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I
MASTER DRAWINGS THE WOODNER COLLECTION
ROYAL ACADEMY OF Catalogue published
WEIDENFELD
in
ARTS,
LONDON,
.'I
;
'
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
6
Preface
Roger de Grey
7
Introduction Nicholas Turner and Jane Shoaf Turner
Editorial
Note
8
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
T
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
a
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
A
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
a
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
a
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.
A
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
a
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
A
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
a
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
A
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.
A
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
a
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.
A
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
I
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
A
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
a
'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
a
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.
a
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.
I
am,
if
I
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
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
I
have collected to other people.
By have become a
love to see the reaction of people to these things.
I
showing
to acquire his
this truly
extraordinary collection,
I
...
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
I
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,
I
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
I
have
Many
sailed into the
times
market
'will
at spectacularly rising prices.
the
home
too half-hearted.
seems that
It
I
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
A
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
I
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
A
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.
2
MM MM
3
ko(nt)
1
(NT) (nt)
4 NT 5
6
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 1983—5
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
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
a
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
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,^
a
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,
3
Venturi 1901-40, V (1907),
4
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-
a
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
(1412—1468), 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
a
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
3
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
B
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 1499—1506.' 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.
a
woman
98. See Berenson 1938,
[the figure in the fresco
male] embracing another man, just under the
2
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,
I
I
ink, Ritratto di Raffaele
quando
d'Urhino
I
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 (1883—1977), 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
2
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.
4
A comparison is
of the
Woodner drawing
discussed
in
is
discussed
the catalogue of the
5
Scarpellini 1984, p. 78, no. 31, figs
6
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,
3
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)
i
where he was given the chateau of Cloux, near of Western
art,
A
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
6
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
2
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),
1490—5 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.
1501—11: 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).
7
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 1971—2, 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 1971—2. 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
8
- 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 1513—14.
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
a
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
a
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,
T
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
a
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 (1494—1502), 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 (1805—1893); 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
1
Conversazione, for which
5
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.
10—14 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 (1475—1564) 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 (1511—14) 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
7
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 (1462—1521) 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
1
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.
T
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.
A
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
I
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
A
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
a
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
a
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 1971—2, 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.
A
'"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,
A
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
A
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,
1
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?'
*
f
./
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/ 1—1506). 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
1514—15
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
a
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, 10—14 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 1983—5, 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 1986—7, no.
Bibliography: Popham 1957,
1
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.
6
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.
1953—12—12—1; 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.
1
Pierpont
1969—70 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.,
1
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. 162—6 under nos 112—15, 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
i
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.
I
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
I
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,
I
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
a
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
T
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
i
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-
I
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
1
e
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.
d
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 75—82. 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.
I
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 1971—2, Woodner Collection, Malibu and elsewhere 1983—5, 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
t
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
a
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 (1672—1739); 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
B
A
D
C
22 verso
F
E
I
H
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
1
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
A
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
B
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
a
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
.
1
i
4
«-
,|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
a
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-
M
H'.
tJ
1*"*
^
h»i 1^,
•.
w
•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 (1466—1524) 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. 1435—88) 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
a
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 1485—90' 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.
A
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
a
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
a
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.
A
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
<: ;^
...
I
;
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 (1504/5—1570) 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
a
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
2
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.
5
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.
A
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
1543—81).
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 (1749—1827)
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
a
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,
i
'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.
....
A
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 1986—7,
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
a
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
1
Kenseth 1975,
2
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.
A
Provenance: Abbe Desneux de la Noue (Lugt 3015); London; Jean-Luc Baroni, London.
fig.
4
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
a
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
a
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
r
J:
IJ*.-' /." -«
'^
->* :"«^
;
"i^^
^ ';
i-i'
0:
^'*
"/v^V^-
%: ^^rr.^--ifd.
\;
:s|^*r-^
>N
•;«
•.,,
4
«^'^' /•'I
v-.V-'"«.-,.,
.V
?>.
^^-^
^y'vv
a^;;.
m^m^^^^i^) 1
•
A*
.»«4'
!
'4.
v..
i
"^.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
A
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. 363—74.
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 -
\
\
<
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
{1578—1660). 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
B
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
A
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.
1
Pepper 1981,
p.
3
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
M
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
a
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 1650—60,
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
T
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
1
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
A
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
e
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
I
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 (1528—1588).
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
I
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
a
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
a
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 1973—4, no. 68;
no. 42.
Bibliography: Parker 1956, fig. 9;
Knox
under no.
m
1980, 343,
no. 1080; see also
II,
p.
p.
536, under no. 1080;
p.
m
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
m
662;
family. See also
4 Knox, 5 Knox, 6 Knox,
m
Macandrew
1980,
p.
167, no. c 19 (Wurzburg),
I,
p.
178, no. h 73.
I,
pp. 251-2, no.
I,
p.
m
Macandrew 1980,
comments upon
p.
m
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.
m
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
a
study for an
in its
turn be preparatory for the large picture of 1747
Arkhangelskoye near
lection). ^
sketch in the
oil
A
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
1
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.
^',
•m
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
A
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.
2
a
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
L
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,
a
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
x
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
a
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
a
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
a
a
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*^ ?^*»
^.
>\';
.
A
^ "^^^iii;-^
U
>•>
/•
\
v -
W
<^'
\'
r >^,
'kM
%
)
^^f/^"^^-
Giovanni Battista Piranesi Mogliano, 1720 -Rome, 1778
He was an engraver and Venice. In
1
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,
2
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
60—1318/19) 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
a
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
T
he sheet
reflects a
is
from
a
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
A
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
a
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.
4
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
a
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 14682—4, 14923—35). 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
i
(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
215—39). 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 1973—4,
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.
4
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 408—576, pis 155—271.
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-
a
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
T
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;
7
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.
4
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,
7
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
x
monogram on
145
mm.
the verso at lower
in
left,
brown
ink,
AD.
T
owards 1500 Diirer began
in
take
to
a
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
(1404—1472) 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. 344—7, and under no. 141. 3 For a general account, see Panofsky 1943, pp. 260—73. 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,
6
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.
T
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
a
'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
a
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
a
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'P£1S
H d^H*
AvTlJ no ^iBveAo^A
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>1
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J^'our^Q^^u cvTwJiiioiJikaw-,
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k^^^:i-^.__:
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r
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,
3
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
6
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. '
/'/''
I
C't'ttinri nf»)
"Bt Tier Ji
r
nrpsrhJ li ly> tf pru^^e
hu orMia.^ rfi
iCyft*-'
1 'im^inJuitttTtrnJ ff-iH'iJ fUrff-
>
^^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:
3
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
1883—1929,
Another version of the drawing, executed in
a
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.
6
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,
7
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
a
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
a
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
a
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'T«ra^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 1986—7,
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.
6
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 1936—9, 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
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
i
of
prison.
King are well known.' He was
Copenhagen Antwerp in 1521.^
painted by Michel Sittow (1469—1525) 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 1986—7,
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.
2
Ibid., p.
3
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
5
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-
i
Hans Burgkmair
(circle of)
Augsburg, 1473 -Augsburg, 1531
The son of the Late Gothic painter Thoman Burgkmair (1444—1523), Hans travelled to Alsace in 1488—9, 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
i
iii.
and
He
gradually
retired to Linz,
his intellectual interests.
a
his
Maximilian
I
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
(14.15—14^^)
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 —
I
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.1505—7), 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. 76—9; see also
Woodner Collection
catalogues.
Notes 1
2
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
a
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
a
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 1971—2, 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.,
3
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,
6
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).
A
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.
5
after
in
i,
pp. 24—33. Washington DC and elsewhere 1962—3,
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 1937—41, pp. 73-4, no. 198; London 1950-1, p. 64, under no. 133; Oberhuber 1983,
Notes
analysis of the drawings
who
Madrid 1986—7,
79-80; see also Woodner Collection catalogues.
See Parker 1945.
Parker
Collection,
139, no. 465;
1
working processes.^ Such considerations are relevant
Woodner
Bibliography: Waagen, 1866-7,
Ganz 1939, p. Ganz 1943, no.
2
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
I
7h
I
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
1524—6 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,
7
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,
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.
1
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.
3
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
i
I
KA
i
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 /
F
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 64—78. 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.
K
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
a
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
a
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
(1544—1607).
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
a
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
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
a
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
a
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
a
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
a
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.
A
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
a
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
a
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
1
detailed 'construction drawings'
which employed
one-point perspective scheme and have
all
a
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.
3
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
a
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.
x
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,
a
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 1986—7,
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'
w
1
'^*<^1-}
^^
C'
-A
"7^
O"" ^
^'
^^"
^
.
fes::^:
^'
%>#^"
*-,r
#>
'
t-.
#5 X/f
A
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
I
in
thank thee, that
am
I
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
a
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
a
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. 127—9 (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
4
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.
n
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
I
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
1969—70 and London 1973—4,
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. 16—21. 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).
r
wu
i
L
.
«
it
I
«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
I
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
x
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
a
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^—
f
^'
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
a
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
a
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
A
in
freer
David
of manuscript illuminators working
including one in the Breviary of
H.
a
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
5
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
7
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 1973—4, 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.
1
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
A
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.
3
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
7
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 ^
^
-^
3
^ ^.
K -t-"^.
'
M
...
^, -^ir
-.'^
•^-
^'^(7 •-
«9
.
^
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
a
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,
a
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*
^
"
>-•>
'
V
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.
T
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.
4
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
a
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
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72
(detail)
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"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
a
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); 7—11 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
2
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 (1625—6) 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.
2
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
a
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
a
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.
4
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.
A
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.
3
Washington dc and elsewhere 1984-5,
4
Ibid.,
1
nos
d.
15—19.
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.
T
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
3
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,
1
702 - Geneva,
One of the
1
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
a
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.
3
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,
1
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.
T
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
a
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
a
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
1
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 (1755—1842), 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
a
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
1
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
L
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
(1806—20). 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
I
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
a
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
I
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
a
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
R
.
.
.
');
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
a
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.
6
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
X
280 mm. Provenance: Galerie Claude Aubry,
T
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
a
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,
1
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,
2
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
1857—9, 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
1
Paris,
sale,
ailes
&
I
right, in graphite,
[crossed out, replaced I
rouge saturne
tunique blancs ornements
noir
I
as a constraint, but rather
up dense, overlapping dabs of
I
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
I
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.
3
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
a
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.
B
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
c
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
T
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, 1941—6; 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
1
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,
4
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
5
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,
2
FRENCH SCHOOL
Woodner
no. 108.
1
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
a
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
a
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
T
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 1986—7,
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,
4
Paris, pp.
p.
459.
135-6, 215—18.
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
a
sombre
palette.
and
a
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
x
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
a
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
a
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
A
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 1876—9.'* 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.
2
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.
8
Ibid.,
no. 351.
9
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
.
I
m
\\\ "
^^
^'
^c^iK.n
^^
.f
f
'/':; P
f
'V
?\,-
i
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 1986—7,
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.
7
Chappuis, nos
1
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
a
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
1
Introduction
3
4
(Venturi 1936, no. 61), and
now
in
the Art
6
Ibid.,
7
Chappuis, nos 1214—15.
which are dated to the same
late period.
However
skull
FRENCH SCHOOL
is
observed from the
side.
SHU
with
Life
Sl
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;
I
move
a
I
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
A
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
a
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,
4
Ibid., p.
26.
pp.
28-9.
I
V
<.
>v
a
«
(•
'J
w
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
a
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).
4
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, 1960—65; 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,
5
Musee d'Orsay,
Paris,
sail;
Formerly Bonger Amsterdam.
softer, 8 Cf,
itself;
and
a
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
7
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.
T
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
a
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
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 1908—9, 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
2
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 (1864—1901) 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. 117—28. 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
x
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
4
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 (1840—1926)
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 (1880—1954), 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,
1
it
was executed:
never
theme of
observe
just 'extras' in
my
take a
new model,
I
intuit the
at liberty,
pose that
I
FRENCH SCHOOL
depend
and then
I
When
I
will suit her
her un-self-conscious attitudes of repose, and then the slave of that pose.^
an
I
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 (1734—1795). 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 (1815—24) 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
a
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
s
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.
4
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
r
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).
T
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
a
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, 19—20 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
;
:
/ /; ,
C
t
,
./
'< '.
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 (1798—1863).
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-.
T
his
is
a portrait
drawing of
Mateo Fernandez de studio after his the
two
artists
move
a
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
a
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
i
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 (1873—1911). 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 (1900—1),
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. 307—9, nos 19-27.
Barcelona.
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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
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1973
Emiliani,
Drawings flom
1969
igyg—80
Basel, Kunsthalle, Paul Cezanne: Offentliche
Berlin
A
1936
Berlin, Staatliche
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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
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Edinburgh 1969 Edinburgh, The Merchants' Collections,
Austin 1983
Basel
Age
Erik Fischer,
Charles Talbot, 1983
1952
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Renaissance City,
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Civico, Moslra di Federico Barocci, exh. cat. ed.
by Andrea
Hamburg, Kunsthalle, Courbet und Deutschland, exh.
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Hartford and elsewhere Hartford,
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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
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ati
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London, P.&D. Colnaghi, and Oxford, Ashmolean Museum, Loan Exhibition of Old Masters from the Collection of Mr. Geoffrey Gathorne-Hardy, 1971-2
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Los Angeles 1976
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1953
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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 &
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New and
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1984
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Rare Graphics and Drawings, exh. cat. by G.S. Hoffmann, 1967 Princeton and elsewhere 1982—3 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
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1981-2 Rotterdam 1969 Rotterdam, Boymans-van Beuningen Museum, 150
Tekeningen
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Ausstellung,
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1956
Rotterdam-Paris 1974 Rotterdam, Boymans-van Beuningen Museum, and
from Locko Park, 1968
Nuremberg 1928
flamands
et hollandais
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Nuremberg 1971 Nuremberg, Germanisches Nationalmuseum, Albrecht
Diirer, 14.71—1971, 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
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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
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Nottingham 1968
Paris
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Rotterdam— Amsterdam 1956 Rotterdam, Boymans Museum, and Amsterdam, Rijksmuseum,
Northampton ma. Smith College Museum
cat.
siecle,
Rome 1981-2 and
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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-
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New York 1981 New York, The Drawing 1950, exh. cat. ed.
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cat.
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1882
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Venice 1963 li
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Vienna, Belvedere, Cezanne, 1961
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Washington DC 1971 Washington DC, National Gallery
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Paris, Galerie
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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
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by Franklin W. Robinson,
1977
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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
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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
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See separate
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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
I
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
3
BALDUNGGRIEN.Hans BANDINELLI,
38
72
6
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
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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
1
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
i
NEWTON WITH RECKITT
Algernon Newton 1980
&
COLMAN
V
