe 30
GELLEE, Claude seeLORRAIN
GILLOT, Claude 76
GOYA Y LUCIENTES, Francisco Jose 106, 107, to8, 109

GOYEN, Janvan
GREUZE,

61

Jean-BapHste 81,82

HOFFMANN,

Hans 58,59
HOLBEIN, Hans (The Younger) 54,55
INGRES, Jean-Auguste-Dominique 85, 86

3CX)

43

21
19

POUSSIN,

Battista

37

Nicolas 73

RAPHAEL 11,12
REDON, Odilon 97, 98, 99, 100
REMBRANDT HARMENSZ. VAN

Hans 51

Paul 94,95,96

CORREGGIO

PARMIGIANINO

Pablo 110, 111

PIRANESI, Giovanni

CELLINI, Benvenuto 20

CEZANNE,

Henri 105
Francesco seelL

MAZZOLA,
MOREAU, Gustave 88
NUREMBERG SCHOOL

PICASSO,

CARRACCI, Agostino 27
CASTIGLIONE, Giovanni

to 22G, 221, 221

II

Dieric 67

CARPACCIO.Vittore

22A

II

BRESDIN,Rodoiphe 89,90
BUONACCORSI, Pietro scfPERINO DEL

BURGKMAIR,

9,

PARMIGIANINO,
PERINO DEL VAGA
PERUGINO, 5

BOILLY, Louis Leopold 84

BOTTICELLI, Sandro 22H

BOUCHER, Francois

LORCH, Melchior 57
LORRAIN, Claude 74
MASTER OF THE SMALL LANDSCAPES 69
MASTER OF THE STRASBOURG CHRONICLE

Baccio 18

BARTOLOMMEO, Fra

LIGOZZI, Jacopo 26
L O T A R D, Jean-EHenne 79
LIPPI, Filippino

BALDUNGGRIEN.Hans
BANDINELLI,

38

72

RENI, Guido 28

ROGHMAN,Roelant 66
ROMANINO,Girolamo

16

SAENREDAM, Pieterjansz. 62
SANTI, RaFfaello see RAPHAEL
SARTO, Andrea del 13
SAVERY, Roelant 70

SCHONGAUER, Martin
SEURAT, Georges 101,
SIGNORELLI, Luca 4

SWABIAN SCHOOL

39

102, 103, 104

40

TIEPOLO, Giambattista 31,32,33,34

TIEPOLO, Giandomenico 35,36
TITIAN 15

UDEN, Lucas van 71

VANNUCCI, Pietro

sec

PERUGINO

VASARI, Giorgio 22
VECELLIO, Tiziano sfcTITIAN

VENETIAN SCHOOL 14
WATTEAU, Antoine 77, 78
ZUCCARO, Taddeo 24

RIJN

63, 64,

65

41,42

Friends of

The Royal Academy

Benefactors

The Granada Group

Mrs Hilda Benham

Arthur Guinness

Lady Brinton
Nigel & Lady Broackes
Keith Bromley Esq.

Guinness Mahon Group pic

IBM United Kingdom Ltd

The John S. Cohen Foundation

The Colby Trust

Johnson Wax Limited

Lex Services pic

Michael

Jack Goldhill Esq. frics

London Weekend Television Ltd

Marks & Spencer pic
Mars Limited

Mrs Mary Graves

Martini

Sir

D.J.

E. Flintoff Esq.

Hoare

& Hyman

Kreitman

The Landmark Trust

Roland Lay Esq.

The Trustees of

Hugh

the Leach Fourteenth Trust

The Lord Moyne

The Lady Moyne
Mrs Sylvia Mulcahy

Charitable Trust

Dr Gert-Rudolf
M.J. Foley Esq.

Partnership

pic

Michael

P.

Scott Mathieson Daines Ltd

Gavin Graham

Limited

Art Auctioneers

Sir Eric

R.
J.

Edgar Astaire Esq.

Henry Vyner Charitable Trust

W.M.

&

Wallington Green Esq.

A. Hadjipateras Esq.

Mrs

S.

Mrs Ann Appelbe

Dwight W. Arundale

Harris Esq.

Hazandras

N. Hickmet Esq.

Hoe Esq.
Mrs Mark Hoffman
Charles Howard Esq.
Reginald

Esq.

BallantyneEsq.

Miss Margaret Louise Band

Mrs A. Howitt
Roger Hughes Esq.
Miss Linda

Bennett Esq.

P.F.J.

M.

Julia

Bennett Esq.

L.

Hutson

Norman J. Hyams

Farrell

Dr D.S.J. Maw
M.H. MeissnerEsq.
The Hon. Stephen Monson
Mrs Morrison
G.D. Murray-Smith

Esq.

Esq.

Steven Nemethy Esq.

The Oakmoor Trust

Brian R. Oury Esq.
Mrs Olive Pettit
Mrs M.C.S. Philip
Ralph Picken Esq.

Harold Quitman Esq.

Ray Esq.
Mrs Margaret Reeves
Mrs M.P. Renton
Cyril

John Ritblat Esq.

F. Peter Robinson Esq.

The Rt Hon. Lord Rootes

J.A. Rosenblatt Esq.

Baron

Halliday

R.

Mrs M.J. Hemain

Mrs Penelope Heseltine

Anstruther Esq.

I.F.C.

E.P.

Charles Wollaston

Esq.

Richard

Individual Sponsors

Instruments

Esq.

Graham
Mrs J. M.Grant

United Biscuits (UK)

Harry Teacher Esq.

Vacuum

Esq.

Ultramar pic

A. Alston Esq.

Products Ltd

Goodman

Hamilton Wright Esq.

Miss Nona Hanes Porter

The Revd Prebendary E.F. Shotter

Dr Francis Singer
Lady Daphne Straight
Mrs Pamela Synge

A. Witkin,

Esq.

P.G. Goulandris Esq.

Miss

Sharp cbe

Godbee

John C.

W.H. Smith & Son Limited

Sotheby & Co
The Spencer Wills Trust
Thames Television Limited
J. Walter Thompson Company Limited

Phillips Fine

Stephen A. Geiger Esq.

Lady Gibberd
I.

Lieut.-Col. Vincent Paravicini

Mrs Denise Rapp

Mrs Adrianne Reed
The Late Anne M. Roxburgh
Mrs Basil Samuel

Lucette de la Fougere
Ronald D. Fowler Esq.
Miss C. Fox
Graham Gauld Esq.

Michael

UK

Flick

Ms

RTZ Services Limited

Save & Prosper Educational Trust
Henry Schroder Wagg & Co Ltd
Shell

Paravicini

Lady Catherine

M.V. GauntlettEsq.

pic

].

Richard Park Esq.

&

Esq.

Macwhirter Esq.
Mrs Shirley Maltby
Dr Abraham Marcus
Mrs P.C. Maresi
The Hon. Simon Marks
R.C. Martin Esq.

Sylvia Edwards

Isern Feliu Esq.

S.

McMean

Peter
Stuart

Gilbert Edgar

Norddeutsche Landesbank Grozentrale

Ocean Transport & Trading pic
(P.H.Holt Trust)

C.R. Nicholas Esq.

Mrs Vincent

Mrs
Mrs

The Nestle

The Royal Bank of Scotland

Jan Mitchell Esq.

Ciaran Macgonigal Esq.

Esq.

Charles

Marians Holdings

Mrs Graham Lyons

Peter Ekelund Esq.

Rowe & Pitman

Michael obe

Denham

Luder Esq.

A. Lyall Lush Esq.

The Marquess of Douro

Company of Mercers
Messrs Nabarro Nathanson

Priest

Charitable Trustees

Lieut.-Col. L.S.

Rossi Limited

Owen

Mrs R. Cohen
Mrs N.S. Conrad
Mrs Elizabeth Corob
Mrs R.H.Curtis
Philip Daubeny Esq.
MissC.H. Dawes
John

Pilkington Glass Ltd

M.S. Lipworth
Jack Lyons cbe

The Manor

&

Ove Arup

Leggatt Esq.

Mr & Mrs
Sir

pic

Worshipful

Esq.

Anthony Hornby

Irene

Sons

Imperial Chemical Industries pic

The Lady Gibson

Sir

&

de Rothschild

Elie

Mr & Mrs
The Hon.
Saddlers

O. Roux
Steven Runciman CH

Sir

Company

Robert Sainsbury
Mrs Bernice Sandelson
Sir

Friedhelm Schulz-Robson Esq.

Mrs Bernard L. Schwartz

Mrs Pamela Sheridan
Desmond de Silva Esq. QC
R.J.

Simla Esq.

Mrs Edith Smith

Mrs D. Spalding
Dr M.E. Sprackling
Cyril Stein Esq.

C Stevenson Esq.

P.G. Bird Esq.

Hyman Esq.
Mrs Manya Igel
Mr & Mrs Evan Innes

M.P. Blackshaw Esq.

J.

Barclays Bank pic

MrsCW.T.

Mrs Christopher James

C.J.A. Taylor Esq.

Bourne Leisure Group Ltd

The British Petroleum Co Ltd

Borden
Peter Bowring Esq.
Miss Betty Box obe

Alan Jeavons Esq.

J.E.

H. Joels Esq.

Thomas Esq.
Andrew Vicari Esq.
Mrs V. Watson

Mrs Susan Bradman

Irwin Joffe Esq.

J.B.

Citibank

J.H. Brandler Esq.

Christopher Watts Esq.

Clarkson Jersey Charitable Trust

Mrs David L. Britton

Lady Brown
Jeremy Brown Esq.
Mr & Mrs R. Cadbury
Mrs L. Cantor

Roger Jospe Esq.

S.D.M.KahanEsq.
Mr&MrsS.H. Karmel
Mrs C. Kirkham
Mrs J.H. Lavender
Miss Ailsey Lazarus

Miss E.M. Cassin

S.J.

W.H. Chapman

Mr & Mrs J.S.

Miss A.S. Bergman

Mrs Susan Besser

Corporate Sponsors
American Express Europe Ltd
Bankers Trust

Company

Miss

Bryant Laing Partnership

Christie

Manson & Woods

Ltd

P&DColnagi&CoLtd
Courage Charitable Trust
Coutts
Delta

Esso

& Co

Group

pic

UK pic

Financial Corporation of

North Atlantic Ltd

Company Ltd
The General Electric Company

Blackwell

Julia

Esq.

Citicorp International Private Bank

Ford Motor

pic

Henry M. Cohen

Esq.

David

P.

Ms

Jacobs Esq.

S.

Jenkins

Leonard Esq.
Lersten

Richard

James Q. Stringer Esq.

Mrs A. Susman
Robin Symes Esq.

Watton

Frank

S.

Esq.

Wenstrom

Esq.

R.A.M.WhitakerEsq.

Wine Esq.
Mrs Bella Wingate

H.

Wolfson Esq.
Lawrence Wood Esq.
Brian G.

Fred

S.

Worms

David Levinson Esq.

David Lewis Esq.

301

Royal Academy Trust

The Trustees of the Roual Academy Tnist wish

to express their gratitude to the

many companies

who Imve already given their

Among many others they

at\d individuals

support to the appeal.

would

extend their thanks

like to

to:

de Ferranti
Roger de Grey, pra
The De La Rue Company pic
The Leopold de Rothschild Charitable Trust
The Hon. C. Douglas & Mrs Dillon
Basil

The

H.M. The Queen

Trust

Princess Esra Jah of Hyderabad

The Kaye Organisation
R.J.

Kleinwort, Benson Ltd

Kress Foundation

Dowson, ra

&

Lazard Brothers

The Durrington Corporation

Eagle Star Insurance Group
The Gilbert & Eileen Edgar Charitable Trust
The Ells Will Trust

MissR.A. LeBas

Roberta Entwhistle

Mr & Mrs

American Express Europe Limited

Mr & Mrs Tobin Armstrong
The Arthur Andersen Foundation
Mrs lohn W. Anderson ii

Ernst

& Whinney

UK pic

Esso

Esmee

Fairbairn Charitable Trust

Mr & Mrs T.M.

Evans

Co. Limited

Leading Hotels of the World

The Leche Trust

Geoffrey Leigh Charitable Trust
Panagiotis

Lemos

Miss Janet E. Leng

Lord Leverhulme's Charitable Trust
v
Kenneth Levy
Mr & Mrs Leon Levy
John Lewis Partnership pic
Lex Services PLC
Lloyds Bank PLC
The Corporation and Members of Lloyd's
and Lloyd's Brokers
London Clubs Limited
London & Scottish Marine Oil PLC

Anglia Television Limited

Guy Fawkes Charitable Trust

The Hon. Walter & Mrs Annenburg

Finance for Industry pic

Arbuthnot Latham Bank Limited

lames Archibald
Arco Oil Producing Inc.
Associated British Foods

Mrs Donald R. Findlay

The Fishmongers' Company

Atlantic Richfield Co.

Mr Henry

Mr & Mrs Stanton Avery

The Gordon Graser Charitable Trust

Mrs W.K.French

London Weekend Television Limited

Mrs C. Hudson Lynch

Ms Maud

Frizon

Sir Jack

Or Kenzo

Fujii

McCann

Flanagan

J.B.

Forbes Magazine

Miss Nancy Balfour

The Aston Foundation
Mr & Mrs Alan Bain
The Bank of England

Ford

il

Gallaher Limited

Bankers Trust

Company

The

Barclays Bank

PLC

General Accident Fire

The Baring Foundation

B.A.T. Industries

Ida

Rose Biggs

Blue Circle Industries pic

BOC Group
Champagne

C.T. Bowring

&

Co. Limited

Peter Bowring

Lady Mary Brinton Foundation

British Airways
British American Arts Association
British

& Commonwealth

British

Caledonian Airways Ltd

The

Inc.

PLC

Gas Corporation

British

The Grocers' Company

Mr & Mrs Wallace Grubman
Guest, Keen and Nettlefolds pic

The Haberdashers' Company

Mr and Mrs

Wakeman
Dr and Mrs Anmand Hammer

Brixton Estates pic

Brooke Bond Group

Brown

Irust

Trust

Commercial Union Assurance Company

Consolidated Goldfields

Coopers

&

Lybrand
Coutls & Co.
Raymond Cowern, ra
Mr & Mrs Marvin Davis

302

PLC

Shell

UK

Limited

Slough Estates pic

Mr Marvin Sloves
Mr & Mrs Edward

Paul Mellon, kbe

Elizabeth

Mellows

Charitable Trust

The Mercers' Company

The Merchant Taylors Company
Metal Box pic

Richard Sheppard, ra

Sheppard Robinson Architects

Harry & Abe Sherman Foundation

Dr Francis Singer
The Skinners' Company
The Sloane Club

Byron Smith
The Spearers Art Fund
Edward Speelman Limited
Standard Chartered Bank
Standard Telephones

Mr & Mrs

&

Cables

PLC

Stanfill

Stanhope Securities Ltd

Starr Foundation
Sterling Guarantee Trust PLC
Sun Alliance & London Insurance Group
The Bernard Sunley Charitable Foundation
John Swire & Sons Limited

The

pic

In Memory of Byron S. Miller

The Miller and Tiley Charitable Trust
The Peter Minet Trust
Trustees of D.W. Mitchell Charitable
Tmst

Tarmac

&

Mobil Oil Company Limited

The Moorgate Trust Fund

Tate

Morgan Grenfell & Co. Ltd

Morgan Guaranty Trust Company

Taylor

York

Dennis C.

Mr A.
of

pic

Lyle pic

Alfred

Taubman

Woodrow

Charitable Trust

Technical Indexes Limited

Thames Television Limited

Sir Jules Thorn Charitable Trust
THORN EMIplc

Stavros

Company

Limited

P.S.

Hercules

& Daw

Idlewild Trust

Imperial Chemical Industries

Imperial

Tobacco Limited

PLC

PLC

&

Millbourn (Holdings) Ltd

Trident Television pic

Norwich Union Insurance Group

Trustee Savings Bank (Holdings) Limited

Mr & Mrs

TWA

Peter O'Donnell

Duncan Oppenheim
Oppenheimer Charitable Trust
The Ormonde Foundation
The Orrin Trust
Ove Aarup Partnership
Sir

Minnie B. Hickham
High Winds Fund
Hill Samuel Group PLC
David Hockney BBC Radio 4 Appeal
Hogg Robinson Group
Hongkong Bank
Hope Fund
IBM United Kingdom Group
IC Gas

The

Niarchos

Northern Foods

Henham

L.

S.

Tilling pic

Trafalgar

International pic

The Normanby Charitable Trust

Heinz Charitable Trust

Henry J. Heinz 11

Herring Son

pic

Samuel Properties
William Scott, ra

Mr & Mrs Jack C. Massey

Matheson & Co. Limited

Trust

Co. Ltd

Mrs John Hay-Whitney

The Hayward Foundation
Hayward Tyler
The Hedley Foundation

Brian

Charitable Trust

Wagg &

Peter Samuel Charitable Trust

House Public Limited Company

The Trehaven Trust Limited
The Triangle Trust 1949) Fund

The deary Foundation

The Trustees of the Clore Foundation

Colman

C Schmidt

Henry Schroder

News

Dr

Jeremiah

J.

Haslemere dfas

Mr

Sir

& Prosper
Mr & Mrs Benno
Save

Tozer Kemsley

CIBA-GEIGYPLC

Joseph Collier Charitable Trust

Jean Sainsbury

Thoman

Christie's

The John S. Cohen Foundation

Mr & Mrs Terence Cole
The Ernest Cook Trust

Reynolds Associates

Russell

Miss A.W. Martinet

New

New York

The Sainsbury Family Charitable Trust

Sir

Mount

Inc,

RTZ Services Limited

Mrs Mary Newman

H.J.

Company

Royal Insurance pic

Royal Oak Foundation

The National Magazine Co.

National Westminster Bank PLC

L.G. Harris and

Burmah Oil
John Cadbury Charitable Trust
W.A. Cadbury Charitable Trust

The Clothworkers'

Hall

Mrs Sue Hammerson, obe

The Hammerson Group of Companies
The Lord Hanson

Mr & Mrs Walter Burke

Bunzl PLC

Chapman Charitable
The Chase Charity

Melville

Limited

ment
The Pyke Charity Trust
The Radcliffe Trust
The Rank Organisation pic
Rank Hovis McDougall PLC
Rank Xerox Limited
The Rayne Foundation
Reed Inter lational PLC
Ivor Roberts-Jones, ra
The Ritz Casino
The Ronson Charitable Foundation
The Jacob Rothschild Charitable Trust
Rowntree Mackintosh
The Royal Bank of Scotland

Macdonald Buchanan Charitable Trust

The Manifold Trust
Leonard Manasseh, ra
The Manor Charitable Trust
Marks and Spencer pic
Sir George Martin Charitable Trust

The Anthony and

Company

Pye's Charitable Settle-

Sea Containers Limited

Erickson Advertising Limited

Midland Bank

Calouste Gulbenkian Foundation

Company PLC

Petroleum

C&A Charitable

pic

Arthur Guinness pic

Britoil pic

Gilbert

Company

Guardian Royal Exchange Assurance pic

Company PLC

British Olivetti Limited

The

Assurance

Grabar Investments Ltd

Greycoat pic

Shipping Co.

British Electric Traction

British

Life

Gibberd, ra
Simon Gibson Charitable Trust
Gill & Duffus Group Limited
Anthony T. Gillings
Glaxo (1972) Charity Trust
The Jack Goldhill Charitable Trust
The Goldsmiths' Company
The Horace W. Goldsmith Foundation
Frederick Gore, ra
Her Majesty's Government

James Benson

Bollinger

&

Sir Frederick

The Benhem Charitable Settlement

The

Weston Foundation

Corporation
The General Electric

p. I.e.

Tom Bendhem

BICCplc
In Memoriam

Garfield

and Lady Lyons

Poke

Group Limited

Private Capital

Mr & Mrs J.A.

Maurice Laing Foundation

Mr & Mrs Larry Lawrence
Roland P. Lay

Alfred Dunhill Limited

The

Prudential Assurance

Kiln Ltd

Prof.

The Drapers' Company

PLC

Thomson Organization

Mr & Mrs
Sir Philip

American Airlines
American Associates of the Royal Academy

International

Mrs D. King

Company

Trevor Dannatt. ra
Gaylord Donnelly
Douglas Heath Eves Charitable Trust

H.R.H. Princess Alexandra

The Hon. Angus Ogilvy
Thos. Agnew & Sons Ltd
Craigie Aitchison, ra
Russell Aitken
Akai
Allied-Lyons

Distillers'

Mr and Mrs Greville

Inchcape Charitable Trust

Owen

H.R.

Limited

The Twenty Seven Foundation

Unilever

PLC

The Vandervell Foundation

The Verdon-Smith Family Trust
A.F. Wallace Charitable Trust

Warburg & Company

Mr Gware-Travelstead

S.G.

Limited

The Paragon Trust

P&O Steam Navigation Company

Wartski

Pearson pic

The Weinberg Family Charitable Trust

Peat,

Marwick, Mitchell

&

Co.

Mrs

Keith S.Wellin

Michael C.S. Philip

Whitbread and Company PLC

Wilde Sapte
Wilkinson Sword Group Limited

The Pilgrim Trust

R.V. Pitchforth, ra
The Plessey Company

George Wimpey pic

H.H. Wingate Charitable Foundation

Peerless
P. F.

Pump

Charitable Taist

HDH Wills
pic

1965 Charitable Trust

Winsor and Newton (part of the Reckitt

and Colman Group)
The Wolfson Foundation

Sir

John Woolf

Mr Lawrence Wood
Mr & Mrs William Wood

Prince

Mrs Charles Wrightsman

Donations

Zanussi

Tmst

Egon Zehnder

lo the

Appeal should be sent

Royal Academy.

to the

Office at the

International

ROYAL ACADEMY TRUST 3O3

Sponsors of Past Exhibitions

The Council of the Royal Academy thank sponsors of past

exhibitions for their support. Sponsors of exhibitions during the
years have included:

last ten

FIRST

NATIONAL BANK OF CHICAGO

NATIONAL WESTMINSTER BANK

Marc

Chagall 1985

Reynolds 1986

FRIENDS OF THE ROYAL

Allan

AMERICAN EXPRESS FOUNDATION

ARTS COUNCIL OF GREAT BRITAIN

Clatworthy/ Sutton 1977
Robert Motherwell 1978
Rodrigo Moynihan 1978
John Flaxttmn 1979
Ivon Hitchens 1979
Aigemon Neivlon 1980
Spirit in Painting

1981

From Byzantium

Light Fantastic

985

Paintings from the Royal

Academy

US Tour

1982/4, ra 1984

Genmvi Art

Summer

BOVIS CONSTRUCTION LTD

New Architecture 1986

ALCAN ALUMINIUM

Sir Alfred Gilbert

1986

New Architecture 1986

PEARSON PLC

in the

20th Century 1987

New^ Architecture 1986

PRINGLE OF SCOTLAND

REPUBLIC

ROBERT BOSCH LIMITED

German Art in the 20th Century 1985

SHELL (uk) LTD

1979
1983

Treasures from Chatsworth

The Great Japan Exhibition 1981

JOANNOU

SIEMENS
German Art

& PARASKEVAIDES (OVERSEAS) LTD

to El

Greco 1987

in the

MARTINI k ROSSI LTD

MELITTA
German Art

in the

The Great Japan Exhibition 1981

ELECTRICITY COUNCIL

Treasures from Ancient Nigeria

New Architecture 1986

Modem Masterpieces from

COMPANY LTD
Art Now: An American Perspective

1984
From Byznntium

to El

1980

MOET

&

1985

CHANDON

Derby Day 200 1979

Lord Leverhulme 1980

The Hague School 1983

MOBIL

ESSO PETROLEUM

Elisabeth Frink

UNILEVER
10th Century 1985

MIDLAND BANK PLC

20th Century 1985

The Great Japan Exhibition 1981

TRUSTHOUSE FORTE
Edward Lear 1985

MERCEDEZ-BENZ

DEUTSCHE BANK AG

Derby Day 200 1979

1982

MELLON FOUNDATION

German Art

FINANCIAL TIMES

SWAN HELLENIC
Edward Lear 1985

20th Century 1985

THE DAILY TELEGRAPH

in the

SOTHEBY'S

TRAFALGAR HOUSE
in the

Rowlandson Drawings 1978

1980

20th Century 1985

JOHN SWIRE

COUTTS t CO.
Derby Day 200 rgyg

Treasures from Chatsworth

in the

Derby Day 200 igyg

20th Century 1985

Painting in Naples from Caravaggio to Giordano

1980

1980

The Great Japan Exhibition 1981

CANARY WHARF DEVELOPMENT CO.

New Architecture 1986
Treasures from Chatsworth

SEA CONTAINERS & VENICE SIMPLON ORIENT EXPRESS

Genius of Venice 1983

LUFTHANSA

Christie's

NEW YORK CORPORATION

Andrew Wyeth 1980

20th Century 1985

Portuguese Art since 1910 1978

German Art

The Great Japan Exhibition 1981

THE SHELL COMPANIES OF JAPAN

German Art

CALOUSTE GULBENKIAN FOUNDATION

304

PILKINCTON GLASS

Greco 1987

THE A.G. LEVANTIS FOUNDATION

From Byzimtium to El Greco 1987

PETROLEUM PLC

OVERSEAS CONTAINERS LIMITED

THE JAPAN FOUNDATION

From Byzantium

GYPSUM LTD

Art

Exhibition

1983

Eduardo Paolozzi Underground 1986

KINGDOM LIMITED

Post-Impressionism

Crucifix

The Great japan Exhibition 1981

1977

in the

IBM UNITED

Gold of El Dorado 1979

British

1981

THE HELLENIC FOUNDATION

From Byzantium to El Greco 1987

German Art

BENSON & HEDGES

British

& Codex Hammer

HOECHST (uk) ltd

20th Century 1985

in the

Marco 1979

New Architecture 1986

THE HELLENIC CULTURAL CENTRE

From Byzimtium to El Greco 1987

BIER

BRITISH

to El

Cimabue

OTIS ELEVATORS

ARTHUR GUINNESS PLC

INDUSTRIES PLC

BRITISH

ARMAND HAMMER

GLAXO HOLDINGS PLC

Murillo 1983

BRITISH

THE

Blackadder 1982

Peter Greenliam

Tlie

Tlie

JOSEPH GARTNER
New Architecture 1986

Gwynne Jones 1983

The Hague School 1983

BECKS

OLIVETTI
Horses of San

FOUNDATION

Allan

B.A.T.

&

1980

The Great Japan Exhibition 1981

Honore Daumier 1981

Leonardo da Vinci Nature Studies

Corel Weight 1982

Eliz/ibeth

Creenham : 985
Carel Weight 1982
Elizabeth Blackadder 1982
Sir Alfred Cilherl 1986

DR ARMAND HAMMER

1981

Certrzide ''ennes

THE OBSERVER
Stanley Spencer

Peter

Masters of 17th Century Dutch Genre Painting 1984

je SHIS le cahier': The Sketch Books of Picasso 1986

New

ACADEMY

Gwynne Jones 1983

1982

the Thyssen-Bornemisza Collection

Greco 1987

WALKER BOOKS LIMITED

Edward Lear 1985

WEDGWOOD
John Flaxman 1979

WINSOR

NEWTON WITH RECKITT

Algernon Newton 1980

&

COLMAN