Stephen Ongpin Fine Art_Master Drawings 2024

Stephen Ongpin Fine Art

Front cover: Simon Bussy (1870-1954) An Angelfish No.44

Gherardo Cibo (1512-1600) Houses and Trees Behind a Wall No.4

MASTER DRAWINGS 2024

Stephen Ongpin Fine Art

ACKNOWLEDGEMENTS I am, as ever, grateful to my wife Laura for her advice, support and, in particular, patience during the period that I was working on this catalogue. I am also greatly indebted to Team SOFA – Alesa Boyle, Eilidh McClafferty and Megan Corcoran Locke, as well as our intern Millie Greenlees – for their invaluable assistance in every aspect of preparing this catalogue and the accompanying exhibition. At Healeys printers, Sarah Ricks, Alastair Frazer and Jane Carter have been wonderful colleagues. Andrew Smith has photographed all of the drawings to his usual high standards, and has been indefatigable in the fundamental task of colour-proofing the catalogue images against the original artworks to ensure that they are as accurate as possible. In addition, I would like to thank the following people for their help and advice in the preparation of this catalogue and the drawings included in it: Deborah Bates, Maria Teresa Caracciolo Arizzoli, Andrew Clayton-Payne, Alexander Faber, Cheryl and Gino Franchi, Jörg Martin Merz, Flavia Ormond, Benjamin Peronnet, Marcus Rädecke, Fabienne Ruppen, Rick Scorza, Jack Wakefield, Ian Warrell and Joanna Watson.

Stephen Ongpin

Dimensions are given in millimetres and inches, with height before width.

Unless otherwise noted, paper is white or whitish.

High-resolution digital images of the drawings are available on request.

All enquiries should be addressed to Stephen Ongpin at Stephen Ongpin Fine Art Ltd. 82 Park Street London W1K 6NH Tel. [+44] (20) 7930-8813 or [+44] (7710) 328-627 e-mail: info@stephenongpinfineart.com Between 22nd January and 6th February 2024 only: Tel. [+1] (917) 587-1183 Tel. [+1] (212) 249-4987

MASTER DRAWINGS 2024 PRESENTED BY

STEPHEN ONGPIN

1 BATTISTA FRANCO, called IL SEMOLEI Venice c.1510-1561 Venice The Head of a Man with a Cap, after Michelangelo Pen and brown ink. Irregularly trimmed at the left edge and with the top right corner cut, and laid down onto a backing sheet.

196 x 150 mm. (7 3/4 x 5 7/8 in.) at greatest dimensions.

PROVENANCE: Private collection, London.

A painter, draughtsman and engraver, Battista Franco was born and raised in Venice, and throughout his career he signed his paintings ‘Baptista Veneziano’. He spent the first years of his independent career in Rome, arriving there at the age of twenty. In April 1536 he worked with Raffaello da Montelupo on the decoration of the Ponte Sant’Angelo for the entry of Charles V into Rome, and later that month settled in Florence, where he was engaged on the decorations for the wedding of the Grand Duke Cosimo I de’ Medici and Eleanora of Toledo in 1539. Franco was back in Rome by 1542, when he painted a fresco of The Capture of Saint John the Baptist for the Oratorio di San Giovanni Decollato; a work that, like much of his youthful oeuvre as a painter, shows the distinct influence of Michelangelo. In 1545 Franco was summoned to Urbino by Duke Guidobaldo II da Montefeltro. He worked there for about six years, painting frescoes in the tribune and apse of the Duomo which were later destroyed in the collapse of the cathedral in the 18th century. While in Urbino he executed numerous designs for the majolica factory at nearby Casteldurante and trained the young Federico Barocci. The last ten years of Franco’s career were spent in his native Venice, where among his most significant works are an altarpiece of The Baptism of Christ in the church of San Francesco della Vigna, as well as the ceiling decoration of the Sala dell’Estate in the Fondaco dei Tedeschi. He also worked at the Biblioteca Marciana, the Palazzo Ducale and the Libreria Vecchia. One of his final projects was the fresco decoration of the Grimani chapel in San Francesco della Vigna, left unfinished at his death and eventually completed by Federico Zuccaro.

Battista Franco is better known, and has usually been more highly regarded, as a draughtsman than as a painter; scholars such as A. E. Popham have praised ‘Franco’s extraordinary skill as a draughtsman, with his rather scratchy but effective line, and his combination of Michelangelesque and Raphaelesque forms’1.

He was one of the most prolific of Cinquecento draughtsmen, and some five hundred drawings by him survive, of which the largest and most significant extant group, numbering just over a hundred sheets, is in the Louvre. Franco was a diligent copyist, and among his drawings are numerous studies of antique subjects, usually taken from reliefs on Roman sarcophagi. He also made copies after the works of Michelangelo, whose influence was to remain potent throughout his life. Indeed, much of Franco’s work in the early part of his career was indebted to his study of the pen drawings of the master. As Vasari noted of Franco, ‘he resolved that he would not study or seek to imitate any other works but the drawings, paintings, and sculptures of Michelagnolo; wherefore having set himself to make research, there remained no sketch, study, or even any thing copied by Michelagnolo that he had not drawn.’2 Only recently rediscovered, the present sheet by Battista Franco faithfully reproduces a relatively littlestudied drawing of a Profile Head by Michelangelo (fig.1), datable to the middle of the 1520s, which is on the recto of a double-sided sheet in the Ashmolean Museum in Oxford3. The two drawings match each other precisely in their dimensions, and it is likely that Franco worked with the original drawing in front of him. (Franco is thought to have had access to some of Michelangelo’s drawings through his friendships with the painter Raffaello da Montelupo, who worked as Michelangelo’s assistant in the 1530s and made copies of several of his drawings, and the sculptor Bartolomeo Ammannati, who is known to have owned some of the master’s original drawings.) In her 2004 thesis and catalogue raisonné of Franco’s oeuvre, the scholar Anne Varick Lauder identified some twenty-two drawings copied after original works by Michelangelo, to which the present sheet may now be added.

As the Michelangelo scholar Charles de Tolnay has noted of the Ashmolean drawing, ‘It is a martial head with an intensely passionate expression, emphasised by the rolling eye with the pupil in the corner,

the strong cheekbones, the curved nose, the energetic chin. The hat is similar to those worn by Italian warriors during the first half of the 15th century, around 1420-30...Michelangelo, however, has transformed the almost symmetrical form of the headgear into a hat reminiscent in silhouette of that of the ancient Phrygians, bringing the top forward.’4 While it has been suggested that the head in the Ashmolean drawing may have been copied from a Quattrocento painting or fresco by an artist such as Andrea del Castagno or Masolino da Panicale, no precise source has been identified. As Paul Joannides has opined of the Ashmolean sheet, ‘It could, in principle, reflect a quattrocento portrait but, on balance, it seems more likely to be an invention “in the manner of” than a copy.’5 The contemporary fame of the Profile Head by Michelangelo is seen in the fact that it appears to have been one of the earliest drawings of which an engraved facsimile was made. An engraving in reverse after the Ashmolean drawing, by the anonymous Master GD and dated 1610, is known in just two impressions, one of which is in the Royal Collection at Windsor Castle6. As Anthony Griffiths has noted of the print, ‘It is of some interest in the history of engraving as being one of the first, if not the first, attempts to make an exact facsimile of a drawing. Such prints became common in the eighteenth century, when drawings were very widely collected, but are hardly known in the seventeenth.’7 A second, somewhat damaged (proof?) impression of the engraving is in the Teyler Museum in Haarlem8. The present drawing by Franco is, however, the only known drawn copy of Michelangelo’s Profile Head.

This drawing should be dated to the early part of Franco’s career, when the effect of Michelangelo on the young artist was particularly strong. As Lauder has noted, ‘Michelangelo’s influence is perhaps most discernible in Franco’s earliest drawings executed in Rome and Florence in the 1530s, many of which are direct copies after Michelangelo’s sculptures and drawings or are Michelangelesque in style.’9 The drawings of Franco’s maturity, while still often inspired by the example of Michelangelo, are much less likely to be direct copies of works by the master.

The attribution of the present sheet to Battista Franco has been confirmed by Anne Varick Lauder and Paul Joannides. Both scholars have compared the handling of this Profile Head in particular with another early pen drawing by Franco after Michelangelo; a study of Three Men in Conversation10, which is in turn a direct copy of a drawing by Michelangelo in the Ashmolean Museum.

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2 GIORGIO VASARI Arezzo 1511-1574 Florence Saints Blaise, Luke and Dominic (or Anthony Abbot?) Seated in a Landscape Black chalk, pen and brown ink and grey wash. Inscribed SUNT ADEPTI REPROMISSIONEN in black chalk on the scroll held by the putto above. Further inscribed Giorgio Vasari 9 in brown ink at the lower left. Large made up areas at the upper right corner, centre right edge and lower right edge and corner.

340 x 268 mm. (13 3/8 x 10 1/2 in.)

PROVENANCE: William Buller Fagg CMG, London; His posthumous sale, London, Christie’s, 20 April 1993, lot 12; Yvonne Tan Bunzl, London, in 1994; Anonymous sale, Paris, Christie’s, 27 November 2002, lot 29; Private collection, Massachusetts.

LITERATURE: Florian Härb, Giorgio Vasari (1511-1574). Die Zeichnungen, unpublished Ph.D dissertation, University of Vienna, 1994, no.100; Mario di Giampaolo, ed., Disegno italiano antico: Artisti e opere dal Quattrocento al Settecento, Milan, 1994, illustrated p.220; London, Yvonne Tan Bunzl, Master Drawings, 1994, unpaginated, no.4; Florian Härb, The Drawings of Giorgio Vasari (1511-1574), Rome, 2015, p.251, no.108 (as location unknown), and p.250, under no.107.

Best known today as the author of the magisterial Vite de’ piu eccelenti pittori, scultori ed archittetori, first published in 1550 and again in an expanded edition in 1568, Giorgio Vasari was a painter, architect, art historian and collector. A native of Arezzo, he settled in Florence in 1524, studying there with Andrea del Sarto, Baccio Bandinelli and Rosso Fiorentino before undertaking a trip to Rome in 1532. Among his major commissions were the fresco decoration of the salone of the Palazzo della Cancelleria in Rome, painted in 1546 for Cardinal Alessandro Farnese, and the extensive decoration of the various rooms of the Palazzo Vecchio in Florence, a massive project planned and designed by Vasari and completed by him and a team of artists over a period of seventeen years. Vasari employed a number of gifted assistants during his nearly fifty-year career, including Cristofano Gherardi, Jan Stradanus, Giambattista Naldini, Jacopo Zucchi and Marco da Faenza. In the 1560s he and his large workshop also undertook the painting of altarpieces for several Florentine churches, notably in Santa Croce and Santa Maria Novella. Vasari was one of the founders of the Accademia del Disegno in Florence, established under the patronage of Cosimo I de’ Medici in 1563.

Apart from Florence, Rome and Arezzo, Vasari worked in Bologna, Cortona, Naples, Ravenna, Venice and elsewhere in Italy, while his patrons included three popes, two Grand Dukes of Tuscany and numerous wealthy noblemen, as well as many religious and secular institutions. Also active as an architect, Vasari was involved in a number of renovations of medieval churches in Tuscany in the 1560s, including Santa Maria Novella and Santa Croce in Florence and Santa Maria delle Pieve and the Badia in Arezzo. He designed the loggia of the Palazzo degli Uffizi as well as the Vasari Corridor, leading from the Uffizi to the Palazzo Pitti, which was completed in 1565. Near the end of his life, he and his assistants painted a cycle of frescoes in the rooms of his house in Borgo Santa Croce in Florence, and he began work on an enormous fresco of The Last Judgement on the cupola of the nearby Duomo; a project completed after his death by Federico Zuccaro.

Giorgio Vasari was a gifted and prolific draughtsman, and around five hundred drawings by him survive today, most of which are compositional studies for paintings. This may represent only a part of his total output of drawings, however, since relatively few sheets survive from the artist’s early career, with one such loss being a putative album of anatomical studies. He generally worked in pen and ink and wash, as well as in black chalk and, less frequently, red chalk. Several of his drawings are on coloured paper, sometimes yellow or ochre in tone, while a particular penchant for blue paper is evident in his drawn oeuvre following a stay in Venice in the 1540s. Although drawings by Vasari are today to be found in most museums, the vast majority of the artist’s extant oeuvre as a draughtsman is held in the Louvre in Paris and the Uffizi in Florence. Vasari was also an avid collector of drawings by earlier artists, building

up a substantial collection that he carefully assembled into an album or albums, which he referred to as his Libro de’ disegni.

Datable to the middle of the 1540s, this fine drawing by Vasari was in all likelihood a design for an altarpiece, although no related painting survives. As the Vasari scholar Florian Härb has noted, the figures in the present sheet are akin to those in the organ shutters painted by Vasari between 1545 and 1546 for the cathedral of San Gennaro in Naples1. Indeed, the putto holding a scroll at the top of this drawing is repeated, with few differences, in the right-hand inner panel (fig.1) of the San Gennaro organ shutters. As Härb further points out, the present sheet may be likened to a pair of stylistically comparable drawings by Vasari of A Prophet (or Simeon?) and The Prophetess Anna, each with similar putti holding scrolls and also datable to c.1545, in a private collection2.

This drawing must have been highly regarded in Vasari’s day, as copies of it by two of his artistic contemporaries and followers are known. A variant of this composition, lacking the putto above and with other significant differences, particularly in the left-hand figure of Saint Blaise, is in the collection of the National Galleries of Scotland in Edinburgh3, and has been attributed to Vasari’s pupil Cristofano Gherardi, known as Il Doceno4. Another copy of this composition, drawn in pen and brown ink and wash, is found on the verso of a double-sided drawing by Giovanni Battista Naldini in the Ashmolean Museum in Oxford5.

This drawing was one of at least two sheets by Vasari in the collection of William Buller Fagg (19141992), an anthropologist, ethnographer and art historian who had a long career at the British Museum6.

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3 FRANCESCO DE’ ROSSI, called SALVIATI Florence 1510-1563 Rome A Male Nude Looking Upwards Pen, brush and brown ink and brown wash, heightened with white, over a black chalk underdrawing, on light yellowish-brown paper. Inscribed di Fr co. Salviati in a 16th century hand in brown ink on the verso. Inscribed Nachlass des [?] Konigs Johann, Michel Angelo and Nachlass König Johann and numbered 94 in pencil on the verso.

265 x 206 mm. (10 3/8 x 8 1/8 in.)

PROVENANCE: Possibly John, King of Saxony, Dresden (as suggested by the inscriptions on the verso)1; Private collection, Vienna; Katrin Bellinger Kunsthandel, Munich and London, in 2003; Herbert Kasper, New York.

LITERATURE: London, Katrin Bellinger, Master Drawings 1985-2005, 2005, pp.28-29, no.11; Jordan Bear et al, Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, exhibition catalogue, New York, 2011, pp.68-69, no.18 (entry by Rhoda Eitel-Porter), and also illustrated on p.24.

EXHIBITED: New York, The Morgan Library & Museum, Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, 2011, no.18.

A student of Andrea del Sarto, Francesco de’ Rossi settled in Rome in 1531 and entered the service of Cardinal Giovanni Salviati, from whom he took his name. His peripatetic career found him working in Rome, Florence and Venice, and among his most significant commissions was the fresco decoration of the Sala dell’Udienza in the Palazzo Vecchio in Florence, executed between 1543 and 1545, which established Salviati as a mural painter of the first rank. Over the next several years in Rome he was engaged on the decoration of the Palazzo Farnese, the Palazzo della Cancelleria and the Cappella della Pietà in the church of Santa Maria dell’Anima, while his last great decorative project was a fresco cycle of scenes from the story of David for the Palazzo Ricci-Sacchetti. Salviati was one of the most gifted draughtsmen of his generation, and was greatly admired as such by early biographers and contemporaries. Working in a variety of media and employing different techniques, he made drawings not only as preparatory studies for painted works, but also as designs for prints, tapestries, book illustrations, majolica and other decorative arts. Just over three hundred drawings by Salviati are known today, the largest groups of which are in the Uffizi and the Louvre.

As Giorgio Vasari noted admiringly of Salviati, ‘He gave great beauty and grace to every kind of head, and he understood the nude as well as any other painter of his time.’2 Salviati’s treatment of the male nude form in the present sheet displays the influence of Michelangelo, whose work he studied in Rome. The artist seems to have been inspired by the bold figural style of Michelangelo’s late frescoes in the Vatican; the Last Judgment in the Sistine Chapel and the Crucifixion of Saint Peter and Conversion of St. Paul in the Pauline Chapel. As has been noted of this particular drawing, ‘The thrown-back head and parted lips and the unnaturally contorted pose – almost a classically Mannerist figura serpentinata – convey an intensity of movement and emotion…In style, the sheet reflects the artist’s renewed stay in Rome from 1548 and a new monumentality and solidity of form that he derived from Michelangelo.’3 Drawn with the tip of the brush, the present sheet may be grouped with a series of highly finished drawings by Salviati, all similar in style and technique, of single figures seen against bare backgrounds.

These highly pictorial works have generally been dated to the 1550s, after the artist’s return to Rome following a period of time in Florence, and may be counted among Salviati’s most appealing drawings, underscoring the virtuosity of his draughtmanship. This powerful study of a male nude may be compared in particular with several examples from this group of drawings, all on yellowish-brown paper, including

A Draped Woman Holding a Tablet in the British Museum4 and a Reclining Female Figure in the Louvre5, as well as a Running Soldier, Seen from Behind also in the Louvre6 and a Draped Male Figure Carrying an Urn, formerly in the collection of Jean de Beistegui and now in the Musée des Beaux-Arts in Marseille7.

Other drawings by Salviati in the same brush technique are in the Art Institute of Chicago, the Statens Museum for Kunst in Copenhagen, the National Museum of Ancient Art in Lisbon, the British Museum in London, the Biblioteca Ambrosiana in Milan, the Louvre in Paris and the Hermitage in St. Petersburg8.

As Nicholas Turner has noted of the artist’s drawings of this type, ‘Salviati was a virtuoso draughtsman of great originality, and to display his dexterity he seems to have chosen drawings largely carried out in brush and wash with only a few lines of the pen, on tinted paper…Drawing with the brush requires great presence of mind, since it is almost impossible to correct an area of wash once it has been applied. These works seem, therefore, to have been drawn almost as exercises in their own right and are the sort of drawing that may well have been made for presentation to the artist’s friends or patrons.’9 Like many of these finished figure drawings, the present sheet cannot be related to any painting or fresco by Salviati. The subject is also something of a mystery, although the landscape setting has led to the suggestion that the drawing may be intended to represent Adam in the Garden of Eden, looking upwards at God the Father or the angel sent to banish him from Paradise. While Salviati painted a handful of scenes from the Creation and Fall of Man, in the Roman churches of Santa Maria del Popolo and San Salvatore in Lauro in the first half of the 1550s, this particular figure does not appear in either work. The male nude in the present sheet is, nevertheless, close in type to the figure of Adam in the paintings of scenes from Genesis in Santa Maria del Popolo10. Furthermore, this kind of twisting figure is found throughout Salviati’s painted oeuvre. It may be noted, for example, that a male nude in a very similar pose, albeit with his head lowered (fig.1), appears in the background to the left of the seated Pope in the fresco of The History of Pope Paul III Farnese in the Sala dei Fasti Farnesiani of the Palazzo Farnese in Rome11, on which Salviati worked in the early 1550s.

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4 GHERARDO CIBO Genoa or Rome 1512-1600 Rocca Contrada (Arcevia) Houses and Trees Behind a Wall Pen and brown ink and brown wash, heightened with white, on blue paper.

203 x 289 mm. (8 x 11 3/8 in.)

PROVENANCE: Probably from the so-called A. Bruce Thompson album of landscape drawings by Cibo, with provenance as follows: Possibly Daniel Gardner, London; A. Bruce Thompson; Anonymous sale (‘The Property of a Gentleman’), London, Sotheby’s, 27 April 1960, lots 1-12 [possibly part of lots 5, 7, 9 or 12] (all as Italo-Flemish School, XVIth Century); Hans and Kate Schaeffer (Schaeffer Galleries), New York; By descent to Cornelia Schaeffer Bessie, New York.

LITERATURE: Jaap Bolten, ‘Messer Ulisse Severino da Cingoli, a Bypath in the History of Art’, Master Drawings, Summer 1969, p.143, no.121 (not illustrated); Giorgio Mangani and Lucia Tongiorgi Tomasi, ed., Gherardo Cibo. Dilettante di botanica e pittore di ‘paesi’. Arte, scienza e illustrazione botanica nel XVI secolo, Ancona, 2013, p.196, no.305 (not illustrated).

Born into the Genoese nobility, Gherardo Cibo was the great-grandson of Pope Innocent VIII and was also related to the Della Rovere dukes of Urbino. He received a fine humanist education in Rome and Bologna, and showed a talent for drawing from an early age. A soldier and diplomat attached to the papal court in Rome, Cibo appears to have retired from his duties in 1540, aged just twenty-eight. He settled in the small Marchigian hill town of Rocca Contrada (today called Arcevia), in the Apennines, where he lived for the next sixty years. He dedicated the rest of his life to the study, collection and illustration of the plants and flowers of the region and became one of the foremost field botanists of his day. Cibo travelled extensively around the Marches and corresponded with fellow naturalists throughout Italy. A gifted artist, despite his lack of any formal training, he produced a large number of colourful and scientifically accurate botanical illustrations, as well as many autonomous landscape drawings.

Around 360 landscape studies by Cibo are known today, some bearing dates between 1560 and 1593. As an amateur landscape draughtsman, he worked mainly in the Marches; in the provinces of Ancona, Pesaro, Macerata and Perugia, and the drawings he produced seem to have been done purely for his own pleasure1. His landscape drawings can be divided into two types; views of actual sites, often inscribed with the location depicted and with astrological symbols to denote the specific day of the week, on the one hand, and purely imaginary landscapes on the other. His drawings show a distinct influence of the Northern European landscape tradition, and he seems to have derived a number of motifs in his drawings from landscape prints by Netherlandish artists. That Cibo assembled his landscape drawings into albums, as he did with his botanical studies, is seen in an extract from a handwritten diary, written from 1553 onwards and now lost: ‘The cavalier Geronimo Ardoino came here to Rocca Contrada...and asked me if he could borrow my large volume of landscapes in pen and ink, which I lent him, having first removed certain sketches on bits of paper that were inside.’2 After living for most of his life in the relative isolation of Rocca Contrada, Cibo died there at the age of eighty-eight.

The present sheet, which is in exceptional condition, is perhaps a view of Rocca Contrada or another town in the surrounding province of Ancona. It is likely to have come from an album of drawings

by Cibo, all on the same deep blue paper, which was sold and dispersed at auction in London in 1960. Other drawings from this album, known as the A. Bruce Thompson or San Quirico album, are today in the collections of the Rijksmuseum in Amsterdam, the British Museum in London, the Detroit Institute of Arts, the Los Angeles County Museum of Art, the Pierpont Morgan Library and the Metropolitan Museum of Art in New York, the Princeton University Art Museum in New Jersey and the National Gallery of Art in Washington, D.C., as well as in several private collections. Among stylistically comparable landscape drawings on blue paper by Cibo are a sheet in the Princeton University Art Museum3 and a Hilly Landscape with Ships in the National Gallery of Art in Washington, D.C..4

5 ALESSANDRO ALLORI Florence 1535-1607 Florence The Head of a Young Woman Looking Upwards, with a Partial Study of a Head Above Black chalk.

217 x 155 mm. (8 1/2 x 6 1/8 in.)

PROVENANCE: Anonymous sale, Florence, Pandolfini Casa d’Aste, 22 May 2013, lot 99; JeanLuc Baroni Ltd., London, in 2014; Alvaro Saieh and Ana Guzmán (The Alana Collection), Newark, Delaware.

LITERATURE: London, Jean-Luc Baroni Ltd., Paintings, Drawings, Sculptures, 2014, pp.106-107, no.32.

The Florentine painter Alessandro Allori was adopted by the Medici court artist Agnolo Bronzino at the age of around five, after the death of his father. He received his artistic training in Florence, and assisted Bronzino on cartoons for the borders of tapestries for the Palazzo Vecchio before completing his education in Rome between 1554 and 1560, when he studied the works of antiquity and Michelangelo.

On his return to Florence he was employed on the decoration of the Montauto chapel in the church of Santissima Annunziata and also painted a work for Santa Croce, while in 1565 he contributed to the decoration of an ephemeral triumphal arch erected for the entry into the city of Joanna of Austria, the bride of Francesco I de’Medici. Allori soon gained a number of significant commissions from two of the most prominent Florentine families, the Medici and the Salviati. For the latter he decorated the Palazzo Salviati in Florence and the family chapel in the church of San Marco, as well as the Salviati villa at Ponte alla Badia.

Allori’s Medici commissions included two paintings for the Studiolo of Francesco I de’Medici in the Palazzo Vecchio, a Banquet of Anthony and Cleopatra and a Pearl Fishers completed between 1570 and 1571. (The Pearl Fishers was painted on slate, and Allori also appears to have been one of the first artists to paint on lapis lazuli.) As court painter to the Medici Allori worked at their villa at Poggio a Caiano, where he completed a cycle of frescoes for the salone grande that had been begun by Jacopo da Pontormo, Francesco Franciabigio and Andrea del Sarto some fifty years earlier. The head of one of the most productive and busy workshops in Florence, Allori produced numerous paintings and altarpieces for churches in Florence and elsewhere in Tuscany. After around 1580 he began to move away from the cold and somewhat polished style of Bronzino in favour of a more refined, poetic and spiritual manner, best seen in his late religious pictures. He was also active as a portrait painter and tapestry designer, serving as the director of the Arrazeria Medicea, the granducal tapestry works.

Allori’s career marks the culmination of a long and prominent succession of Florentine painters that dominated art in Tuscany for over a century, beginning with Andrea del Sarto and passing through his pupil Jacopo Pontormo to that artist’s own apprentice Bronzino, who was in turn Allori’s master. Allori’s son Cristofano became a leading member of the succeeding generation of Florentine painters of the early Baroque period.

Alessandro Allori was a gifted draughtsman, and his oeuvre displays a reverence for the 16th century Florentine tradition of disegno established by such earlier artists as Michelangelo, Andrea del Sarto and Pontormo, as well as his adoptive father Bronzino, whose influence is evident throughout his career.

Around three hundred drawings by the artist are known, the vast majority of which, amounting to some 270 sheets, are in the collection of the Uffizi in Florence.

The present sheet is a study for the head of the Magdalene in Allori’s altarpiece of The Resurrected Christ Appearing to Mary Magdalene (Noli me tangere) (fig.1), apparently dated 1584, in the Confraternita della Misericordia church of the Santissima Trinità in Arezzo1. An almost identical head is also found in a later easel painting of the same composition, dated 1599, which was formerly in the Borghese collection in Rome and is today in a private collection2. Likewise related is a compositional drawing of this subject, in

the Yale University Art Gallery in New Haven3, which seems to have been used as a preparatory study for a Noli me tangere tapestry woven between 1588 and 1598 for the Palazzo Vecchio in Florence4.

An almost identical upturned head of the Magdalene is found in a black chalk drawing by Allori in the British Museum, in which the figure is shown full length and holding an open book5. The British Museum drawing is in turn a study for a panel painting of Christ in the House of Martha and Mary, painted in 1578 for the chapel of the Palazzo Portinari-Salviati in Florence6, and was also reused for an altarpiece of The Raising of Lazarus, dated 1593, in the church of Sant’Agostino in Montepulciano7. A second version of Christ in the House of Martha and Mary, painted in 1605 and in which Mary is shown in reverse, is in the Kunsthistorisches Museum in Vienna8. The same model seen in this drawing is also found, with minor variations, in other paintings by Allori, such as a Christ in Limbo painted in 1589 for the Cappella Salviati in San Marco9 and a Penitent Saint Mary Magdalene of 1602 in the Museo Stibbert in Florence10.

As one scholar has noted of a stylistically similar late drawing of a female saint by Allori, likewise drawn from a live model, ‘the complexion and profile of the face [do not] show any of the stiff, formal abstraction typical of Bronzino, which one finds in so many drawings from Allori’s youth; rather, they bear witness to a poetic attentiveness on the artist’s part to the more internalized aspects of reality and of the model drawn from life. This indeed was the most novel and personal aspect attained by Allori in his mature work.’11 Among comparable drawings by Allori is a recently identified study of the head of the Virgin in the Museo Nazionale di Capodimonte in Naples12, while similar female heads also appear in several drawings in the Uffizi, including a sheet of studies of heads, arms and hands13 and a study of the head of a woman14, each drawn in black chalk.

Both the present sheet and the related 1599 easel painting of The Resurrected Christ Appearing to Mary Magdalene formerly belonged to the Chilean-born economist Alvaro Saieh (b.1949) and his wife, the architect Ana Guzmán, who established the private Alana Collection in the late 1990s. The Alana Collection was concentrated initially on Italian art of the Gothic and Renaissance periods but later expanded to include Baroque painting of the 16th and 17th centuries.

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6 NICCOLÒ MARTINELLI, called IL TROMETTA Pesaro c.1540(?)-1611 Rome a. The Evangelists Saints Matthew and Mark Pen and brown ink and brown wash, heightened with white, over traces of an underdrawing in black chalk, with partial framing lines in brown ink, on blue paper. The figure of Saint Matthew squared for transfer in red chalk. A study of the lower half of a draped figure with a subsidiary study of a foot drawn in black chalk on the verso. Inscribed federico Zucharo in brown ink at the lower right.

237 x 203 mm. (9 1/4 x 8 in.) b. The Evangelists Saints Luke and John Pen and brown ink and brown wash, heightened with white, over traces of an underdrawing in black chalk, with partial framing lines in brown ink, on blue paper. A study of the upper half of a draped figure in black chalk on the verso. Inscribed federico Zucharo in brown ink at the lower right. Further inscribed granata(?) del ordine di s. / Domenico / in venetia (?) / presso gabriello / giotto (?) de frari / alia (?) seghini (?) della / fenice in brown ink on the verso.

241 x 200 mm. (9 1/2 x 7 7/8 in.)

PROVENANCE: P. & D. Colnaghi, London, in 1992; Private collection.

LITERATURE: Patrizia Tosini, ‘La commitenza Boncompagni e Guastavillani nella chiesa dei Cappuccini a Frascati: un’aggiunta per Niccolò Trometta e un’ipotesi per il ‘Pittore di Filippo Gustavillani’’, Prospettiva, January-April 2015, p.134, p.139, note 8.

EXHIBITED: New York and London, Colnaghi, Master Drawings, 1992, nos.14-15; Stanford University, Cantor Center for Visual Arts, Classic Taste: Drawings and Decorative Arts from the Collection of Horace Brock, 2000.

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a

According to his biographer Giovanni Baglione, Niccolò Martinelli, known as Trometta, arrived in Rome from his native Pesaro as a youth and studied with ‘il Zuccheri’, almost certainly Taddeo Zuccaro. He remained profoundly affected by the example of the elder Zuccaro throughout his career, although he never seems to have matched his success. In the early 1560s Trometta worked with Taddeo and Federico Zuccaro on the decoration of the Casino of Pius IV in the Vatican gardens. He was established as an independent artist by January 1565, when he signed a contract to decorate a chapel in the Roman church of Santa Maria della Consolazione. Shortly thereafter he received the commission for what is regarded as his finest work (‘l’opera migliore che egli mai colorisse’, in the words of Baglione); the decoration of the vault of the choir of the Roman church of Santa Maria in Aracoeli on the Capitoline Hill, begun in late 1566. The entire project, completed in 1568 after two years of labour, remains in situ. The artist also decorated two chapels in the same church, while later Roman commissions included the decoration of a chapel in San Omobono in 1584 and four rooms in the palazzo of Cardinal Cesi in 1585; both works were later destroyed. Trometta worked in several other Roman churches, notably at Santi Apostoli, Santa Croce in Gerusalemme, Santa Maria della Consolazione, San Francesco a Ripa, Santa Maria della Pace and San Rocco. However, apart from the Aracoeli vault frescoes and chapel decorations, as well as another chapel in the church of Santa Maria dell’Orto, painted between 1591 and 1595, and an Adoration of the Shepherds in San Giovanni in Laterano, very little of Trometta’s Roman work survives. The artist also provided altarpieces for churches in his native Pesaro, one of which, a Madonna and Child with Saints, is today in the Szépmüvészeti Muzeum in Budapest, as well as paintings for the Capuchin church in Frascati and a Last Supper painted in 1568 for the church of San Lorenzo in Tavullia, near Pesaro.

Trometta was almost completely unknown as a draughtsman until John Gere’s seminal article in Master Drawings in 1963, where a number of drawings by the artist – in Munich, Darmstadt, the Louvre and elsewhere – were identified as preparatory studies for the Aracoeli frescoes. These in turn formed the nucleus of a small corpus of around forty drawings by Trometta assembled by Gere, while further drawings by the artist have since been identified in various public and private collections. Characteristic of Trometta’s draughtsmanship is a preference for blue paper, on which the artist drew with great assurance with pen and brown ink and wash, often with extensive white heightening. The influence of Taddeo Zuccaro is clearly evident in Trometta’s drawings, and a number of his studies have long borne traditional attributions to one or the other of the Zuccari. As Marco Simone Bolzoni has pointed out, ‘Although difficult to untangle and yet to be explored in depth, the relationship of Nicolò Trometta’s dependence on the manner of Taddeo Zuccari, who was the ideal mentor for the artist from Pesaro and

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for most of the artists working in Rome in the second half of the 16th century, is fundamental to the understanding of Trometta’s artistic development.’1 Formerly attributed to Federico Zuccaro, the present pair of drawings are splendid examples of Trometta’s graphic style. Both drawings can be identified as preparatory studies for one of the artist’s least known commissions; the fresco decoration of the Franciscan church and convent of the Capuchins in the town of Frascati, southeast of Rome. This small church (fig.1), elevated to the rank of a pontifical chapel by Pope Gregory XIII, was lavishly decorated by the Pope and two of his nephews, Cardinals Filippo Boncompagni and Filippo Guastavillani, before its consecration in October 1578. Three new altarpieces were commissioned, including one by Girolamo Muziano and another by Trometta, along with a series of fresco paintings of the four Evangelists by the latter, set in false niches on the side walls of the single nave2. These nave frescoes, only recently restored, were first attributed to Trometta by the scholar Alessandro Zuccari in 2006, and the existence of these two preparatory studies by the artist serves to confirm the attribution of the mural paintings.

The drawing of Saints Matthew and Mark are studies for the two Evangelists painted by Trometta on the right hand side of the nave of the church (fig.2), flanking an Sacra Conversazione altarpiece also by Trometta, while the figures of Saints Luke and John appear on the left side of the nave (fig.3), on either side of an altarpiece of Saint Francis Receiving the Stigmata by an unidentified painter. That these two drawings originally formed one large single sheet can be seen by the two halves of a figure drawn in black chalk across the versos of both sheets.

Another drawing by Trometta of Saint Luke the Evangelist standing in a niche, possibly a first idea for the Frascati commission, is in the collection of the Harvard University Art Museums in Cambridge, Massachusetts3. A drawing of a standing prophet or evangelist in a niche, likewise possibly related to the same commission, is in the Biblioteca Ambrosiana in Milan4. Trometta also painted a series of the four Evangelists in the corners of the frescoed vault decoration of the choir of Santa Maria in Aracoeli in Rome5. A drawing for the seated Saint Matthew in this scheme is in the Pierpont Morgan Library in New York6.

The possibility that Trometta worked in Venice is suggested by the inscription on the verso of the drawing of Saints Luke and John, which may record the circumstances of a now-lost, or never executed, commission.

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b

7 FEDERICO ZUCCARO Sant’Angelo in Vado c.1540/41-1609 Ancona Design for the Outer Wings of an Altarpiece, with a Group of Virgin Martyrs and Other Female Saints Pen and brown ink and brown wash, heightened with white, over an underdrawing in red chalk, with partial framing lines in red chalk and brown ink, on buff paper. Numbered 659 in brown ink on the verso.

342 x 254 mm. (13 1/2 x 10 in.)

PROVENANCE: Sir Thomas Lawrence, London (Lugt 2445); Purchased after Lawrence’s death, together with the rest of his collection, by Samuel Woodburn, London, in 1834; His posthumous sale, London, Christie’s, 4-8 June 1860, part of an album of drawings sold as lot 1074 (‘ZUCCHERO (F. AND T.) – A most interesting Series of 20 Drawings, representing Incidents in the Life of Taddeo Zuccaro, drawn by his Brother Frederick; followed by 53 Specimens of their Works, in Bistre, Chalk, &c., consisting of Original Designs and Studies for some of their principal Pictures. Handsomely bound in red morocco.

A superb and highly important Collection.’, bt. Phillips for £63 gns.); Sir Thomas Phillipps, London and Thirlestaine House, Cheltenham, Gloucestershire; By descent to his grandson Thomas Fitzroy Phillipps Fenwick, Thirlestaine House, Cheltenham; The album acquired from him in 1930 by Abraham Simon Wolf Rosenbach, Philadelphia; The Philip H. and A. S. W. Rosenbach Foundation, Philadelphia; The album acquired from them in 1978 by the British Rail Pension Fund; Their sale, New York, Sotheby’s, 11 January 1990, lot 40; Anonymous sale, New York, Sotheby’s, 9 January 1996, lot 16; Gayfryrd Steinberg, New York.

LITERATURE: John Gere, ‘The Lawrence-Phillipps-Rosenbach “Zuccaro Album”’, Master Drawings, Summer 1970, p.129, no.15, pl.9; New York, Sotheby’s, Old Master Drawings, 28 January 1998, p.79, under lot 66; New York and London, Jean-Luc Baroni Ltd., Master Drawings, 2002, unpaginated, under no.7, fig.1.

Among the most important and influential painters of the late 16th century in Italy, Federico Zuccaro was trained in the Roman workshop of his elder brother Taddeo from the age of about ten. Between 1560 and 1563 he was Taddeo’s chief assistant, working with him on the decoration of the Casino of Pius IV and the Belvedere in the Vatican. Over the next three years Federico was active as an independent artist in Florence and Venice, where he painted the fresco decoration of the Grimani chapel in San Francesco della Vigna. After Taddeo’s death in September 1566 Federico completed many of his brother’s unfinished projects, including fresco cycles in the Palazzo Farnese at Caprarola, the Sala Regia of the Vatican and the Pucci Chapel in the Roman church of Santa Trinità dei Monti. He also worked on several commissions of his own, notably two altarpieces for the Duomo at Orvieto, painted in 1568, and the decoration of the vault of the Sala di Ercole in the Palazzo Farnese at Caprarola, a project from which he was, however, dismissed in 1569.

Federico Zuccaro was among the most well travelled artists of his day. He travelled throughout Italy, working in Venice, Florence, Orvieto, Bologna, Urbino, Pavia, Turin, Parma and Mantua, while also visiting France, the Netherlands and England between 1574 and 1575. On his return to Italy he undertook to complete the decoration of the cupola of the Duomo in Florence, begun by Vasari and finished by Zuccaro between 1576 and 1579. The next year he was back in Rome, contributing to the decoration of the Cappella Paolina of the Vatican, before departing for Venice, where he worked between 1582 and 1584. In 1585 he was summoned by King Philip II to Spain, where he painted eight canvases for the retablo mayor, or high altar, of the Basilica of San Lorenzo at El Escorial, as well as cloister frescoes in the attached monastery. Elected the first principe of the reorganized Accademia di San Luca in Rome in 1593, Zuccaro continued to receive important commissions late into his career.

The vertical line down the centre of the present sheet, as well as the two quadrant shapes in the upper section of the sheet, suggest that this drawing is likely to have been intended as a study for the

inside doors of a reliquary tabernacle or altar. When the doors were closed, the front of the reliquary would have been surmounted by a lunette-shaped finial. With the doors open, the two halves of this composition would have been separated by the shelves holding the relics, or by a central painting.

Zuccaro is known to have decorated the interior and exterior of the doors of two such reliquary altars in the monastery of El Escorial in Spain. Neither of the Escorial paintings, however, depict this grouping of female saints, and both have arched tops2.

As John Gere had noted of this drawing, ‘Of the six seated saints in the front row, the three on the left can be identified from their attributes as Catherine of Alexandria, Agatha, and Barbara. The drawing cannot be connected with any known work by Federico. A group of female saints occurs in the northwest section of the cupola of the Duomo in Florence, but it occupies only one half of the width of the section and the figures are not grouped symmetrically as in the drawing.’3 What may have been Zuccaro’s preparatory drawing for the outer wings of the same altarpiece or reliquary – a closely related sheet depicting A Group of Bishops, A Pope, A Cardinal and other Monastic Figures (fig.1), of identical technique and dimensions to the present sheet – was on the Paris art market in 20044.

The present sheet was part of an album of seventy-three drawings, mainly by Taddeo and Federico Zuccaro, all of which belonged to the eminent portrait painter and collector Sir Thomas Lawrence (1769-1830). Four years after Lawrence’s death, his huge collection was acquired by the art dealer and collector Samuel Woodburn (1753-1853), who was responsible for assembling the contents of the ‘Zuccaro album’. In 1860, several years after Woodburn’s death, many of the drawings from Lawrence’s collection that were still in his possession, including the ‘Zuccaro album’, were sold by his heirs at auction in London. The album was acquired at the Lawrence-Woodburn sale in 1860 by the bibliophile and collector Sir Thomas Phillipps (1792-1872). His collection was inherited by his grandson Thomas Fitzroy Phillipps Fenwick (1856-1938), who began the dispersal of the collection of drawings, much of which was eventually acquired by the British Museum in 1946. The album of Zuccaro drawings, however, was purchased from Phillipps Fenwick in 1930 by Dr. A. S. W. Rosenbach (1876-1952), an American dealer in rare books and manuscripts. While six drawings from the album were sold to the collector Janos Scholz and are now in the Pierpont Morgan Library in New York, the remainder of the album remained intact until it was acquired in 1978 by the British Rail Pension Fund and dispersed at auction twelve years later.

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8 SPANISH SCHOOL Late 16th Century The Resurrected Christ Appearing to Saint Peter Pen and brown ink and brown wash, heightened with white, on blue paper. The outlines pricked for transfer.

371 x 458 mm. (14 5/8 x 18 in.)

PROVENANCE: Probably from an album once in the library of the monastery of San Lorenzo de El Escorial, until dispersed in the 19th century; Anonymous sale, Monte Carlo, Sotheby Parke Bernet Monaco, 5 March 1984, lot 864 (as Attributed to Paolo Moranda Cavazzola); Anonymous sale, New York, Sotheby’s, 13 January 1989, lot 274 (as Attributed to the Master A, late 16th Century); P. & D. Colnaghi, London, in 1989; Private collection.

EXHIBITED: New York, Colnaghi, Master Drawings, 1989, no.4 (as Spanish School, 1587-1589); Stanford University, Cantor Center for Visual Arts, Classic Taste: Drawings and Decorative Arts from the Collection of Horace Brock, 2000.

This very large sheet is part of a fascinating group of drawings by Spanish artists working at the large monastery complex of El Escorial, northwest of Madrid, in the late 16th century. The monastery had been founded by Philip II in 1563, and the drawings of this distinctive group were executed as designs for embroidery (or bordaduría) intended for the liturgical vestments of the priests – chasubles, copes, dalmatics and so forth – or as ornamental coverings for the altars. (Each of the three main altars in the basilica at the Escorial had fifty sets of embroidered vestments and altar frontals, which were changed according to the religious calendar and the type of service1.) Drawn in pen and brown wash on blue, blue-green or blue-grey paper, these drawings for embroidery designs seem to have been the product of a large workshop at the Escorial. Depicting scenes from the Old Testament and the Gospels, they are among the most numerous and significant surviving examples of 16th century Spanish draughtsmanship. Indeed, as has been noted, ‘This collection of drawings [is] today the most abundant and the most harmonious [known] from Renaissance Spain.’2 The majority of the extant drawings from this group are still to be found in two albums in the library at the Escorial3. Numbering close to a hundred sheets, these drawings can in part be dated, on the basis of documentary evidence, to between 1587 and 1589. Many of the Escorial drawings are, like this Risen Christ Appearing to Saint Peter, finely and extensively pricked for transfer to the embroidery pattern. In common with most of the Escorial drawings, however, the present sheet does not show any evidence of pouncing. This would suggest that a second, substitute cartoon was used to transfer the design to the actual fabric, which would have been done by backing the original drawing with a second sheet of paper. The pricking of the outlines of the primary drawing would be transferred to the substitute cartoon beneath, which would then be pounced to transfer the design to the fabric, leaving the original drawing undamaged, and kept in an album for posterity4.

As Mark McDonald has noted of the Escorial embroidery designs, ‘most of the drawings in this group [are] executed in a carefully worked mixed technique: pen and brown ink, brush and brown wash, and white heightening over light black underdrawing on blue paper. The precision and regularity of the pricking is remarkable, demonstrating the importance of transferring an accurate copy of the image for the embroidery while preserving the original sheet.’5 Indeed, this large and finely pricked drawing of The Risen Christ Appearing to Saint Peter is in exceptional condition.

Apart from those drawings still remaining in the library of the Escorial, other examples of this distinctive group of Spanish embroidery designs are rare. A number of the drawings, perhaps part of the contents

of one album, seem to have left the Escorial in the middle of the 19th century. These include four sheets today in the Biblioteca Nacional in Madrid, as well as a small number of drawings in public collections outside Spain; examples are in the National Gallery of Scotland in Edinburgh, the British Museum in London, the Yale University Art Gallery in New Haven, the Metropolitan Museum of Art and the Pierpont Morgan Library in New York, the Musée des Beaux-Arts in Orléans, the Louvre in Paris and the Musée des Beaux-Arts in Rouen. The present sheet is likely to have come from the same source as these drawings.

It has been noted that there must have been several masters and their workshops, each with numerous assistants, working within the Escorial on the preparation of these embroidery designs, or bordados.

The leading artists and chief designers of this group, and the only ones documented by name in records of payment, are Miguel Barroso (c.1538-1591) and Diego López de Escuriaz (died c.1623). As has been noted, ‘King Phillip II took great interest in the vestments that were to be used for the Escorial, and artists were well paid for their designs.’6 (In September 1587, for example, López de Escuriaz received 357 silver reales in payment for eight designs for vestments, and he was paid a further 297 reales for five more drawings in July 1589.) Among the body of embroidery designs still at the Escorial, the present sheet seems closest in style to the work of the as-yet unidentified 16th century artist known as the ‘Master A’7, by comparison with such drawings by him as The Healing of the Leper8, which, like several other drawings at the Escorial attributed to the Master A, is also on greenish-blue paper and extensively pricked for transfer.

In the Italianate style and technique of these drawings for embroidery, the Spanish artists working at the Escorial may have been influenced by the work of the Italian painters who were also active at the monastery in the late 16th century, notably Pellegrino Tibaldi and Federico Zuccaro. They may also have turned for inspiration, in terms of compositional ideas, to the extensive collection of Flemish, German and Italian prints assembled by Philip II and also kept at the Escorial. As Lisa Banner has noted, ‘More than mere documents of artisan production, the Escorial designs for embroidery reveal the impact of Northern European and Italian mannerism on Spanish art. This became the leading style of drawing at the Escorial embroidery workshop, and was later adopted by Madrid court artists.’9 The drawings and cartoons for embroidery produced at the Escorial, of which the present sheet is a particularly fine and sizeable example, make a significant contribution to scholarly appreciation of the still relatively little-known field of 16th century Spanish draughtsmanship. Furthermore, as one recent scholar has stated, ‘these embroidery designs are indispensable for our understanding of the functioning of a specialized workshop in the unique social and cultural milieu at the Escorial, which comprised a sort of autonomous city in which a wide variety of artisans contributed to a post-Tridentine ideology…In broad terms, this rare cache of primary material of great significance...might shed light on the drawing practice of Spanish artists and clarify the impact of foreign influences – or indirect ones through prints – upon a native tradition.’10

9 JOHANN (HANS) ROTTENHAMMER Munich 1564-1625 Augsburg The Entombment Pen and brown ink and brown wash, extensively heightened with white, with framing lines in brown ink, on paper washed blue-green. The verso rubbed with black chalk and the outlines indented for transfer.

212 x 373 mm. (8 3/8 x 14 5/8 in.)

PROVENANCE: La Tache Fine Arts, Vaduz, Liechtenstein, in 2007; Herbert Kasper, New York.

LITERATURE: Jordan Bear et al, Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, exhibition catalogue, New York, 2011, pp.112-113, no.40 (entry by Eveline Baseggio Omiccioli), and also illustrated on p.24.

EXHIBITED: New York, The Morgan Library & Museum, Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, 2011, no.40.

The son of the master of the Imperial stables at the Bavarian court in Munich, Johann (or Hans) Rottenhammer received his artistic training in the 1580s from the court painter Hans Donauer. In 1588 he undertook a trip to Italy, where he was to remain until 1606. After a period in Treviso, where he may have worked in the studio of the Flemish artist Lodewijk Toeput, known as Pozzoserrato, Rottenhammer settled in Venice for a few years. In 1594 he went to Rome, but by the fall of the following year was back in Venice, where he spent the next ten years and established a successful career as a painter of small-scale mythological and religious scenes, usually on copper, some of which may have been intended to be inlaid into furniture. He also collaborated on paintings with the landscape artist Paul Bril, painting figures on small copper panels which would then be sent to Bril in Rome, who would add landscape elements to complete the compositions. Rottenhammer likewise worked in this way with Jan Brueghel the Elder, when both artists were active in Rome, and later with the young Adam Elsheimer in Venice.

Like Bril and Brueghel, Rottenhammer was one of a group of Northern painters who enjoyed the patronage of Cardinal Federico Borromeo in Rome in the first half of the 1590s, and he continued to maintain close contact with the Cardinal after his return to Venice. Accepted into the Venetian painter’s guild in 1603, Rottenhammer travelled widely throughout Northern Italy, and received commissions from, among others, Ferdinando Gonzaga, Duke of Mantua, and the Emperor Rudolf II in Prague, for whom he also acted as a buying agent. Many of his painted compositions were also reproduced as engravings by printmakers such as Lucas Kilian and Raphael Sadeler the Elder, and his studio in Venice was frequented by German artists visiting the city.

In 1606 Rottenhammer returned to Germany, settling in Augsburg and painting several altarpieces for churches there and in Munich. In 1609 he was commissioned by Count Ernst von Scharmburg to paint the Goldener Saal of the Schloss Bückeburg, near Hannover. He was also active as a fresco painter in Augsburg, decorating the facade of the Hopfer house in 1611. Other commissions included paintings for the ducal palace in Munich, completed in 1616, and the town hall of Augsburg. Apart from these largescale public projects, Rottenhammer continued to paint small cabinet pictures of mythological subjects; works which remained popular with collectors well into the 18th century. Although very successful, he suffered from alcoholism and frequent illnesses, and was often unable to work to deadlines or complete commissions in the agreed time. Nevertheless, the extent of his reputation throughout the Holy Roman Empire meant that many artists came to study with him, and his position as the leading painter in Augsburg remained secure until his death in 1625.

As has been noted, ‘Hans Rottenhammer ranks among the most interesting draughtsmen in German art around 1600’1, and the artist’s drawings have long been admired, although only around a hundred sheets are known today. He drew intensively from the start of his career, and through his upbringing at the court in Munich – where artists such as Friedrich Sustris and Peter Candid, both of whom had lived and worked in Florence, were active – he was exposed to the Italian tradition of draughtsmanship from an early age. During his own time in Italy Rottenhammer immersed himself in the drawing practices of local artists in Venice and Rome. Several of his drawings were reproduced by printmakers such as the Sadeler family, Jacob Matham and Crispin van de Passe, and by around 1600 it seems that his drawings were already being collected by connoisseurs.

As Thomas DaCosta Kaufmann and Heiner Borggrefe write, ‘Rottenhammer considered drawing to be a central part of his artistic work. His drawings show him to be a confident artist in constant progress and transformation. Inspired...by his fundamental experiences in Venice and Rome, Rottenhammer can be regarded as the prime example of an artist travelling to Italy from the north, who does not merely imitate the canon of Italian models, but rather permeates it and condenses it into something new. His path proves him to be a curious, sensitive and productive artist who succeeded in creating an independent oeuvre from the various currents he encountered in Italy.’2 This Entombment may be dated to Rottenhammer’s period in Italy in the late 1590s and early 1600s, when the influence of the draughtsmanship of such Venetian contemporaries as Jacopo Negretti, called Palma Giovane, is particularly evident in his work. (The art historian and biographer Carlo Ridolfi, in his Le maraviglie dell’arte, published in 1648, noted that Rottenhammer and Palma Giovane were friends, with the former ‘sometimes following [Palma’s] manner of painting or borrowing some of his themes.’3).

Similarly, as Heinrich Geissler has noted, ‘In his day, Rottenhammer was the most significant representative of the Venetian style in Germany, one feature of which was his frequent use of tinted papers.’4 It was around 1600 that Rottenhammer began using coloured or washed papers, as seen in the present sheet. It has further been suggested that this drawing may reflect the experience of the artist’s brief stay in Rome, since it echoes certain works he would have seen there, such as the recumbent figure of Christ in Michelangelo’s sculpted Pieta of c.1498-1499 in St. Peter’s.

The present sheet may have been a study for one of the small, refined paintings on copper of which Rottenhammer made a particular speciality, and that were much sought after by collectors. The upper left corner of the paper, which the artist has left untouched by the blue-green wash with which he covered the rest of the sheet, suggests that the final painting was intended to be framed with both upper corners hidden by the frame, and with top corners of the frame following the angle of the heads and upper bodies of the figures at the extreme edges of the composition. A drawing by Rottenhammer of Venus and Cupid, formerly in the Schilling collection and now in the British Museum5, as well as a closely related painting in the Herzog Anton Ulrich-Museum in Braunschweig6, each display the same cut upper corners.

Among stylistically comparable drawings by Rottenhammer of this Italian period is a Raising of Lazarus in the collection of the Dukes of Devonshire at Chatsworth7, and a Mars, Venus and Vulcan in the Kupferstichkabinett in Berlin8, as well as a small Holy Family with Saint Anne and the Young St John the Baptist which appeared at auction in 20159. Also similar in its ‘alla Veneziana’ style is a very large sheet depicting The Drowning of Pharaoh’s Army in the Red Sea, formerly at Chatsworth and more recently in the collection of Henning Hoesch10.

It may be noted that the figure of Christ in this drawing is close to that in a small painting on copper of The Lamentation, which appeared at auction in 2008 with an attribution to an artist close to Rottenhammer11.

10 ISAAC OLIVER Rouen c.1558/65-1617 London The Virgin and Child Enthroned Pen and black ink, with blue and brown wash, heightened with white, over a black chalk underdrawing, with framing lines in brown ink, on blue paper.

173 x 131 mm. (6 3/4 x 5 1/8 in.)

PROVENANCE: General James Dormer, Rousham House, Rousham, nr. Bicester, Oxfordshire by c.1720; By descent to Thomas Cottrell-Dormer, Rousham House, Rousham, Oxfordshire; His sale, London, Sotheby’s, 24 November 1977, lot 34; Anonymous sale, London, Sotheby’s, 4 July 2007, lot 10; Herbert Kasper, New York.

LITERATURE: The Burlington Magazine, November 1977, p.lxiii [advertisement]; Jill Finsten, Isaac Oliver: Art at the Courts of Elizabeth I and James I, Ph.D thesis, Harvard University, 1979 [pub. New York and London, 1981], Vol.I, p.155, Vol.II, pp.234-235, no.194, fig.170 (where dated c.1605-1610); Jordan Bear et al, Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, exhibition catalogue, New York, 2011, pp.118-119, no.43 (entry by Justine Pokoik), and with a detail illustrated as a frontispiece.

EXHIBITED: New York, The Morgan Library & Museum, Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, 2011, no.43.

The son of a Huguenot goldsmith from northern France, Isaac Oliver settled as a child with his family in London in 1568, escaping the French Wars of Religion. His early artistic training was with the English goldsmith and miniaturist Nicholas Hilliard, and he is also said to have been trained in oil painting by the 16th century artist Federico Zuccaro, presumably during the Italian artist’s stay in England between 1574 and 1575. (However, although several paintings by Oliver are recorded, none appear to have survived.) Oliver developed a particular reputation as a limner or miniaturist, and his first known dated work is a portrait miniature of 1587. His portrait miniatures, strongly influenced by those of his teacher Hilliard, soon began to rival those of the latter in popularity. In 1596 Oliver visited Venice and is also likely to have travelled to the Low Countries. In the early years of the 17th century he worked at the court of James I, King of England, and in 1604 was appointed ‘painter for the Art of Lymning’ to Anne of Denmark, wife of the King, and to Henry, Prince of Wales. Two years later he became a naturalised Englishman. Particularly influenced by Flemish and Italian (especially Venetian) art, Oliver introduced a sophisticated Mannerist sensibility, gained from his travels abroad, into English art of the period. This is especially noticeable in the handful of highly finished cabinet miniatures of Biblical subjects by the artist to have survived.

The 18th century antiquarian, engraver and writer George Vertue noted of Oliver that he often carried a small sketchbook around with him. A gifted draughtsman, he produced drawings of religious, allegorical and classical subjects – mainly in pen and ink, but also occasionally in chalk or gouache – which often display a pronounced Italo-Flemish character. As Richard Stephens has noted, ‘Oliver has been called ‘the first British draughtsman’ for he is the first artist whom we can see using drawing to develop his ideas rather than merely creating an outline to follow...Although he chiefly worked as a portrait miniaturist, Isaac Oliver used chalk and pen drawings to think through complex religious scenes, which were intended to be executed finally as cabinet miniatures…[he was] an artist well-versed in continental art: here, for the first time, a highly capable London artist was engaging closely with contemporary European trends – notably northern mannerism – to produce complex mythological and religious compositions.’1 The Oliver scholar Jill Finsten concurs, commenting of the artist’s small corpus of drawings that ‘On the most basic level they are extraordinary simply because, with the exception of Holbein’s portrait drawings (arguably a whole separate genre), this is the earliest body of drawings to appear in the history of English art. Oliver thus has claim to being considered the first English painter who was equally a serious draughtsman.’2

actual size

Only relatively few drawings by Isaac Oliver are known today, some of which are signed, although none are dated. A number of his drawings, including the present sheet, display the influence of the Italian Mannerist artist Parmigianino, whose work he is likely have seen on his visit to Venice in 1596, and whose paintings he is known to have copied. Indeed, Oliver may be regarded as one of the first artists working in Britain to have had a close awareness and appreciation of Continental models, not only from his travels but also in the form of paintings and prints by Italian, French and Netherlandish artists. His drawings are, nevertheless, always original compositions and not copies, unlike much of the work of his son and pupil Peter Oliver, who was likewise a miniaturist and draughtsman.

As Lindsay Stainton and Christopher White have noted, Oliver’s drawings ‘are remarkable for their variety of style, technique and subject-matter. They reveal an artist with a strong feeling for the medium and ready to exploit the different qualities of pen, chalk, wash, bodycolour and coloured paper in varying combinations to obtain the desired effect. He clearly attached importance to his drawings, and regarded them as his working capital, containing the wisdom of a lifetime to be handed to his chosen successor.’3 (Indeed, in his will, Oliver bequeathed to his son Peter ‘all my drawings allready finished and unfinished [and] lymning pictures, be they historyes, storyes or any thing or limning whatsoever of my owne hande worke as yet unfinished.’4) The corpus of extant drawings by Isaac Oliver includes sheets in the collections of the Fitzwilliam Museum in Cambridge, the National Gallery of Scotland in Edinburgh, the British Museum and the Victoria and Albert Museum in London, the Metropolitan Museum of Art in New York and the Royal Collection at Windsor Castle.

The present sheet may likely be dated to the first decade of the 17th century, following Oliver’s visit to Italy in 1596, when the influence of the artistic models he would have seen and studied there was at its height. This drawing has been described by the scholar Jill Finsten as ‘one of Oliver’s suavest, most sophisticated maniera works…doubtless dating from the latter half of the first decade.’5 It has further been suggested that Oliver might also have been inspired by certain Dutch and Flemish mannerist models – typified by an engraving by Hendrick Goltzius of The Holy Family, after Bartholomeus Spranger, published in 15856 – as well as the example of the artists of the 16th century French School of Fontainebleau, such as Francesco Primaticcio and Ambroise Dubois. As Finsten has noted of the present sheet, ‘of a sophistication so rarefied as to verge on decadence, the Madonna and Child are represented “all’antica” as Venus and Amor. The classicistic apparatus may well derive from Goltzius/Spranger…but the cool eroticism and delicate, almost feminized softness of handling are unquestionably French.’7 Among stylistically comparable drawings by Oliver of the same date is a signed black chalk study of Antiope in the British Museum8.

The first recorded owner of this drawing was General James Dormer (1679-1741), a British military officer who served as ambassador to Portugal between 1725 and 1728. As he was unmarried, at his death his estates passed to his cousin, the scholar and antiquary Sir Clement Cottrell-Dormer (1686-1758). This drawing thence passed by descent within the Cottrell-Dormer family for several generations, to the magistrate Thomas Cottrell-Dormer JP (1894-1990).

11 FRANCIS CLEYN THE ELDER Rostock 1582-1658 London Design for a Tapestry: Putti Bringing in a Boat Bearing Bacchus(?) to Land Pen and black ink and grey wash. Laid down. Inscribed HONI SOIT QUI MAL PENSE in black ink surrounding the 17th century Royal Coat of Arms at the top, and with a monogram (DLMA?) in a cartouche at the bottom.

354 x 496 mm. (13 7/8 x 19 1/2 in.)

PROVENANCE: Major Edward Croft-Murray CBE, Richmond, Surrey1; Thence by descent.

LITERATURE: James Byam-Shaw, ‘Obituary. Edward Croft-Murray (1907-80)’, The Burlington Magazine, February 1981, p.100 (as Sir James Thornhill).

The son of a goldsmith, the artist Francis Cleyn (sometimes Clein or Klein) was born in the North German city of Rostock, on the Baltic Sea, and seems to have entered the service of King Christian IV of Denmark around 1611. After a study trip of four years to Italy, where he spent time in Venice and probably also Rome, he was back in Denmark by 1617. Cleyn’s Italian sojourn was to prove highly influential on his mature style and is readily evident in the painted ornamental decorations he produced for Christian IV at Rosenborg Castle in Copenhagen between 1618 and 1623, which depicted pastoral landscapes, genre scenes and Italianate grotesques. (He also worked in the Danish royal castles of Frederiksborg, Christiansborg and Kronborg.) Cleyn is thought to have first visited England in 1623, on the recommendation of the English ambassador in Copenhagen, and had settled permanently in London by 1625. He worked extensively as a decorator and designer for Charles I, notably designing the King’s Great Seal, and was awarded a yearly pension of £100.

Cleyn’s first major public commission in England was for the now-lost ceiling decoration of the cabinet of Queen Henrietta Maria at Old Somerset House in London, which he decorated with allegorical figures of the arts above a frieze of putti, flowers, emblems and grotesques. (He also painted an altarpiece of The Crucifixion, since destroyed, for the Queen at St. James’s Palace.) Cleyn was highly regarded as a decorative mural painter, although almost all of his work in this field, including wall paintings at Holland House in London, Carew House in Parson’s Green and Stoke Bruerne in Northamptonshire, has been lost. The artist’s only surviving paintings are a series of interiors in several rooms at Ham House in Richmond, painted for William Murray, 1st Earl of Dysart.

Cleyn is best known today for his work at the tapestry manufactory at Mortlake in Surrey, established by the Crown in 1619. Appointed chief designer at Mortlake soon after his arrival in England, with an annual salary of £250, Cleyn drew the original designs for the Hero and Leander series of tapestries, completed in 1636, as well as designs for the series of Horses, The Five Senses and the tapestry borders for Raphael’s Acts of the Apostles2. Mortlake produced exceptionally fine tapestries of Raphael’s seven cartoons, to which Cleyn added decorative borders as well as an eighth scene of his own invention; The Death of Sapphira, which measured some four by six and half metres and contained over twenty figures. The artist continued to work at Mortlake throughout the Civil War and during the period of the Commonwealth. Cleyn also produced a number of prints of decorative and grotesque motifs, together with designs for book illustrations, seals, title pages and ephemeral architecture.

Parallels to documented designs for tapestries and tapestry borders, as well as to a set of large-scale paintings, created between 1637 and 1640 for the Green Closet at Ham House in Richmond, allow for an attribution of this large and impressive drawing to Francis Cleyn. Painted for the 1st Earl of Dysart, a close confidant of King Charles I, the four almost tapestry-sized panels at Ham House3 – measuring up to three and a half metres in width – were inspired by a series of six narrow panel paintings of friezes

in an all’antica style, depicting putti at play, by the 16th century Italian painter Polidoro da Caravaggio, which had been acquired by Charles I in 1637 for the Palace of Whitehall and remain in the Royal Collection today4.

Cleyn’s panels for the Green Closet at Ham House similarly depict naked putti playing games and in various country pursuits. One of these paintings – a scene of a group of putti lined up at a shore, hauling on a rope to pull in their catch (fig.1) – can be linked with one of the Polidoro frieze paintings, which are now at Hampton Court, as well as with the present sheet. In this drawing Cleyn closely followed the painting by Polidoro in the Royal Collection, showing the putti hauling in a fishing net, heavy with its catch and with its cork floaters attached5, while the artist slightly adapted the scene for Ham House, showing the putti pull in a fellow putto on a shell instead.

Close parallels can also be drawn between the tapestry borders in this drawing and those designed

by Cleyn for the celebrated Acts of the Apostles tapestries of Raphael. As has been noted, ‘The finest of all examples of Mortlake tapestry are the Acts of the Apostles, woven for Charles I perhaps by late March 1629. Acquired by Cardinal Mazarin at the dispersal of the royal collection, they thereafter became the property of Louis XIV…A joyous feature of these, as indeed of so many Mortlake tapestries, are the inventive borders – expressions of Cleyn’s exuberant creativity.’6 Certainly, Cleyn’s borders for the Acts of the Apostles tapestries contain much of the artist’s finest and most inventive work.

Given the sea-based theme of the present sheet, close parallels may in particular be found in Cleyn’s border designs for The Miraculous Draught of Fishes tapestry (fig.2) from the Acts of the Apostles, today in the Mobilier National in Paris. The putti show the same movements and energy in their various actions, be it handling long floral garlands or large fish, or struggling with goats or swans. Similarly, the vase-shaped fisherman’s basket, spilling out its catch at the lower left-hand margin of the present sheet, also appears in the lower border of the Miraculous Draught of Fishes tapestry.

This large sheet represents the design for a lavish Baroque tapestry. The scene is framed by elaborate borders, centered to the top with the English Royal coat of arms, which provides a terminus ante quem for the drawing of before 16897. Crowned and encircled by the Order of the Garter, it is flanked by anchors wrapped with foliate garlands, while the lower border is centered by a cartouche with Roman letters. Intriguingly, the cartouches in the four corners of the drawing all differ from one another. The top left cartouche appears framed with wheat or reeds and the bottom right with a floral garland, while that at the top right is modelled with stylized dolphins and the bottom left with small fish spilling from a fisherman’s basket or trap. While this might be a reference to a Royal patron, representing glory at sea and on land, it is also possible that, as with contemporary architectural drawings, the cartouche designs differ deliberately, allowing Cleyn to present his client with a choice of four different options. This would support the idea that this large and impressive sheet was intended as a first design or proposal for a tapestry, which might have never been realized.

1

Cleyn is thought to have made designs for a set of tapestries known as depicting ‘Playing Boys’, which were likely inspired by Polidoro’s frieze paintings, but no finished tapestries survive or are recorded, and may never have been executed in his lifetime. (Nevertheless, tapestries known as ‘Polidoro’ types, derived from the paintings by Polidoro da Caravaggio now at Hampton Court and possibly based on designs by Cleyn, became popular again and were rewoven in the years after Cleyn’s death and following the restoration of the monarchy in 16608.) The discovery of the present sheet, which represents the only known surviving design for such a series complete with borders, indicates that Cleyn might have intended the set to be much more lavish than the later versions woven in the 1660s would suggest. The Royal arms in the upper border certainly signify that it must have been a royal commission, while the Latin lettering or numbering in the central cartouche of the lower border suggest it was conceived as part of a larger set.

Drawings by Francis Cleyn are today in the British Museum in London, the Louvre in Paris and the Statens Museum for Kunst in Copenhagen, while a 17th century album containing several dozen drawings by the artist – mainly figure, drapery and portrait studies, as well as several designs for tapestries – is in the collection of Southampton University. Two watercolour designs by Cleyn for the side borders of one of the Acts of the Apostles tapestries have recently been acquired by the Metropolitan Museum of Art in New York9.

2

12 SALVATOR ROSA Arenella 1615-1673 Rome Four Men Moving a Boulder, with Two Onlookers Pen and brown ink and brown wash, with touches of black chalk. Numbered N33 in brown ink on the verso, and numbered 931 in red chalk on the reverse of the old mount.

140 x 110 mm. (5 1/2 x 4 3/8 in.)

PROVENANCE: Sir Thomas Lawrence, London (Lugt 2445); Purchased after Lawrence’s death, together with the rest of his collection, by Samuel Woodburn, London, in 1834; Possibly his posthumous sale, London, Christie’s, 4-8 June 1860 [lot unidentified]; Charles Fairfax Murray, London, and thence by descent; Possibly the posthumous Fairfax Murray sale (‘Drawings by the Old Masters from the Collections of Richard Ederheimer, New York, and the late Fairfax Murray, London, England’), New York, Anderson Galleries, 6-7 November 1924, lot 300 (‘Salvatore Rosa 1615-1673. Group of Six Men. Four of them kneeling. Characteristic pen drawing. Height, 4 5/8 inches; width, 4 3/4 inches’); Victor Winthrop Newman, London and New York; His sale, New York, American Art Association, Anderson Galleries, 4 December 1930, lot 180; Ernest Clifford Peixotto, Fontainebleau and New York; By descent to his daughter; William Doyle Galleries, New York [sale unidentified]; Mia Weiner, New York, in 1990; Acquired in 1994 by John O’Brien, Charles Town, West Virginia (Lugt 4230).

LITERATURE: Ottilie G. Boetzkes, Salvator Rosa: Seventeenth-Century Italian Painter, Poet, and Patriot, New York, 1960, p.188, no.92; Michael Mahoney, The Drawings of Salvator Rosa, New York and London, 1977, Vol.I, p.298, no.24.20; Vol.II, fig.24.20 (as whereabouts unknown).

EXHIBITED: New York, Mia N. Weiner, Old Master Drawings, November 1990, no.27.

A painter, draughtsman and printmaker, as well as an accomplished actor, musician and poet, Salvator Rosa was an eccentric personality and moved in literary and intellectual circles, which in turn inspired his idiosyncratic artistic vision. He was a remarkable draughtsman, and his spirited, exuberant drawings were highly praised by connoisseurs even in his own day. The bulk of the nine hundred or so surviving drawings by the artist are figure studies, usually in his preferred medium of pen and ink, and are often enlivened with touches of wash. Many of the drawings from the early part of his career are signed, and these may have been sold to collectors or presented as gifts to friends or patrons. However, almost no signed drawings dating from after 1649 exist, and it has been suggested that, after his return to Rome from Florence that year, Rosa chose to keep most of his drawings for himself, and not part with them.

The present sheet has been dated by Michael Mahoney to c.1645, when Rosa was working in Florence, and is part of a group of drawings of this period characterized by a combination of wiry pen and ink hatching and a bold use of brown wash. Among stylistically comparable drawings of the same approximate date are The Philosophers Heraclitus and Democritus by a Globe in the Teyler Museum in Haarlem1 and A Philosopher(?) Sitting Beneath a Tree in the Princeton University Art Museum in New Jersey2, as well as a study of a partially nude bearded man sitting beneath trees in the Istituto Centrale per la Grafica in Rome3. Also comparable in style and technique, although somewhat earlier in date, is a study of Two Men Pulling a Rope in the Louvre4.

It is interesting to note that the present sheet has figured in the private collections of four different artists.

Its first known owner was the portrait painter Sir Thomas Lawrence (1769-1830), who assembled one of the finest collections of Old Master drawings in England. This drawing later passed into the extensive collection of the Victorian painter Charles Fairfax Murray (1849-1919). Its third owner was the artist, illustrator and printmaker Victor Winthrop Newman (b.1860), who may have bought the drawing at auction in New York in 1924. At the auction of Newman’s collection six years later, the present sheet was acquired by Ernest Clifford Peixotto (1869-1940), an American mural painter and illustrator.

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13 THOMAS WIJCK Beverwijk 1616/21-1677 Haarlem A Street in an Italian Town Brush and grey ink, with framing lines in grey ink. Some of the outlines traced through in pencil on the verso. Inscribed and numbered Th. Wyck, 15/V, 57183 (twice), 108 and 29 in pencil on the verso.

246 x 310 mm. (9 3/4 x 12 1/4 in.)

Watermark: A shield with a Strasbourg lily (Picard 1287-1289; 1644-1677).

PROVENANCE: Stephan Seeliger, Munich.

Born in a town near Haarlem, Thomas Adriaensz. Wijck entered the artist’s guild there in 1642. He is thought to have been a pupil of Adriaen van Ostade in Haarlem and was based in the city for most of his career. Best known today for his painted, drawn and etched Italianate landscapes, Wijck also produced a number of paintings of the very different subject of alchemists in their workshops. Although there is no direct evidence that Wijck actually visited Italy, it can be inferred that he did so, both from the evidence of his drawings – some of which bear Italian watermarks – and the fact that he is unrecorded in Haarlem between 1644 and 1653, when he is likely to have travelled to Italy, although this may also have occurred between 1653 and 1656. (It has been suggested that he might have studied with Pieter van Laer in Rome.) What is certain is that Wijck visited England in the early 1660s, when he produced some views of London and its surroundings, and he seems to have remained there until shortly before his death in Haarlem in 1677. Wijck’s son Jan was also an artist, and later settled in London.

Wijck was a prolific draughtsman, producing mainly landscape studies, street scenes, courtyards and farmyard subjects, as well as a handful of studies of empty kitchen or workshop interiors. His earliest dated drawings are from 1643 and 1645, and several of his Italianate drawings have previously borne attributions to the slightly older landscape painter and draughtsman Jan Asselijn (c.1610-1652), whose Roman drawings, together with their choice of subjects, seem to have been a particular influence on his own.

As the scholar Robert Fucci has recently written of Wijck’s landscape drawings, ‘These fascinate for their prosaic nature, especially since they differ so greatly from the majestic buildings portrayed in the majority of works by artists who sojourned to Rome and elsewhere in Italy. While Wijck occasionally drew larger structures, he focused more frequently on less distinguished edifices, and on architecture that might be old and full of character yet otherwise nondescript…Wijck made many of his drawings primarily in wash, using a remarkably controlled fine-pointed brush for details…, and generating delicate lighting effects in the more broadly-toned areas.’1 Although many of Wijck’s Italianate drawings are signed, relatively few appear to have been made as preparatory studies for his paintings. Another scholar has noted that ‘these Italianate drawings were finished, independent works for sale – with their warm, Southern light they were probably much loved by collectors in northern Europe.’2 A number of drawings by Thomas Wijck are today in the Rijksmuseum in Amsterdam, while other examples are in the museums of Berlin, Besançon, Copenhagen, Edinburgh, Haarlem, London, Moscow, New Haven, New York, Oslo, Paris, Rotterdam, St. Petersburg, Weimar and Vienna. The present sheet was once owned by the German art historian Stephan Seeliger (1929-2020), who published a number of books on early 19th century German art and assembled a fine collection of drawings and prints of the Romantic and Nazarene period.

14 CIRO FERRI Rome c.1634-1689 Rome The Virgin Immaculate Blessed by God the Father Pen and brush and brown ink and brown wash, extensively heightened with white and squared for transfer in black chalk, on two joined sheets of buff paper. Laid down on a 19th century English mount.

Inscribed P. de cortone. in brown ink at the lower left.

497 x 311 mm. (19 1/2 x 12 1/4 in.)

PROVENANCE: John Rushout, 2nd Baron Northwick, Northwick Park, Blockley, Worcestershire, and Thirlestaine House, Cheltenham, Gloucestershire; By descent to his nephew, George Rushout, 3rd Baron Northwick, Northwick Park; Thence by descent to Captain Edward George SpencerChurchill, Northwick Park; Northwick sale, London, Sotheby’s, 1- 4 November 1920, lot 54 (as Pietro da Cortona)1; Otto Wessner, St. Gallen, Switzerland; His posthumous sale, Munich, Galerie Hugo Helbing, 8-9 June 1926, lot 746 (as Pietro da Cortona); Possibly Simon Meller, Budapest, Munich and Paris; Sale, Luzern, Galerie Fischer, 11 November 1949, lot 2854 (as Pietro da Cortona, bt. Landolt); Robert Landolt, Chur (Lugt 2223a); Thence by descent.

LITERATURE: Giuliano Briganti, Pietro da Cortona o della pittura barocca, Florence, 1982 ed., p.295 (as Pietro da Cortona); Jörg Martin Merz, Cortona-Studien, unpublished Ph.D dissertation, EberhardKarls Universität, Tübingen, 1985, p.190 (as attributed to Pietro da Cortona); Jörg Martin Merz, Pietro da Cortona und sein Kreis: Die Zeichnungen in Düsseldorf, Berlin, 2005, p.69, p.454, note 250; Michael Matile, ed., Zwiegespräch mit Zeichnungen: Werke des 15. bis 18. Jahrhunderts aus der Sammlung Robert Landolt, exhibition catalogue, Zurich, 2013-2014, pp.44-46, no.14 (entry by Jörg Martin Merz).

EXHIBITED: Zurich, Graphische Sammlung ETH, Zwiegespräch mit Zeichnungen: Werke des 15. bis 18. Jahrhunderts aus der Sammlung Robert Landolt, 2013-2014, no.14.

The chief follower and assistant of Pietro da Cortona (1596-1669), Ciro Ferri entered his studio as an apprentice at the age of about sixteen, at a time when Cortona was established as the leading painter in Rome. Admitted into the Accademia di San Luca in 1657, Ferri came to fully assimilate Cortona’s style, developing into one of the master’s most faithful pupils and assistants. As Lione Pascoli noted in his biography of the artist, ‘No other disciple than Ciro imitated so well the manner of his master Cortona: no one came close to his beautiful ideas, his bizarre inventions, more than he. None of them surpassed him in drawing…’2 Between 1659 and 1665 Ferri worked in Florence on the fresco decoration of the Sala di Apollo (which had been begun by Cortona) and the Sala di Saturno in the Palazzo Pitti, which may be regarded as among his most important works. Ferri returned to Rome for good following the death of his master in 1669. He completed several of Cortona’s unfinished projects, notably for mosaics at Saint Peter’s, while continuing to receive his own independent commissions, of which the most significant was the fresco decoration of the cupola of Sant’Agnese in Agone, begun in 1670 but still unfinished at Ferri’s death nearly twenty years later. It was also around 1670 that he began to work occasionally as a sculptor, and to produce drawings for sculptural and architectural projects, including designs for altars, reliquaries and tabernacles for churches in Rome and Florence.

In his biography, Pascoli stated that Ferri preferred drawing to painting. His drawings were widely admired in his lifetime, and several were reproduced as engravings. Yet Ferri’s lifelong adherence to Cortona’s style has meant that drawings by the two have often been confused, and modern scholarship has only recently been able to differentiate between the draughtsmanship of master and pupil. Indeed, most extant drawings by Ferri have originally borne attributions to Cortona, which is true of the present sheet.

This large drawing by Ciro Ferri, as Jörg Martin Merz was the first to point out, is a preparatory study for a large altarpiece of The Virgin Immaculate (fig.1), commissioned in 1657 from Pietro da Cortona

by Cardinal Luigi Capponi for the high altar of the church of San Filippo Neri (also known as the Chiesa Nuova) in Perugia3; a church dedicated to the Immaculate Conception. The circumstances of the commission made clear that the design of the altarpiece and the painting of its most important parts were entrusted to Cortona, while the remainder of the work was to have been painted by his assistants – with Ferri mentioned in particular – working under the master’s supervision4. Cortona indeed enlisted the assistance of Ferri in preparing for the project, and in March 1658 the Cardinal was shown, and approved, a finished drawing for the altarpiece, which may well have been the present sheet by Ferri. The painting remained unfinished at the time of Cardinal Capponi’s death in April 1659, and was only eventually completed in 1661.

The present sheet differs from the finished altarpiece in several details, such as the position of the dragon (who is wingless in the drawing), as well as the number and positioning of the putti surrounding God the Father, and the distance between the upper and lower sections of the composition. The placement of the Virgin towards the top of the composition of both the drawing and the painting was apparently determined by the fact that the altarpiece was to hang above a tabernacle resting on the altar below, and it was therefore deemed essential that the figure of the Virgin not be blocked from view.

The entire lower part of the composition is dominated by the dragon, who sits astride the Earth from which evil will be banished by the result of the Virgin’s immaculate conception.

The Perugia altarpiece was later engraved by François Spierre, a printmaker from Lorraine who settled in Rome in 1659 and became one of the leading engravers in the city, working closely with artists such as Cortona, Ferri and Gian Lorenzo Bernini to reproduce their works. Spierre’s large engraving5, which is in reverse to the painted composition, was included in the lavish edition of the Missale Romanum of Pope Alexander VII Chigi, containing texts for the celebration of Catholic Holy Mass, published in 16626.

1

15 GIOVANNI BATTISTA TIEPOLO Venice 1696-1770 Madrid The Martyrdom of a Female Saint Pen and brown ink and brown wash, over an underdrawing in black chalk.

427 x 289 mm. (16 3/4 x 11 3/8 in.)

PROVENANCE: From an album of Tiepolo drawings probably belonging to Count Grigory Vladimirovich Orlov, St. Petersburg and Paris; By descent to Prince Alexis Orlov (Orloff), Paris; The album broken up and dispersed at his posthumous sale (‘Collection de Son Excellence feu le Prince Alexis Orloff’), Paris, Galerie Georges Petit, 29-30 April 1920, the present sheet as lot 125 (‘Etude présumée pour le Martyre de sainte Agathe du Musée civique, à Venise. Plume et lavis de bistre. Haut., 41 cent.; larg., 28 cent.’, sold for 17,500 francs); Private collection, Switzerland; Anonymous sale, Bern, Galerie Kornfeld, 6 June 2008, lot 9; Private collection, France.

LITERATURE: Detlev Freiherr von Hadeln, Handzeichnungen von G. B. Tiepolo, Florence and Munich, 1927, Vol.I, p.28, pl.21 (as The Martyrdom of Saint Giustina); Detlev Baron von Hadeln, The Drawings of G. B. Tiepolo, Paris, 1928, Vol.I, p.26, pl.21 (as The Martyrdom of Saint Giustina); George Knox, ‘The Orloff Album of Tiepolo Drawings’, The Burlington Magazine, June 1961, p.273, note 13, p.274 (as The Martyrdom of St Agatha (or Sta Giustina?), and dated to 1725-1735).

The leading painter in Venice for much of his career, Giambattista Tiepolo was also one of the finest Italian draughtsmen of the 18th century. That his drawings were greatly admired in his lifetime is confirmed by contemporary accounts; indeed, as early as 1732 the writer and biographer Vincenzo da Canal remarked that ‘His talent is most fecund; that is why engravers and copyists are eager to engrave his works, to glean his inventions and extraordinary ideas; his drawings are already so highly esteemed that books of them are sent to the most distant countries.’1 From the late 1730s until his departure for Spain in 1762, Tiepolo enjoyed his most productive period as a draughtsman, creating a large number of vibrant pen and wash studies that are among the archetypal drawings of the Venetian Settecento.

As one recent scholar has commented, ‘From the start of his career [Tiepolo] had enjoyed drawing as an additional means of expression, with equally original results. He did not draw simply to make an immediate note of his ideas, nor to make an initial sketch for a painting or to study details; he drew to give the freest, most complete expression to his genius. His drawings can be considered as an autonomous artistic genre; they constitute an enormous part of his work, giving expression to a quite extraordinary excursion of the imagination; in this respect, Tiepolo’s graphic work can be compared only with that of Rembrandt.’2 Tiepolo’s drawings include compositional studies for paintings and prints, drawings of heads, figure studies for large-scale decorations, landscapes and caricatures, as well as several series of drawings on such themes as the Holy Family. Many of these drawings were bound into albums and were retained by the artist in his studio as a stock of motifs and ideas for use in his own work, or that of his sons and assistants.

Although formerly regarded as depicting The Martyrdom of Saint Agatha, this large and impressive drawing cannot be considered a preparatory study for either of Giambattista Tiepolo’s two altarpieces of the subject; one in the Basilica of San Antonio in Padua3, begun in 1735 and completed the following year, and the other painted in c.1755 for the Benedictine convent church of Sant’Agata in Lendinara, near Rovigo, and now in the Gemäldegalerie in Berlin4. However, while the present sheet is likely to have been executed as an independent drawing, it may be noted that the poses of the saint and the executioner are particularly close to those in a small oil sketch by Tiepolo of The Martyrdom of Saint Theodora (fig.1) of c.1745 in the Museo del Settecento Veneziano at the Ca’ Rezzonico in Venice5, of which a second version or copy was in a private collection in Milan in the 1960s6.

The provenance of many of the drawings by Giambattista Tiepolo that appear on the art market today can be traced to several large volumes or albums of drawings, put together by the artist or by

his son Domenico. Probably shortly before his departure for Spain, the elder Tiepolo seems to have decided to arrange the numerous drawings that had accumulated in his studio – the product of some forty years of work – into a series of large, leather-bound albums, each containing about one hundred leaves. The drawings were mounted onto high quality paper and bound into the albums by theme or subject. In the early years of the 19th century, a number of albums of Tiepolo drawings were sold by his descendants to Venetian and foreign collectors.

This fine Martyrdom of a Female Saint was once part of one such album, which contained what has been described by the early 20th century scholar Tancred Borenius as ‘the incomparable series of Tiepolo drawings which belonged to the late Prince Alexis Orloff, and was dispersed at a memorable sale in Paris, on April 29 and 30, 1920.’7 This so-called ‘Orloff’ album contained ninety-six pen and wash drawings

by Giambattista Tiepolo dating from throughout his career, from around 1715 to about 1760. All in remarkably fresh condition, the contents of the album included many finished presentation drawings, such as this Martyrdom of Saint Agatha. The album of Tiepolo drawings eventually came into the possession of Prince Alexis Nikolaevich Orlov (b.1867), who probably inherited it from his ancestor, the Russian writer and politician Grigory Vladimirovich Orlov (1777-1826), who spent much of his life in Europe and may have purchased the album in Venice.

The earlier history of the album before it entered the Orlov (or Orloff) collection, however, remains a mystery. As another early scholar of Tiepolo drawings, Detlev von Hadeln, has noted, ‘It does not seem difficult for other Venetian contemporaries of Tiepolo to collect in one album a hundred and more of his drawings. Quite unique was that which when divided up constituted the collection of Prince Alexei Orloff. In this case a connoisseur had been able to search out the choicest of the choice; unless we can suppose that the commissions of a Maecenas were in question, to whom we owe the creation of the brilliant variations on the theme of the Annunciation and of the Flight into Egypt.’8

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16 THOMAS GAINSBOROUGH RA Sudbury 1727-1788 London Study of a Clump of Trees Pencil and red chalk.

190 x 149 mm. (7 1/2 x 5 7/8 in.)

Watermark: Partial.

PROVENANCE: Probably the estate of the artist, and by descent to his daughter Margaret; Probably her sale, London, Christie’s, 11 May 1799, part of lots 81-90; Private collection.

Landscape drawings account for over three-quarters of Thomas Gainsborough’s output as a draughtsman and include some of his finest works. As the scholar John Hayes has noted, ‘Gainsborough was a prolific, indeed compulsive, landscape draughtsman.’1 Overburdened with portrait commissions, the artist turned to the freedom of landscape drawing as a means of relaxation. (As he wrote in a letter to his friend William Jackson, ‘I’m sick of Portraits and wish very much to take my Viol[a] da Gam[ba] and walk off to some sweet Village where I can paint Landskips and enjoy the fag End of Life in quietness & ease.’2 This attitude is perhaps best expressed in a self-portrait drawing of the 1750s, in the British Museum, wherein the artist depicted himself seated against a tree in a landscape and drawing in a large sketchbook3.) Gainsborough’s landscape drawings evince a deeply personal, and often quite poetic, view of nature. Done for his own pleasure, in varying degrees of finish, and using a range of different techniques, they are among his most private and, at times, most experimental works as a draughtsman.

The artist apparently never sold any of his drawings, although he is thought to have given some of them away as presents. As has been noted, ‘During his lifetime Gainsborough’s drawings were known to an inner circle of friends, artist and connoisseurs, but not to the wider public.’4 As a friend and early biographer, Philip Thicknesse, noted of the artist, ‘Mr. Gainsborough, like the best Poets, was born a Painter, for he told me, that during his Boy-hood, though he had no idea of becoming a Painter then, yet there was not a Picturesque clump of Trees, nor even a single Tree of beauty, no, nor hedge row, stone, or post, at the corner of the Lanes, for some miles round about the place of his nativity, that he had not so perfectly in his mind’s eye, that had he known he could use a pencil, he could have perfectly delineated.’5 Similarly, as the artist’s friend and longstanding champion, the journalist Sir Henry Bate Dudley, wrote in an obituary of Gainsborough, ‘Nature was his teacher and the woods of Suffolk his academy; here he would pass in solitude his moments in making a sketch of an antiquated tree, a marshy brook, a few cattle, a sheep herd and his flock, or any other accidental objects that were present.’6 This rapidly drawn study of trees, previously unknown to scholars, may be dated to the early part of Gainsborough’s career, when he was living in his native Suffolk. It is probably from a small sketchbook, as its size is identical to several other early plein-air studies. The attribution of the present sheet has been confirmed by Hugh Belsey, who points out that it is a unique example among Gainsborough’s early drawings in its use of a striking combination of pencil and red chalk.

A number of comparable nature studies of the same period and of similar dimensions are also likely to have been part of one or more sketchbooks. Belsey likens the present sheet in particular with a double-sided pencil drawing of a Country Track with Trees, of identical dimensions, in a private English collection7, which he has dated to the late 1740s. Among other stylistically similar early drawings is a study of trees in a wood, formerly in the Oppé collection and now in Tate Britain8, which may have come from the same or a similar sketchbook. At an auction in London in 1799, Gainsborough’s daughter Margaret offered for sale ten sketchbooks used by her father, and the present sheet is likely to have come from one of these9.

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17 UBALDO GANDOLFI San Matteo della Decima 1728-1781 Ravenna Chronos and Apollo Pen and brown ink and brown wash, over an underdrawing in red chalk, with framing lines in brown ink. Laid down on an 18th or early 19th century mount, inscribed Ubaldo Gandolfi in black ink on the reverse. Further inscribed Ubaldo Gandolfi in brown ink on an intermediate backing sheet. Inscribed Ubaldo Gandolfi and G. Bentivoglio in brown ink on the backing paper of the original frame.

197 x 303 mm. (7 3/4 x 11 7/8 in.) at greatest dimensions.

PROVENANCE: The Contessa Giovanna Bentivoglio Gilli, Bologna, by 1935, with her red wax seals on the back of the original frame; Private collection, Bologna; Private collection, Massachusetts.

LITERATURE: Guido Zucchini, ed., Mostra del Settecento Bolognese, exhibition catalogue, Bologna, 1935, p.128, no.238 (‘Apollo e il tempo. Disegno a penna e sepia: 30,5 x 19,5’); Lidia Bianchi, I Gandolfi, Rome, 1936, p.130, no.12 (‘Prop. Contessa Giovanna Bentivoglio Gilli, Apollo e il tempo, penna e sepia, 30,5 x 19,5’); Lidia Bianchi, I Gandolfi: Pittori del Settecento Bolognese, Rome, 1938, p.122, no.12; Christel Thiem, Disegni di Artisti Bolognesi dal Seicento all’Ottocento della Collezione Schloss Fachsenfeld e della Graphische Sammlung Staatsgalerie Stuttgart, exhibition catalogue, Bologna, 1983, p.152, under no.90; Donatella Biagi Maino, Ubaldo Gandolfi, Turin, 1990, p.263, under no.69; Prisco Bagni, I Gandolfi: Affreschi dipinti bozzetti disegni, Cittadella, 1992, p.640, under no.615 (incorrectly identified as the Schloss Fachsenfeld drawing); Andrea Czére, 18th Century Italian Drawings in the Budapest Museum of Fine Arts: A Complete Catalogue, Budapest, 2022, p.168, under no.136.

EXHIBITED: Bologna, Palazzo Comunale, Mostra del Settecento Bolognese, 1935, no.238 (lent by the Contessa Bentivoglio Gilli).

Ubaldo Gandolfi studied at the Accademia Clementina in Bologna from an early age, and by 1745 had already won a prize for figure drawing, earning two more in the next four years. Between 1749 and 1759, however, he does not appear in any records of the Accademia, and it may be supposed that he spent at least some of this period travelling around Italy. (His biographer Marcello Oretti notes that the artist ‘vidde Firenze, Venezia ed altre famose scuole.’) One of Gandolfi’s first independent projects was the decoration of several rooms in the Palazzo Malvasia in Bologna, commissioned around 1758 by the Bolognese nobleman and art historian Cesare Malvasia. The commission called for the decoration of at least four rooms with vault frescoes of Jupiter, Mars, Apollo, and Mercury, executed in collaboration with the quadraturista Flaminio Minozzi, who was responsible for the architectural elements. The work must have been completed by 1760, when Gandolfi listed the frescoes among his accomplishments in his application for membership in the Accademia Clementina. Together with his younger brother Gaetano, Ubaldo visited Venice in 1760; a trip that was to have a significant impact on his later work, with its vigorous brushwork and expressive treatment of colour.

Throughout much of his career Gandolfi maintained close contacts with the Accademia Clementina, and in 1761 he was appointed one of four professors of life drawing, or direttori di figura, at the school. One of his most important patrons was the Marchese Gregorio Casali, a fellow member of the Accademia, who commissioned several works from the artist, notably two large paintings of Perseus and Andromeda and Selene and Endymion for the Palazzo Pubblico in Bologna. Apart from an Apotheosis of Hercules in the Palazzo Malvezzi in Bologna, however, relatively little of his large-scale mural decorations survives. Over a career of some thirty years, Gandolfi was active as a painter of frescoes, altarpieces and mythological scenes, although he never seems to have achieved the level of success enjoyed by his brother Gaetano. (He also worked as a sculptor, and a handful of terracotta sculptures of saints are known today.) Never short of commissions, Gandolfi produced numerous

altarpieces for churches in Bologna and throughout the province of Emilia. His last major project, the fresco decoration of the cupola of the church of San Vitale in Ravenna, was left unfinished at his sudden death in 1781.

The present sheet is a finished preparatory study for Ubaldo Gandolfi’s ceiling fresco of Apollo and Chronos (fig.1), painted in the first half of the 1770s in the Palazzo Bovio Silvestri in Bologna1. Although the artist painted an extensive series of frescoes in two other rooms in the same palace, in collaboration with the quadraturisti Serafino Barozzi and Davide Zanotti, the ceiling fresco of Apollo and Chronos, which is in a private wing of the building, remains relatively little-known today. The composition of the present sheet is close to that of the final painting, which likewise shows Apollo holding a statue of the Three Graces in one hand and his bow in the other, while the winged Chronos is accompanied by an hourglass and a scythe. That Gandolfi had initially planned the fresco as a vertical composition, however, is seen in another extant study for it; a pen and ink drawing, of similar dimensions, in the Schloss Fachsenfeld collection in Stuttgart2. A third pen and ink study of Chronos and Apollo, also vertical in orientation and with the positions of the protagonists reversed from the Stuttgart drawing, is in the Szépmüvészeti Múzeum in Budapest3.

Two further works by Gandolfi may be tentatively related to the Palazzo Bovio Silvestri ceiling. A pen and ink drawing of a standing Apollo with attendant putti, in a private collection in Bologna4, may be a first idea for the same figure in the fresco. The same is true of a small circular oil sketch modello depicting Apollo seated in clouds, in the Pinacoteca Nazionale in Bologna5, which has also been connected with the Chronos and Apollo ceiling.

Lent by the Contessa Giovanna Bentivoglio Gilli, a descendant of the noble Bentivoglio family that had served as the de facto rulers of Bologna in the 15th and early 16th centuries, the present sheet was included in the Mostra del Settecento Bolognese, a seminal exhibition of Emilian art held in Bologna in 1935.

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18 GIOVANNI DAVID Cabella Ligure 1749-1790 Genoa The Stoning of Saint Stephen Pen and grey ink and grey and brown wash, heightened with white and touches of yellow, over an underdrawing in black chalk, on paper washed brown, within a fictive drawn mount with a border in black ink. Inscribed Martirio di So. Stefano in pencil in the lower left margin.

341 x 241 mm. (13 1/2 x 9 1/2 in.) [image] 410 x 252 mm. (16 1/8 x 9 7/8 in.) [sheet] PROVENANCE: Probably Giacomo Durazzo, Genoa, and thence by family descent until the Durazzo sale, Stuttgart, H. G. Gutekunst, 19 November 1872 onwards, as part of lot 4195 (‘156 Bl. Bleistiftszeichnungen, Aquarelle etc. von Giovanni David…Schöne Sammlung.’); Marvin S. Sadik, Falmouth, Maine; Anonymous sale, London, Christie’s, 5 July 1994, lot 61; P. & D. Colnaghi, London, in 1995; Private collection.

LITERATURE: Carmen Bambach and Nadine Orenstein, Genoa: Drawings and Prints, 1530-1800, exhibition catalogue, New York, 1996, p.55, under no.61; Mary Newcome Schleier and Giovanni Grasso, Giovanni David: Pittore e incisore della famiglia Durazzo, Turin, 2003, pp.28-29, no.D8, p.30, under no.D9, and p.32, under no.D10; Clifford S. Ackley, ‘The Intuitive Eye: Drawings and Paintings from the Collection of Horace Wood Brock’, in Horace Wood Brock, Martin P. Levy and Clifford S. Ackley, Splendor and Elegance: European Decorative Arts and Drawings from the Horace Wood Brock Collection, exhibition catalogue, Boston, 2009, p.99 and p.157, no.127, illustrated p.126; Linda WolkSimon and Carmen C. Bambach, An Italian Journey. Drawings from the Tobey Collection: Correggio to Tiepolo, exhibition catalogue, New York, 2010, p.228, note 8, under no.72.

EXHIBITED: New York and London, Colnaghi, Master Drawings, 1995, no.39; Stanford University, Cantor Center for Visual Arts, Classic Taste: Drawings and Decorative Arts from the Collection of Horace Brock, March-May, 2000; Boston, Museum of Fine Arts, Splendor and Elegance: European Decorative Arts and Drawings from the Horace Wood Brock Collection, 2009, no.127.

Only a handful of paintings, frescoes and drawings survive from the brief career of Giovanni David, a Genoese artist succinctly described by his biographer Federico Alizeri as ‘with few known works, a bizarre style, and an obscure, almost mysterious life’1. David studied with Domenico Corvi in Rome in the early 1770s, assisting him in such works as the fresco decoration of the Palazzo Borghese, and winning a first prize at the Accademia di San Luca in 1775. He spent some time in Naples and Venice before returning to Genoa at the end of the 1770s. There he entered the service of the Genoese count Giacomo Durazzo, who had earlier sponsored David’s artistic training and who was to be his protector and chief patron throughout his career. Indeed, David was the artist-in-residence for the Durazzo family for much of his life. He executed a number of paintings for Genoese churches, including Santa Maria in Carmine, the convent of Santa Maria in Rifugio and Santa Maria delle Vigne, although little remains of one of his last major projects, the decoration of the Genoese church of Sant’Agnese.

Although he worked mainly in Genoa, where he lived in the Palazzo Durazzo, David also spent some time in Venice between 1775 and 1776, when he produced a large number of prints of allegorical, literary and genre subjects, as well as reproductive etchings after the work of earlier artists, including Andrea Mantegna, Jacopo Bellini and Giulio Romano. Many of his prints seem to have been commissioned

by Giacomo Durazzo, or were dedicated to him. It was also during his brief stay in Venice that David worked as a scene painter at the theatre of La Fenice, probably at the instigation of Durazzo.

Back in Genoa, David received one of his most important secular public commissions, for two lunette paintings for the Sala del Maggior Consiglio of the Palazzo Ducale, completed in 1780. He is known to have travelled to France, the Low Countries and England between September 1785 and October

1786; a trip recorded in a pair of albums containing around 180 topographical drawings which were at one time in the collection of the 19th century Genoese sculptor Santo Varni and are today in the Royal Library at Windsor Castle. One of David’s final projects was the design of a catafalque in honour of Carlo III de’Bourbon, erected in the Genoese church of San Lorenzo in 1789, a year before the artist’s death at the relatively young age of forty-one.

Apart from the contents of the two albums at Windsor Castle, relatively few drawings by Giovanni David are known today, numbering only around forty sheets in total. Many of his surviving drawings are highly finished works and are a testament to the creative powers of the artist, whose drawings, as the scholar Mary Newcome Schleier has noted, are characterized by ‘strong contrasts of light and dark and areas of intricate detail. Whether he sketched components of his compositions with free, circular lines, or minutely described them with colored wash and white heightening, David succeeded in formulating some of the most complex, imaginative scenes to be found in Genoese art in the late eighteenth century.’2 This drawing is a preparatory study, with several differences, for the large altarpiece - commissioned by Giacomo Durazzo and bearing the arms of the Durazzo family – placed on the high altar in the parish church of Santo Stefano in Larvego, north of Genoa3. Dated 1777, the painting of The Stoning of Saint Stephen (fig.1) was commissioned from Giovanni David as part of the reconstruction of the church, financed by Giacomo’s brother Marcello Durazzo, that had begun in 1772, following the damage caused during the Austrian siege of Genoa in 1747. The Stoning of Saint Stephen is David’s first recorded work in Genoa and Liguria, and the present sheet is thus significant as one of the few securely datable drawings by this fascinating artist.

The first owner of this drawing was in all likelihood David’s patron Count Giacomo (or Jacopo) Durazzo (1717-1794), a noted diplomat and one of the most important print collectors of the 18th century, who served as both the Genoese ambassador at the court of Vienna and the Austrian ambassador in Venice.

That a large number of David’s drawings once belonged to Durazzo is demonstrated by the fact that 156 drawings and watercolours (and possibly prints) by the artist, with this drawing probably among them, were included in the posthumous sale of Durazzo’s collection, held in Stuttgart in November 1872.

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19 FRANÇOIS-ANDRÉ VINCENT Paris 1746-1816 Paris The Head of a Young Man Looking Upwards Red chalk and red wash. Signed Vincent in brown ink at the lower right.

159 x 146 mm. (6 1/4 x 5 3/4 in.) [sheet] PROVENANCE: Anonymous sale, Paris, Hôtel Drouot [Piasa], 17 December 1999, lot 89; Pierre Durand, New York.

LITERATURE: Jean-Pierre Cuzin, François-André Vincent 1746-1816 entre Fragonard et David, Paris, 2013, p.435, p.435, no.381 D (as location unknown), where dated c.1780-1782.

The son of a Protestant miniaturist painter from Geneva who had settled in Paris in 1745, FrançoisAndré Vincent became a pupil of Joseph-Marie Vien around 1760. He studied at the Académie Royale and won the Prix de Rome in 1768, spending three years at the École Royale des Elèves Protégés before travelling to Rome in 1771. Vincent was a pensionnaire at the Académie de France for four years, during which he accompanied Jean-Honoré Fragonard and the financier Pierre-Jacques-Onésyme Bergeret de Grancourt on a trip to Naples. He produced a large variety of drawings in Italy, including landscapes, studies of peasant types and caricatures. He returned to France in 1775 and two years later exhibited an important group of fifteen paintings at the Salon, including a full-length portrait of Bergeret, painted in Rome. Vincent’s first great success came at the Salon of 1779, where he exhibited a scene from modern French history, President Molé and the Insurgents.

By the time of his acceptance into the Académie in 1782, Vincent had established a reputation as one of the leading history painters in Paris. He participated regularly at the Salons, although many of the paintings and drawings he exhibited there have since been lost. Between 1783 and 1785 he designed a series of Gobelins tapestries depicting scenes from the life of Henry IV, while during the 1790s he painted a number of fine portraits. Vincent became a member of the Institut in 1795, and in 1800 married the portrait painter Adélaïde Labille-Guiard, although she died just three years later.

Commissioned by Napoleon in 1800 to paint an enormous canvas depicting The Battle of the Pyramids, Vincent dedicated most of his energies over the next six years to completing the project, although ill health prevented him from doing so. In the last years of his career he began losing his sight, and devoted most of his time to portraits and drawings.

Vincent was a prolific and versatile draughtsman, and produced a large number of drawings, ranging from landscapes, history subjects and copies after the antique to head studies and caricatures of his fellow artists. His early style as a draughtsman, particularly during his years as a pensionnaire in Rome, often comes close to that of Fragonard, with whom his drawings have at times been confused, although his later drawings tend towards Neoclassicism and Romanticism. The fact that Vincent worked in a range of disparate styles and techniques throughout his career has meant that drawings by him have often borne attributions to artists as diverse as Fragonard, Jacques-Louis David and Théodore Géricault.

On stylistic grounds, the head in this drawing can be related to similar heads in two history paintings by Vincent; The Intervention of the Sabine Women, signed and dated 1781, in the Musée des Beaux-Arts in Angers1, and a lost Achilles, Aided by Vulcan, Combatting the River Gods Xanthe and Simois2, commissioned

by Louis XVI in 1782 and completed the following year, but destroyed in a fire in 19013. Although the exact head in this drawing does not appear in either painting, Jean-Pierre Cuzin has nevertheless suggested that the present sheet may be dated to about the same period, between 1780 and 1782.

The signature on this drawing is close to that found on a number of letters written by Vincent4, as well as on a pair of drawings of Diana and Actaeon and Venus and Adonis, each signed and dated 1778, in the Metropolitan Museum of Art in New York5.

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20 GIUSEPPE CADES Rome 1750-1799 Rome Sheet of Studies of Reclining Male Nudes Pen and brown ink, with framing lines in brown ink. Laid down on an early 19th century mount.

Inscribed School of Michael Angelo and Rugby School Art Museum / e dono Matt: H: Bloxam in brown ink on the mount.

310 x 218 mm. (12 1/4 x 8 1/2 in.)

PROVENANCE: Matthew H. Bloxam, Rugby, Warwickshire; Presented by him to Rugby School, Rugby, Warwickshire, probably between 1879 and 1888.

Giuseppe Cades enjoyed a highly successful, if relatively brief, career as one of the leading history painters and decorators in Rome in the last quarter of the 18th century. A pupil of Domenico Corvi at the Accademia di San Luca, he was a precocious student with a particular talent as a draughtsman, and some of his earliest drawings are dated 1762 and 1763, when he was barely a teenager. At the age of sixteen he won the first prize in a drawing competition at the Accademia with a large red chalk drawing of Tobit Curing His Father’s Blindness. Part of his artistic training was to make drawn copies after Renaissance masters, a practice he continued in his maturity. Expelled from Corvi’s studio in 1766 because of his stubborn and independent nature, Cades abandoned formal academic training and gravitated toward the community of French, Scandinavian and German artists then working in Rome - centered around the painters Johan Tobias Sergel and Johann Heinrich Fuseli - whose work was to have a strong influence on his own. The Cades scholar Maria Teresa Caracciolo has noted that ‘It was among these northern artists, outside the academic climate and even at odds with it, that Cades as a young man seems to have become aware of the possibilities open to him through challenging the classical rules and reverting to the Mannerist form, but in a daring and modern way, where quality and intensity of expression were concerned.’1 During the first decade of his independent career, between 1770 and 1780, much of Cades’s work took the form of large, highly finished drawings of classical subjects, which he produced as autonomous works of art for sale to collectors. However, the artist soon established a successful career as a painter, earning his first official commission in 1774 with an altarpiece for a church in Piedmont, while his first significant work in Rome was a painting of The Ecstasy of Saint Joseph of Cupertino in the church of Santi Apostoli, painted in 1777. A brief trip to northern Italy, via Emilia and Parma to Venice, at the beginning of the 1780s added further influences to his style. Cades’s later religious works included numerous altarpieces for churches in Rome and elsewhere in Italy, particularly in the late 1780s and 1790s, and among the most important of these were five large paintings for the monastery of San Francesco in Fabriano, painted between 1787 and 1790. He was also in great demand as a decorative history painter, and one of his significant public commissions was the decoration of the Sala di Musica of the Palazzo Senatorio in 1779, executed in collaboration with the architect Giacomo Quarenghi.

Cades worked in several Roman palaces, notably the Villa Borghese, the Palazzo Altieri and the Palazzo Ruspoli, as well as at the Palazzo Chigi in Ariccia.

Cades maintained a lifelong interest in the works of Michelangelo, and made a handful of freely drawn copies of works by the master. (As Anthony Clark has noted, ‘Cades is known to have been interested in Michelangelo from the mid-sixties and to have done drawings in his style.’2) An early drawing by the artist, datable to the 1770s, this sheet of studies of male nudes is inspired by similar figures in the work of Michelangelo, in particular his tomb sculptures in the Medici Chapel in the church of San Lorenzo in Florence and the so-called Ignudi on the ceiling of the Sistine Chapel in Rome. The present sheet may be likened to a drawing by Cades of various studies after figures in Michelangelo’s Sistine Chapel frescoes, in the Kupferstichkabinett in Berlin3, while a stylistic comparison may also be made with a sheet of studies of Achilles(?) and other figures, formerly in the collection of Roberto Franchi in Bologna4.

The attribution of this drawing to Cades has recently been confirmed by Maria Teresa Carracciolo.

21 GIUSEPPE CADES Rome 1750-1799 Rome The Virgin and Child on a Plinth Supported by Angels, with Saint Michael and other Saints Below Pen and brown ink and brown wash, with framing lines in brown ink. Laid down on an early 19th century mount. Signed and dated Giuseppe Cades f. 1780 in brown ink at the upper left. Inscribed Rugby School Art Museum / e dono Matt: H: Bloxam in brown ink on the mount.

310 x 218 mm. (12 1/4 x 8 1/2 in.)

PROVENANCE: Matthew H. Bloxam, Rugby, Warwickshire; Presented by him to Rugby School, Rugby, Warwickshire, probably between 1879 and 1888.

Although he enjoyed a highly successful career, counting among his patrons the Empress Catherine the Great of Russia and the royal courts of Spain and Portugal, Cades’s membership in the Roman Accademia di San Luca was continually blocked by his former teacher Domenico Corvi, and it was not until 1786 that he was admitted into the institution. The last decade of his career was occupied with his participation in the activities of the Accademia. Cades died, still at the height of his powers, at the relatively young age of forty-nine.

Signed and dated 1780, the present sheet cannot be related to any extant painting by Cades, although a preparatory sketch by the artist for the same composition, rapidly drawn in pen and ink (fig.1), is in the Musée des Tissus et des Arts Décoratifs in Lyon1. This drawing can be compared, in stylistic terms, with such works of the same period as a drawing of The Virgin and Child with Two Saints, signed and dated 1779, in the Philadelphia Museum of Art2. The comments of Maria Teresa Caracciolo on the Philadelphia drawing are equally relevant to the present sheet: ‘This sheet clearly shows the evolution of Cades’s style as a draughtsman towards the end of the 1770s: the pen is now his preferred means of defining form with a fine and nervous line, alternating perfect rigour (in the drawing of architecture) with freer and more capricious effects in the hair and drapery. Highlights in a light wash discreetly emphasize the shadows and volumes. The stiffness of line of the adolescent drawings, the exuberance and excesses of modelli based on ancient history now seem to be outdated in favour of a new balance between a classicizing composition and a graphic style still largely dependent on a Mannerist example (Roman and Bolognese), whose firm, supple lines construct elegant and finished forms.’3

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22 GIUSEPPE CADES Rome 1750-1799 Rome Christ on the Cross, with the Virgin, Saint John and Saint Mary Magdalene Pen and grey ink and brown wash, with framing lines in brown ink. Laid down on an early 19th century mount. Inscribed Rugby School Art Museum / e dono Matt: H: Bloxam in brown ink on the mount.

298 x 196 mm. (11 3/4 x 7 7/8 in.)

PROVENANCE: Matthew H. Bloxam, Rugby, Warwickshire; Presented by him to Rugby School, Rugby, Warwickshire, probably between 1879 and 1888.

Giuseppe Cades was among the most gifted and distinctive artists of late 18th century in Italy. As one scholar has noted, ‘Cades turned heads with his seemingly effortless ability to paint and draw in every style from Neo-Mannerist to Baroque to Romantic, revealing along the way his inspiration from Raphael and the Roman High Renaissance, Giulio Romano and Mannerism, Veronese and the Venetians, Rubens and Van Dyck, and Guercino.’1 Fluent in black and red chalk, pastel, pen, wash and watercolour, Cades was at heart as much a draughtsman as a painter, and from very early in his career was greatly admired for his drawings. As a young artist in the early 1770s he seems to have supported himself through the sale of his drawings, particularly those in imitation of the work of the Old Masters. As the scholar Anthony Clark has opined of Cades, ‘From the beginning his great facility as a draughtsman was obvious, and also from the beginning he was able to produce drawings imitating the old masters which were said to be good enough to fool the best experts…And it is probable that he sold more drawings than any other living Roman.’2 A significant number of Cades’s drawings were made as independent works of art, and even in his later, more successful years, he continued to produce highly finished drawings of original compositions, which were avidly collected by foreign visitors to Rome. Important groups of drawings by the artist are today in the collections of the Museu Nacional de Arte Antiga in Lisbon (which owns an album of 126 drawings by the artist that once belonged to the Portuguese painter Domingos António de Sequeira), the Kupferstichkabinett in Berlin, the Szépmüvészeti Múzeum in Budapest, the Hermitage in St. Petersburg and the Philadelphia Museum of Art. Drawn in Cades’s later and more finished Neoclassical manner, this fine drawing remains unrelated to any known painting by the artist and may have been intended as a finished work in its own right. A large and stylistically analogous drawing of The Virgin Immaculate with the Christ Child, datable to the late 1780s, is in the Metropolitan Museum of Art in New York3, while another comparable drawing of a Bishop Saint Blessing, likewise datable to the end of the 1780s or the beginning of the 1790s, was on the art market in Rome in 19904.

Together with the previous two drawings, the present sheet was one of six drawings by Giuseppe Cades at one time in the collection of the 19th century antiquary and architectural historian Matthew Holbeche Bloxam (1805-1888), of Rugby in Warwickshire. (Each of the Cades drawings in the Bloxam collection were laid down on identical mounts, and it has been suggested that they may have been acquired together as a group, possibly from the artist’s studio estate or from one of his descendants.)

Like his father before him, Bloxam had studied at Rugby School, of which he remained a devoted supporter throughout his life. When the school’s Art Museum opened in 1879, Bloxam began donating individual drawings from his collection to the museum on a yearly basis, often on his birthday.

23 CARLO ALBERTO BARATTA Genoa 1754-1815 Genoa The Presentation of the Virgin Pen and brown ink and grey wash, extensively heightened with white gouache, over an underdrawing in black chalk, on paper washed blue-green. Drawn within a fictive mount, with framing lines in black chalk and brown ink. Inscribed Carlo Baratta in brown ink in the centre of the lower margin.

386 x 209 mm. (15 1/4 x 8 1/4 in.) [image] 416 x 272 mm. (16 3/8 x 10 3/4 in.) [sheet] PROVENANCE: Santo Varni, Genoa; Probably his posthumous sale (‘Collezione del defunto Comm.

Santo Varni di Genova’), Genoa, Villino Varni, 14 November 1887 onwards, probably as part of lots 1055 (‘Cartella contenente trentasette disegni, di Carlo Baratta.’) or 1056 (‘Cartella contenente cinquantanove disegni, dello stesso.’); Anonymous sale, Milan, Finarte, 21 April 1975, lot 242; Private collection, London; Flavia Ormond, London; Acquired from her in June 1994 by John O’Brien, Charles Town, West Virginia (Lugt 4230), his handwritten collector’s mark O’ in pencil on the verso.

LITERATURE: Mary Newcome Schleier, ‘Several drawings and paintings by Baratta, the last gasp of the Genoese baroque’, Paragone, September 2013, pp.58-59, pl.42a; Florence, Romano Fine Art, A Selection of Master Drawings, exhibition catalogue, 2020, unpaginated, under no.14.

One of the last exponents of the Genoese Baroque tradition, Carlo Alberto Baratta was active as a fresco painter and stage designer, and was also a prolific and gifted draughtsman and engraver. Born into a wealthy Genoese family, he was initially self-taught as an artist but completed his studies at the Accademia Ligustica di Belle Arti in Genoa. There he copied the prints and drawings of an earlier generation of Genoese artists, and by 1771 had won three prizes at the Scuola del Disegno. (Baratta also received training as a printmaker with the architect Emanuele Andrea Tagliafichi.) His early career was as a scenographer, working in collaboration with his brother Antonio, and together they created set designs for the Teatro di Sant’Agostino in Genoa, as well as for the private theatre of the Villa Brignole Sale at Voltri.

Much of Baratta’s finest work as a painter can be dated to the 1780s and 1790s. These include a fresco, now destroyed, of The Triumph of Columbus with Allegories of the Arts and Sciences, painted in 1785 for the ceiling in the Palazzo Brignole Sale, now the Palazzo Rosso. Also lost is a ceiling fresco in the now-destroyed Genoese church of Santa Maria della Pace, executed around 1796, which was much praised by the 19th century Genoese biographer and art historian Federigo Alizeri. Other significant works by Baratta include an Education of the Virgin in the Capuchin monastery in Voltaggio, while he also completed some paintings begun by the artist Giovanni David in the Genoese church of Santa Maria del Carmine. Between 1804 and 1805 he decorated the choir of the Duomo at Chiavari, a work notable for its vibrant colour that is generally regarded as his masterpiece. Unlike some of his contemporaries, Baratta does not seem to have travelled outside Liguria, and spent his entire career in Genoa. His work represents the final flourish of the local Baroque tradition that was first established in the late 16th century. As the scholar Mary Newcome Schleier has written, ‘The slashing brushstrokes, high contrasts of light, and dramatic naturalism of Baratta…brought a sputtering close to the dark manner that had begun the whole Genoese baroque movement.’1 The same writer has further noted that, ‘Of the Genoese artists working in Liguria at the end of the 18th century, Carlo Alberto Baratta was the most prolific draftsman and perhaps the most versatile.’2 Baratta was particularly well known for his pen drawings, which are usually finished compositions on coloured paper that display a liberal application of white heightening. As Federigo Alizeri noted of the artist, ‘The

drawings of Baratta are mostly shaded with bistre and heightened with white on a blue background, with strong chiaroscuro effects and a determined touch that obviate any desire for the colours or diligence of paintings in oil.’3 Alizeri adds that several drawings by Baratta were in the collections of the Genoese collectors Santo Varni and the Marchese Durazzo; those of the latter are now in the print room of the Palazzo Rosso in Genoa. Other drawings by the artist are today in museums in Florence, London, New York, Weimar and Worms, as well as in several private collections.

Like his paintings, Baratta’s drawings, as Mary Newcome has pointed out, ‘are memorable for their whipping brushstroke and strong lighting effects…[his] beautiful drawings have overshadowed his paintings and been considered separate from them. In fact, his finished drawings have been considered complete in themselves.’4 She adds that almost none of the artist’s drawings can be related to his paintings, and that the present sheet is therefore a very rare example of a preparatory study by Baratta. The composition of this large sheet, ‘drawn seemingly effortlessly with the tip of the brush’5, is repeated in a highly finished oil sketch by Baratta (fig.1), today in a private chapel in the Villa Gropallo dello Zerbino in Genoa6.

Both works in turn may be regarded as preparatory studies, albeit with several significant differences, for the artist’s much larger altarpiece of The Presentation of the Virgin (fig.2) in the presbytery of the parish church of Santa Maria Assunta in Camogli7, a coastal town a few kilometres east of Genoa. The Camogli painting may be dated to the late 1780s or very early 1790s, which would seem appropriate for the present sheet as well. Among stylistically comparable drawings by Baratta is a study of a priest kneeling before a seated pope, in the Musée des Beaux-Arts in Orléans8.

The present sheet was one of a large number of drawings by Baratta in the collection of the 19th century Genoese sculptor Santo Varni (1807-1885), as noted by Alizeri. Varni assembled an important collection of over four thousand drawings, mainly by artists from Genoa and Liguria, which was dispersed at two auctions in 1887. The collection included around a hundred drawings by Carlo Alberto Baratta and eighty by his son Francesco, and Varni is likely to have acquired the drawings directly from the Baratta family9.

1

2

24 FILIPPO PEDRINI Bologna 1763-1856 Bologna Study for a Ceiling Decoration, with Juno and her Nymphs Pen and brown ink and watercolour, over traces of an underdrawing in black chalk, with framing lines in brown ink. The sheet extended at the left and right edges, probably by the artist, and laid down.

267 mm. (10 1/2 in.) diameter.

PROVENANCE: Trinity Fine Art and Compagnie des Beaux-Arts, London, in 1990; Gerald E. Rupp, New York.

EXHIBITED: London, Trinity Fine Art and Compagnie des Beaux-Arts at Harari and Johns, An Exhibition of Italian Old Master Drawings 1500-1800, 1990, no.46.

The son and pupil of the painter Domenico Pedrini, Filippo Pedrini studied at the Accademia Clementina in Bologna, where he was taught by both Ubaldo and Gaetano Gandolfi. Pedrini’s own style as both a painter and draughtsman remained indebted to the example of the Gandolfi throughout his career, and he was to carry the Bolognese late Baroque manner well into the 19th century. Pedrini was, in effect, the last of the ‘Gandolfiani’; those Bolognese artists who, like his father Domenico, were taught and influenced by the Gandolfi brothers. Filippo’s first works were two paintings of Saint Barbara and Saint Thomas Aquinas for the Bolognese church of San Bartolomeo, executed in 1779, possibly in collaboration with his father. He continued to be active in Bologna for the remainder of his career, establishing a particular reputation as a fresco painter, and in 1790 was admitted into the Accademia Clementina.

The last decade of the 18th century and the beginning of the 19th century found Pedrini painting a series of important mural cycles for numerous private aristocratic palaces in Bologna, including the palazzi Pallavicini and Tanari and the Villa Aldovrandi Mazzacurati, although his most important work in this vein was arguably the decoration of the Palazzo Hercolani, frescoed with mythological subjects of gods and nymphs. Pedrini also worked in the Palazzo Comunale in Bologna, where he completed frescoes of An Allegory of Victory and The Muses, while in 1802 he painted a Christ Nailed to the Cross as part of a cycle of the Stations of the Cross for the parish church of Santo Stefano in Bazzano, west of the city. Other paintings by Pedrini are to be found today in several Bolognese churches, including San Pietro Capofiume and San Paolo in Monte, as well as in the cemetery of the Certosa of Bologna.

Admitted into the Accademia Pontifica in Rome in 1821, Pedrini enjoyed an unusually long career, dying at the age of ninety-three.

The 18th century Bolognese writer and biographer Marcello Oretti noted of Filippo Pedrini that he had a particular talent for drawing, and that he often copied the paintings of the Gandolfi1. This may explain why his drawings, like those of his father, have often been mistaken for the work of the brothers Gandolfi, particularly Ubaldo. Pedrini’s later drawings, however, show a trend towards Neoclassicism, and display an awareness of the work of his slightly older contemporary, Felice Giani.

The present sheet would appear to be a study for a now-lost ceiling painting or fresco for one of the various palaces in Bologna that Pedrini decorated, and for which he was best known. It may be dated to approximately the same time as Pedrini’s mythological ceiling frescoes in the Palazzo Hercolani in Bologna2, where he worked in the early years of the 19th century. In medium, technique and handling, this drawing may be likened to a study of The Apotheosis of Venus(?) in a private collection in Venice3, which is in turn a preparatory study for an easel painting by Pedrini in a private collection4.

Also stylistically comparable is an ink and watercolour study of Venus and the Hours in the Museo Davia Bargellini in Bologna5. A winged figure similar to that seen at the top of the present composition appears in a drawing of The Apotheosis of Hercules recently sold at auction6, as well as in a study of The Muse Clio Crowned by Fame in the Schloss Fachsenfeld collection in Stuttgart7.

25 THÉODORE GÉRICAULT Rouen 1791-1824 Paris Recto: A Horseman in a Landscape Verso: The Battle of Landshut, after Louis Hersent Pen and brown ink and brown wash, with touches of watercolour and gouache, over an underdrawing in black chalk, and with partial framing lines in brown ink. Inscribed attaque du Pont de Landshut in pencil in the left margin. Small made-up areas at the upper and lower left corners, and upper centre edge.

253 x 316 mm. (10 x 12 1/2 in.) [sheet] PROVENANCE: Eudoxe Marcille, Paris; By descent to the Chevrier-Marcille collection, Paris, by 1924; Thence by descent.

LITERATURE: Charles Clément, ‘Catalogue de l’oeuvre de Géricault’, Gazette des Beaux-Arts, October 1867, pp.354-355, no.4 (‘Attaque de la Ville de Landshut (21 avril 1809), d’après le tableau de Hersent au musée de Versailles – Dessin à la sepia et à l’encre de Chine, avec quelques teintes à l’aquarelle. – Au verso: cavalier vêtu d’un habit rouge et d’un pantalon jaune, monté sur un cheval bai au gallop. Fond de paysage. – Ce dessin pourrait être la copie d’une composition de Carle Vernet. – Aquarelle. – A M. Eudoxe Marcille. H., 250. – L., 315 mill.’), where dated between 1810 and 1816; Charles Clément, Géricault: Étude biographique et critique, avec le catalogue raisonné de l’oeuvre du maitre, Paris, 1879, pp.327-328, no.4 (where dated between 1810 and 1812) [also reprint ed. Eitner, Paris, 1973, p.461, no.4]; Lorenz E. A. Eitner, Gericault: His Life and Work, London, 1983, p.22, p.325, note 50; Germain Bazin, Théodore Géricault: Étude critique, documents et catalogue raisonné. Vol.II – L’oeuvre: Période de formation: Étude critique et catalogue raisonné, Paris, 1987, pp.262-263, p.358, nos.110-111; AnneMarie de Brem, Louis Hersent 1777-1860, exhibition catalogue, Paris, 1993-1994, p.40, under no.21.

EXHIBITED: Paris, Galerie Jean Charpentier, Exposition Géricault, 1924, no.7.

This early double-sided drawing by Théodore Géricault may be dated to around 1810, the same year that the young artist left the studio of Carle Vernet for that of Pierre-Narcisse Guérin. While the recto of the sheet may be counted among the artist’s earliest watercolour landscapes, the verso is a free copy after Louis Hersent’s painting of The Battle of Landshut (fig.1), which was exhibited at the Salon of 1810 and is today at Versailles1.

The Salon of 1810 was also the venue of the Decennial Competition, established by Napoleon to exhibit and reward the finest French history paintings of the previous ten years. All of this would have provided a young artist such as Géricault with much to be inspired by. As the scholar Lorenz Eitner has noted, ‘A scattering of drawings, perhaps the remnants of a sketchbook started in about 1810, records Géricault’s early impressions of the modern history painting of the time. A number of them are copied from pictures exhibited at the Salon of 1810: Girodet’s Revolt in Cairo, Hersent’s Attack on Landshut, and Gros’s Battle of the Pyramids (of which he also painted a copy in oil) and Surrender of Madrid. The drawings are dashingly executed in strong pen strokes, washed with bold spots of sepia. Their confident, individual manner gives no hint of Guérin’s influence…In these fairly casual works we catch the first glimpses of a personal manner, still rather uncontrolled but free of doubt or hesitation, and driven by an excess of energy that causes his pen to race across the paper in wild loops and flourishes.’2 As the same scholar further notes, ‘The versos of several of these drawings contain sketches of horsemen in the manner of Carle Vernet.’3 The Battle of Landshut took place in the Bavarian town of that name, on the banks of the Isar river, on the 21st of April 1809. It was fought between Napoleon’s army of French and German soldiers, numbering around 77,000 troops, against a much smaller Austrian force of some 36,000 men.

Although the Austrians fought bravely, they were pushed back to the southern of the two bridges spanning the river. They set fire to the bridge to stop Napoleon’s troops crossing, but rainfall over the previous days meant that they were only partially successful in destroying the structure. Napoleon

recto

ordered his aide-de-camp, General Georges Mouton, who was later to become the Comte de Lobau, to cross the still-burning bridge with grenadiers and attack the Austrians at the far end. Facing heavy fire from the Austrian forces, Mouton ordered his men to storm the far end of the bridge, running at speed without stopping to fire their muskets, and thus overwhelmed the defenders. Praising Mouton’s capture of the bridge at Landshut, Napoleon – making a pun on the general’s surname – is reported to have exclaimed ‘My sheep is a lion!’

As the Géricault scholar Germain Bazin has written of the present sheet, ‘It is understandable that our artist, looking for subjects to inspire him, should have been interested in the Capture of Landshut, an episode set on the 21st of April 1808 [sic] and showing the dazzling action of General Mouton, the Emperor’s aidede-camp, who, at the head of the grenadiers of the 17th de Ligne (Morand division), rushed under a deluge of gunfire over the great bridge in flames that spanned the main branch of the Isar. The slightly muddy wash of this watercolour painting, which is in fact very clear, could give the impression of a nocturnal episode; the brushwork is heavy, the figures are puppets; on the back is a Horseman Galloping Through a Forest ‘which could be a copy of a composition by Carle Vernet’, according to Clément; the horse is made of iron, the rider of wood, and the latter gallops between theatre flats intended to represent a forest.’4 As well as the painting by Hersent, Géricault made similar pen and wash copies of several other history paintings shown at the Salon of 1810, including Anne-Louis Girodet’s The Revolt at Cairo and Baron Gros’s The Surrender of Madrid; both drawings by Géricault are today in the Musée Bonnat-Helleu in Bayonne5, and are stylistically similar to the present sheet. While Géricault may well have made his freely drawn copies directly from the paintings shown at the Salon of 1810, he could also have based his works on reproductive engravings, as Eitner has suggested.

This watercolour was in the collection of the 19th century French painter, curator and patron Eudoxe Marcille (1814-1890), and has since remained with his descendants until recently. A pupil of Eugène Devéria, Marcille served as director of the Musée d’Orléans and president of the Société des Amis des Arts in the 1870s. Both his father François-Martial Marcille and younger brother Camille Marcille were likewise noted collectors6.

1

verso

26 JOHN LINNELL London 1792-1882 Redhill Southampton from the River near Netley Abbey, Hampshire Pen and brown ink and watercolour, on a double-page spread of a sketchbook. Signed, inscribed and dated Southampton J Linnell 1819 in brown ink at the lower centre.

162 x 491 mm. (6 3/8 x 19 3/8 in.)

PROVENANCE: Sir Lawrence Burnett Gowing, London, by 19681; Thence by descent.

LITERATURE: Frederick Cummings and Allen Staley, Romantic Art in Britain: Paintings and Drawings 1760-1860, exhibition catalogue, Detroit and Philadelphia, 1968, p.238, under no.157; Paris, Petit Palais, La peinture romantique anglaise et les préraphaélites, exhibition catalogue, 1972, p.165, under no.164.

John Linnell first exhibited at the Royal Academy in 1807, at the age of fifteen, and in 1809 won a landscape prize at the British Institution. Between 1813 and 1820 he exhibited at the Old WaterColour Society, but although he applied for admission to the Royal Academy every year from 1821 onwards, he was always unsuccessful, and eventually gave up trying in 18412. While he established his reputation as a portrait painter, as he noted in an unpublished memoir, ‘portraits I painted to live, but I lived to paint poetical landscape.’3 From the late 1840s onwards Linnell concentrated on landscapes, eventually becoming the most successful landscape painter in England following the death of Turner.

Linnell visited the port city of Southampton in September and October of 1819, and produced several studies of the landscape around Southampton Water and the Itchen and Test rivers. Drawn on the double-page spread of one of the artist’s early sketchbooks, this sunset view was, some years later, used as a reference study for a small oil painting (fig.1) commissioned from Linnell by the Southampton collector Chambers Hall in 18254. The vibrant hues of sunset in the finished painting delighted Hall; as he wrote to Linnell, ‘You have indeed realised ideas which I had long cherished of a most magnificent effect of nature, the interest in which is heightened to me from the circumstance of locality…My real ambition is now the Itchen Ferry (morning) as a companion to the sunset.’5 Hall commissioned a second canvas from Linnell, The Ferry of Itchen, also painted in 1825.

As the Linnell scholar Katherine Crouan has noted, ‘The skill and power which Linnell brought to his landscape studies from 1811 resulted in a plein air freshness, the most convincing local colour, a remarkable handling of sunlight and shade, and an ability to convey the expanse of landscape through the sum of its minute particulars…Long after many of his contemporaries had retreated to their studios after a brief bout of plein airism early in the century, Linnell continued to paint in oil out of doors…With rare exceptions, Linnell never parted with his studies in oil or watercolour, and he didn’t sell them. They were the raw material for his painting, essential for their documentary value but not in themselves art…However, although Linnell thought of his most intensely naturalistic work as merely factual information about nature, to be re-organised into a personal statement, the sketches he made between 1811 and 1819 take naturalism to the level of a visionary intensity…the sketches Linnell made from 1811 to 1820 provided [him] with material for a lifetime’s work.’6

1

27 JOSEPH MALLORD WILLIAM TURNER RA London 1775-1851 London The Grand Bridge at Blenheim Palace, Oxfordshire Watercolour on wove paper.

301 x 464 mm. (11 7/8 x 18 1/4 in.)

PROVENANCE: Possibly David Croal Thomson, London; Possibly Percy Moore Turner, London and Paris; Sir William Arthur Colgate, London and Bembridge, Isle of Wight; Spink & Son Ltd., London (as The Dark Bridge); Philip Cunliffe-Lister, 1st Earl of Swinton, London and Swinton Park, North Yorkshire; Thence by descent.

LITERATURE: Andrew Wilton, The Life and Work of J. M. W. Turner, Fribourg and London, 1979, p.380, no.694 (as ‘A bridge between trees (the Dark Bridge)’, where dated c.1820.

Beginning around 1810 and continuing for much of the next two decades, J. M. W. Turner worked on several series of finished landscape watercolours for printer-publishers to reproduce as etchings. These were published as themed collections of prints, with titles such as Views in Sussex, Picturesque Views of the Southern Coast of England, The Rivers of England, Marine Views, The Ports of England and Picturesque Views in England and Wales. As has been noted by the scholar Eric Shanes, ‘Turner created probably the most skilled and expressive watercolours in the history of the medium, and many of them were made to be subsequently reproduced as engravings in series, either with an accompanying letterpress or in book form, and often surveying the scenery of particular countries, regions or locales.’1 Arguably the most significant of these projects was a series of one hundred watercolours – ninety-six of which were published by the engraver Charles Heath as Picturesque Views in England and Wales – on which Turner worked between 1824 and 1838. The finished watercolours for the Picturesque Views in England and Wales series represent perhaps the finest topographical works of the artist’s career. As the Turner scholar Andrew Wilton has noted of the group, which was originally intended to number one hundred and twenty watercolours, ‘there is almost nothing in English art to compare with them for universality and compassion. To the extent that the England and Wales series, taken as a whole, exhibits Turner’s humanity at its broadest and subtlest, it is the central document of his art, and the most complete expression of a profound theme in the history of landscape.’2 As might be expected, Turner produced a significant number of working studies and sketches, in both pencil and watercolour, for each of the finished Picturesque Views in England and Wales compositions.

1

While on a tour of the Midlands between August and October of 1830, to collect new material for the Picturesque Views in England and Wales, Turner visited Blenheim Palace in Oxfordshire, the seat of the Dukes of Marlborough. In his ‘Kenilworth Sketchbook’, now part of the Turner Bequest at Tate Britain3, he recorded in pencil studies the architecture of the Palace, built to the designs of Sir John Vanbrugh between 1705 and 1722, as well as the surrounding park and gardens later designed by Lancelot ‘Capability’ Brown. As Shanes has described Turner’s usual practice, ‘The artist rarely painted out-ofdoors, for in the time it took him to create one watercolour in the open-air he could make several in his studio. Usually he would select a line drawing of a subject that he might have made in one of his sketchbooks many years before, a sketch or study that almost invariably contained no indications of lighting, weather or staffage, thus leaving his imagination to invent such details or supply them from memory.’4 Turner was particularly struck by the 18th century Grand Bridge at Blenheim, built by Vanbrugh in 1708, which was more than 120 metres in length and some fifteen metres tall, with a central arch thirty metres wide5.

This large watercolour by Turner depicts Blenheim Palace and its grounds with the Grand Bridge, seen from the Woodstock Gate, the main entrance to the park. Two other so-called ‘colour beginnings’ of Blenheim, both in the Turner Bequest at the Tate, also depict the house and its grounds. One of these (fig.1)6 is quite close in composition to both the finished watercolour and the present sheet, while the other sketch shows the park at Blenheim from a different viewpoint, looking southeast, across the lake7. Both works share with the present sheet a great sense of freedom and a summery palette.

Upon his return to London, Turner began to consider possible compositions for a large watercolour of Blenheim and its surroundings. This eventually resulted in the finished watercolour of Blenheim Palace and Park, Oxfordshire (fig.2), painted in the late autumn and winter of 1830-1831 and today in the collection of the Birmingham Museum and Art Gallery8. The large, completed watercolour of Blenheim Palace and Park was exhibited, along with nearly eighty other watercolours for the Picturesque Views in England and Wales, in London in June and July of 1833. The same view was engraved by William Radclyffe as part of the project, and was published in 18339.

The present sheet may be grouped with a large number of rapidly drawn watercolours by Turner that have been defined, by Alexander Finberg in his 1909 inventory of the Turner Bequest at the Tate, as ‘Colour Beginnings’. Finberg was referring to a miscellaneous group of 386 watercolours in the Turner Bequest – including numerous colour sketches, as well as preparatory studies, test sheets, and finished and unfinished watercolours – spanning a period of more than thirty years of the artist’s career. Two such ‘colour beginnings’, both today in the Whitworth Art Gallery at the University of Manchester10, are very close to the present sheet in style and handling, as well as size, and must be of the same date.

Ian Warrell has further suggested that a watercolour of Dumbarton Rock, West Scotland, recently sold at auction in London11, may be part of the same group.

2

28 ALFRED DE DREUX Paris 1810-1860 Paris A Horse and Rider with a Hound Watercolour and gouache, laid down. Signed and dated Alfred Dedreux / 1832 in red ink at the lower right.

213 x 186 mm. (8 3/8 x 7 1/4 in.)

PROVENANCE: Alexis Rouart, Paris, with his red wax seal (Lugt 4899) on the backing board; Michel Bivort, Paris; Private collection.

As a youth, Alfred De Dreux was taken by his uncle, the painter Pierre-Joseph Dedreux-Dorcy, on frequent visits to the studio of his friend Théodore Géricault. The important and formative influence of Géricault on the young De Dreux can be seen not only in the Romantic nature of his early paintings, but also his lifelong fascination with equestrian subjects. After studying with Léon Cogniet, De Dreux exhibited two paintings – a Cheval sautant un fossé and an Intérieur d’écurie – at the Salon of 1831, to much acclaim. In 1833 he was commissioned to paint an equestrian portrait of the Duc d’Orléans, and by the following year was already being described by one critic as, together with Carle Vernet, ‘le meilleur peintre de chevaux de l’époque romantique.’1 In 1840 he began a series of paintings entitled Portraits de chevaux, which included several depictions of horses owned by the Duc d’Orléans.

De Dreux reached the height of his fashionable success during the reigns of Louis-Philippe and Napoleon III, and even won a commission from Queen Victoria, whom he painted riding in Windsor Park alongside the French King. (He also met Victoria’s favourite painter, Sir Edwin Landseer, who inspired him to paint dogs.) His fame was further enhanced by the lithographs after his works which were published in France, Germany, England and America. Following the abdication of Louis-Philippe in 1848, De Dreux accompanied him into exile in England. He eventually returned to France, but visited London often in later years. He received several commissions from members of the English aristocracy, for whom his paintings reflected their passion for horses, hounds and hunting. De Dreux continued to paint equestrian portraits, hunting and racing scenes throughout the Second Empire; many of these were exhibited at the Paris Salons, as well as at the Exposition Universelle of 1855. His death in 1859 remains somewhat mysterious, but was apparently the result of a duel fought over the price of a painting.

De Dreux’s depictions of horses were much admired by his contemporaries, who saw him as the natural heir to Géricault. As one critic noted in 1834, a painting of a horse by De Dreux ‘would perhaps support the comparison, in terms of its energy, its verve and its truth, with the horses of Géricault.’2 In later years, Edgar Degas is known to have copied prints of horses by both De Dreux and Géricault in preparation for his own racetrack paintings.

A splendid, fresh example of Alfred De Dreux’s watercolour technique, the present sheet is unrelated to any surviving oil painting by the artist, and is likely to have been produced as a finished work of art for a collector. The first known owner of this watercolour was the noted 19th century French collector Alexis Hubert Rouart (1839-1911), who assembled a choice group of lithographs, paintings, drawings and watercolours, including numerous works by such artists of the Romantic period as Eugène Delacroix, François-Marius Granet, Eugène Isabey, Camille Roqueplan and others3. This drawing was later in the collection of the French auctioneer Michel Bivort (1904-1989).

29 JAMES HOLLAND OWS Burslem 1799-1870 London A Wooded River Landscape, Wales Pencil and watercolour, heightened with bodycolour, on buff paper. Signed with monogram JH in pencil at the lower left. Signed again with initials and dated JH 16th. Octr. 1850 in pencil at the centre right.

375 x 528 mm. (14 3/4 x 20 3/4 in.)

PROVENANCE: Martyn Gregory, London, in 1988.

EXHIBITED: London, Martyn Gregory, An Exhibition of Early English Watercolours and Drawings, 1988, no.69.

Born in Staffordshire, James Holland was apprenticed as a painter in a factory in Stoke-on-Trent at the age of twelve, painting flowers on pottery. In 1819 he settled in London, where he continued to work as a pottery painter and also produced watercolours of natural history subjects for sale to dealers and collectors. By 1824 he had a floral still life painting exhibited at the Royal Academy, and although he continued to work as a flower painter for much of his career, it was at around this time that he also started to work on landscape subjects. At the beginning of the 1830s he began to travel extensively around Europe, and soon established a reputation for paintings and watercolours of Continental views, and in particular for depictions of Venice. Holland made his first visit to Venice in 1835 and had a lifelong fascination with the architecture of the city. He returned to Venice at least eighteen times and exhibited Venetian subjects throughout his life.

Holland made several tours of the Continent and, apart from Italy, travelled to France, Portugal, Switzerland, Austria and the Netherlands. He joined the Old Water-Colour Society as an Associate in 1835, and exhibited nearly two hundred works there over the course of his career. In the first edition of his book Modern Painters, published in 1843, the critic John Ruskin noted that ‘I have seen, some seven years ago, works by J. Holland, which were, I think, as near perfection as water-colour can be carried – for bona fide truth, refined and finished to the highest degree.’1 While Holland’s watercolours of the 1830s show the particular influence of Richard Parkes Bonington, by the following decade his style had become looser, and he began to produce works extensively heightened with bodycolour. He exhibited regularly at the Royal Academy, showing both paintings and watercolours, as well as at the Society of Painters in Water-Colours, the British Institution and the Society of British Artists. As the novelist William Makepeace Thackeray, writing in 1850, noted, ‘Mr. Holland is alike skilled in oil and water-colour painting; and the amateur has long ere this admired, on the walls of our exhibitions, his rich and luminous colouring…The painter claims, as a right, to take his place in any gallery of English landscape.’2 Similarly, as an early biographer noted of Holland, ‘Most precious of his gifts was that love for rich colour which became more intense as he grew older. This feeling for colour is a remarkable characteristic of the English school during the early and mid-nineteenth century.’3 A few months after his death in 1870, the contents of Holland’s studio were dispersed at auction.

Dated the 16th of October 1850, the present sheet was done during Holland’s 1850 tour of North Wales, when the artist is known to have visited the villages of Betws-y-Coed and Bedgellert in Snowdonia. A large watercolour by Holland of a wooded valley in North Wales, of similar dimensions to the present sheet and dated the day before, appeared at auction in 19994.

30 THÉODORE CHASSÉRIAU El Limón (Santo Domingo) 1819-1856 Paris Portrait of a Woman in a Head Scarf Charcoal and white chalk on laid paper. A made-up section at the lower left. Stamped with the posthumous Chassériau atelier sale stamp (Lugt 443) at the lower right.

447 x 295 mm. (17 5/8 x 11 5/8 in.)

PROVENANCE: Probably the Chassériau atelier sale, Paris, Hôtel Drouot [Pouchet], 16-17 March 1857 [lot unidentified]; Shepherd Gallery, New York, by 1984; Anonymous sale, Paris, Hôtel Drouot, 27 November 1987, lot 2 (as a portrait of the artist’s sister); Galerie Schmit, Paris, in 1988; Robert and Nadine Schmit, Paris; Thence by descent.

LITERATURE: Louis-Antoine Prat, Cahiers du dessin français. Théodore Chassériau 1819-1856: Dessins conservés en dehors du Louvre, Paris, 1988, p.27, no.203 (not illustrated).

EXHIBITED: New York, Shepherd Gallery, French Nineteenth Century Paintings, Drawings, Pastels and Watercolors, Spring 1984, no.40; New York, Shepherd Gallery, Twenty Nineteenth Century Works of Art: Paintings, Drawings and Sculpture, 1986, no.9; Paris, Galerie Schmit, Maîtres français: XIXe-XXe siècles, 1988, no.16 (titled Portrait de la sœur de l’artiste, and with provenance from the Cantacuzène family, Paris).

Although he died at the age of only thirty-six, Théodore Chassériau enjoyed a successful and somewhat controversial career. Born in the Caribbean to a French father and Creole mother in Santo Domingo (now the Dominican Republic), he moved with his family to Paris in 1822, at the age of three, and was raised largely by his eldest brother Frédéric. At the age of eleven or twelve he was admitted as a pupil into the studio of Jean-Auguste-Dominique Ingres, a period of instruction that ended in 1834 when Ingres left for Rome to become director of the Académie de France. Two years later, in 1836, Chassériau made his debut at the Salon, exhibiting two paintings which won him a third-class medal.

He continued to exhibit regularly at the annual Salons, although his paintings were not always accepted by the juries. Portraits and religious subjects made up much of his output, the latter including a number of major decorative commissions for churches in Paris and elsewhere.

The most significant public commission of Chassériau’s career, however, was secular in nature; the mural decoration of the staircase of the Cour de Comptes in the old Palais d’Orsay in Paris, begun in 1844 and completed in 1848. Painted entirely without the aid of assistants, the fifteen large panels that made up the decoration amounted to the most substantial mural project undertaken by a French artist up to that time and earned Chassériau the sum of thirty thousand francs. Almost the entire decorative scheme of the Cour de Comptes was, however, largely destroyed by a fire during the Commune of 1871, and only fragments survive today. Later public commissions included the decoration of the apse of the church of Saint-Philippe-du-Roule, completed in 1855, and the baptismal chapel of Saint Roch.

Chassériau was a gifted and prolific draughtsman, producing numerous preparatory studies for each of his works as well as finished portrait drawings. Apart from a group of 152 drawings sold at auction in Paris in 1857, the bulk of the drawings from Chassériau’s studio, numbering over 2,200 individual sheets and thirty-seven sketchbooks, were retained in the family of the artist for over seventy years, before being presented to the Louvre in 1934.

This powerful late drawing is a preparatory study for the head of the woman kneeling behind the Virgin in Chassériau’s The Descent from the Cross (fig.1), painted between 1852 and 1855 in the apse of the Parisian church of Saint-Philippe-du-Roule1. Commissioned from Chassériau in February 1852 by the Ministry of the Interior, The Descent from the Cross was planned as a large mural hemicycle

composition. A finished maquette for the work is in Musée des Beaux-Arts de la Ville de Paris at the Petit Palais in Paris2, while an early preparatory oil sketch for the composition is in the Musée d’Orsay in Paris3. Several preparatory drawings by Chassériau for other figures in this monumental hemicycle composition are known. This large drawing may also have served as a study for the head of the Virgin in Chasseriau’s easel picture of The Adoration of the Magi, signed and dated 1856, which is today also in the collection of the Petit Palais4.

The present sheet is known in two autograph versions, although the other drawn version of this head is somewhat less finished and shows much less of the sitter’s clothing5. As Louis-Antoine Prat has noted, it is rare to find two drawings by Chassériau of the same subject or sitter; only six or seven examples are known, including portrait drawings of the artist’s brother Ernest and favourite model Marie Cantacuzène.

As the 19th century writer and art critic Théophile Gautier noted of the women in the artist’s paintings, ‘The only modern aspect of Chassériau’s heads are the eyes, imbued with a dreamy fixity or drowned in a nostalgic languor…these figures, with their dull serenity and disdainful passivity, are reminiscent of the beautiful Greek slaves captive at the court of some barbarian king…’6 While the model for the present sheet was previously identified as one of Chassériau’s two sisters Adèle or Aline, it is more likely to have been his close friend and muse, Marie Cantacuzène (1820-1898), a Romanian princess whom the artist first met around 1854 or 1855, when he lived near her on the Avenue Frochot in Paris. Born Maria Cantacuzino in 1820 in Horodnitzeni in Moldavia, she had arrived in Paris in 1850, and was estranged from her second husband, Prince Alexander Kantakuzen (from the Russian branch of her family), whom she had married in 1839. Gallicizing her name, she settled happily in Paris, despite the strong disapproval of her family in Romania.

Princess Marie Cantacuzène was to model for a number of Chassériau’s paintings. The artist’s great biographer, Léonce Bénédite, noted that ‘the feeling which Chassériau might have had for Princess Cantacuzène had no resemblance to those which he had for other women…The princess is not a beautiful woman, but she has a very interesting physiognomy with her heavy hair arranged in bandeaux nodules, her lovely sweet and serious eyes, her small fresh and lovely mouth, her elongated and thin face, her pensive air, the distinction of her whole figure and her slightly melancholic grace. What Chassériau found in her… and what explains his true adoration, is a soul.’7 It was through Chassériau that, in 1856, Marie Cantacuzène met the painter Pierre Puvis de Chavannes. The two were to become lifetime companions, eventually marrying in 1897, when both were in their seventies. As she had with Chassériau, Marie Cantacuzène posed often for figures in paintings by Puvis de Chavannes.

1

31 ALFRED DEHODENCQ Paris 1822-1882 Paris Portrait of the Artist’s Sons Pen and brown ink and brown wash. Laid down.

197 x 298 mm. (7 3/4 x 11 3/4 in.)

PROVENANCE: Sieferheld and Co., New York; Christian Humann, New York and Paris; His posthumous sale, New York, Sotheby’s, 12 June 1982, lot 162; Patrick Roger-Binet, Paris; Robert Flynn Johnson, San Francisco.

LITERATURE: Robert Flynn Johnson, Contemplating Character: Portrait Drawings and Oil Sketches from Jacques-Louis David to Lucian Freud, exhibition catalogue, Oakland, 2018, p.75, no.71.

EXHIBITED: Cambridge, Massachusetts, Fogg Art Museum, in 1934 (on loan); Coral Gables, Lowe Art Museum, and elsewhere, Contemplating Character: Portrait Drawings and Oil Sketches from JacquesLouis David to Lucian Freud, 2015-2023, no.71.

The French Orientalist painter Edme Alexis Alfred Dehodencq entered the atelier of Léon Cogniet at the École des Beaux-Arts in Paris in 1839, at the age of sixteen, and made his Salon debut five years later. During the next few years he continued to exhibit paintings, mainly of Biblical subjects, at the Salons. Wounded in his right arm during the February Revolution of 1848 – which led him to paint mainly with his left hand for the remainder of his career – Dehodencq was sent to convalesce in the Pyrenées. From there he travelled south to Madrid in 1849. The artist was to spend most of the next fifteen years in Spain, working in Madrid, Seville and Cadiz, and producing paintings and drawings of scenes from Spanish life, including a scene of a bullfight that was greatly admired when it was exhibited in Paris in the winter of 1850. In 1854 he visited Morocco for the first time, and the following year his painting of A Jewish Concert at the Palace of the Moroccan Qaid was shown at the Exposition Universelle in Paris. Dehodencq became the first Western artist to work extensively in Morocco, and for a while divided his time between Cadiz and Tangiers. A number of his genre scenes, depicting life in the Arab and Jewish communities of Morocco, were sent to Paris to be shown at the annual Salons. In 1863 Dehodencq returned with his family to France, where he continued to paint exotic Moroccan subjects.

Despite his early successes, and his admittance to the Legion of Honour in 1870, Dehodencq’s last years were spent in obscurity and ill health. He died, by his own hand, in January 1882. The artist left a large group of drawings, many of which are now in the Louvre and the Musée des Beaux-Arts in Lille.

Alfred Dehodencq married Maria Amelia Calderon in Cadiz in 1857, and they had five children, three of whom died young. The artist, who delighted in depicting children in his genre paintings, produced a number of charming paintings and drawings of his own children. As his close friend and biographer Gabriel Séailles recalled, ‘He loved his children passionately, with a jealous, almost tyrannical affection; he couldn’t let them out of his sight; he always wanted them close to him; he drew and painted them incessantly; there wasn’t a child whose portrait he didn’t paint more than ten times.’1 Among other drawings by Dehodencq of his children are a depiction of his son Edmond in the act of drawing2, a study of three of the Dehodencq children also engaged in drawing3, and a pastel portrait of his beloved daughter Marie4 - all of which were in the collection of the painter’s son Alfred in 1910 – as well as a sketch of The Family of the Artist which once belonged to Séailles5. A watercolour portrait sketch of Edmond is in a private American collection6, while a small pastel portrait of him reading appeared at auction in 20197. The culmination of Dehodencq’s depictions of his family is found in the finished painting Interior (The Children of the Artist) of 18728.

The elder of the two boys depicted here is probably Edmond Dehodencq (1860-1887), who was also a painter and trained with his father, but died at the age of twenty-seven. The younger boy at the right is likely to be the artist’s second son, Alfred Dehodencq fils.

32 FRANÇOIS BONVIN Vaugirard 1817-1887 Saint Germain-en-Laye A Pewter Coffee Pot Pen and black ink and black wash. Stamped f. Bonvin in blue ink at the lower left.

140 x 78 mm. (5 1/2 x 3 in.)

PROVENANCE: Anonymous sale, Saint-Germain-en-Laye, SGL Enchères [Schmitz Laurent], 9 June 2013, lot 63; Talabardon & Gautier, Paris.

A student at the École de Dessin in Paris between 1828 and 1830, François Bonvin had to abandon his studies to begin work as a typesetter and printer. His earliest known works date from the late 1830s, by which time Bonvin was also employed as a police clerk. He eventually returned to his studies at the Ecole de Dessin – a school geared primarily towards the decorative arts – and in 1843 began attending life-drawing classes at the Académie Suisse. Around this time he met the painter FrançoisMarius Granet, who encouraged him to study 17th century Dutch and Flemish painting as a way of refining his approach to genre subjects. Perhaps through the support of Granet, who was on the jury, Bonvin made his Salon debut in 1847, and he continued to show there until 1880, earning a modest reputation as a painter of genre subjects, interior scenes and still lifes.

Bonvin rose to become one of the leaders of a group of Realist painters in 19th century France who found inspiration in subjects and scenes taken from contemporary urban life. Many of the models for his drawings and paintings were habitués of the inn owned by his father in Vaugirard. In 1859 a number of his paintings were accepted for exhibition at the Salon, though Realist works by such friends and colleagues as Henri Fantin-Latour, Alphonse Legros, Théodule Ribot and James McNeill Whistler were rejected. As a result, Bonvin invited these artists to exhibit their works at his studio, known as the Atelier Flamand, an offer repeated after the Salon of 1863. Later that year his wife left him, and Bonvin found it difficult to concentrate on his paintings, preferring instead to make numerous drawings. In his final years he grew blind and suffered from paralysis. Although a retrospective exhibition of his work was held in 1886, followed a few months later by a benefit auction intended to raise funds for a pension for the artist, Bonvin died in impoverished circumstances in 1887.

François Bonvin’s modern reputation rests largely on his drawings. His first dated works on paper were executed in 1845 and 1846, while he still worked as a civil servant. At this time he would exhibit his drawings informally under the arcades of the Institut de France, and it was there that he met his first significant patron, Laurent Laperlier, who began collecting his drawings in 1846. As the artist was later to recall, ‘My usual price was 12 francs for 8 watercolour drawings. M. Laperlier only collected my drawings, preferring them over anything else, and hardly a week passed without me pocketing my 12 francs.’1 An accomplished still life painter, Bonvin preferred to depict humble household or kitchen objects in a manner inspired by the example of the 18th century painter Jean Siméon Chardin, whose work he greatly admired. A visitor to Bonvin’s studio noted that ‘When you penetrate into the interior, you think you have been transported into another world: furniture in rough wood, clay pitchers, copper cauldrons, frying pans – objects of all kinds were littered across the floor in the midst of vegetables and baskets of fruits: these were the artist’s props.’2 In the last decade of his life, beset by poor health, Bonvin began to focus in particular on small-scale still life subjects, which he could do in the comfort of his home.

Bonvin produced a handful of etchings, and the present sheet may have been a design for an unrealized print.

actual size

33 JOHN SINGER SARGENT RA Florence 1856-1925 London A Young Boy Lying on a Cushion Watercolour on buff paper. Signed and dedicated a mon ami Subercaseaux / John S. Sargent. in brown ink at the upper centre and upper left.

246 x 330 mm. (9 3/4 x 13 in.) [sheet] PROVENANCE: Presented by the artist to Ramón Subercaseaux, Paris; By descent to his grandson, Gabriel Valdés Subercaseaux, Santiago and New York, until 1963; His sale, London, Christie’s, 26 April 1963, lot 108 (bt. Fitch); Private collection, Italy.

LITERATURE: Richard Ormond and Elaine Kilmurray, John Singer Sargent: The Early Portraits. Complete Paintings, Volume I, New Haven and London, 1998, p.92, under no.86; Richard Ormond and Elaine Kilmurray, John Singer Sargent: Figures and Landscapes, 1874-1882. Complete Paintings, Volume IV, New Haven and London, 2006, p.385, p.422, no.836 (where dated c.1880-1881).

The son of an expatriate American couple, John Singer Sargent received his initial artistic training at art schools in Florence, Dresden and Berlin before settling in 1874 in Paris, where he studied with the society portraitist Emile Carolus-Duran. Sargent was to establish his independent career in Paris, and enjoyed some early success at the annual Salons while befriending such artists as Albert Besnard, Giovanni Boldini, Paul-César Helleu and Claude Monet. Fluent in four languages, he moved easily in social, literary and artistic circles in Paris, earning commissions from such patrons as the Subercaseaux and Errazuriz families, South American socialites and collectors living in Paris. Stung by the scandal caused by his painting Madame X at the Salon of 1884 and the resulting decline in portrait commissions in Paris, Sargent moved to London in 1886. Between 1887 and 1890 he made two long trips to New York and Boston, obtaining commissions for paintings and portraits and for murals for the new Boston Library. By 1890 Sargent had become firmly established as a society painter in London, working from a studio in Chelsea. In 1894 he was elected an Associate member of the Royal Academy in London, becoming a full Academician three years later. In the early years of the new century he began to make annual trips to the Continent, visiting Switzerland, Italy and Spain, as well as sometimes venturing further afield; to Syria and Palestine in 1905, for example. During these trips Sargent produced a large number of paintings and watercolours of landscapes, figures and genre subjects.

Despite his reputation as arguably the most fashionable portrait painter in Edwardian England, Sargent made the radical decision to abandon all commissioned portraiture in 1907, at the age of fifty-one, in favour of landscape paintings and mural projects. Towards the end of the First World War he visited the Western Front as a war artist, an experience which resulted in a monumental canvas of soldiers injured by poison gas, completed in 1919 and today in the Imperial War Museum in London. After the war, much of Sargent’s time was spent completing a number of mural projects in the city of Boston; for the Boston Public Library, the Widener Memorial Library at Harvard and the Museum of Fine Arts; the latter were completed just a few weeks before his death in 1925.

Sargent produced numerous vibrant watercolours throughout his long career and exhibited them in public as early as the Salon of 1881, when he showed two watercolours of Venetian subjects. Several watercolours were included in his first one-man exhibition in London, held at the Carfax Gallery in 1903, and the following year he began sending works to the annual exhibitions of the Royal Society of Painters in Water-Colours. Four exhibitions of Sargent’s watercolours were held in his lifetime; two at the Carfax Gallery in London in 1905 and 1908 and two at the Knoedler Gallery in New York in 1909 and 19121. Apart from some museum purchases, however, and a number of works given away as gifts, most of Sargent’s watercolours remained in his studio at the time of his death.

A relatively early work by the artist, drawn in Venice, this watercolour is listed as untraced in Richard Ormond and Elaine Kilmurray’s magisterial catalogue raisonné of Sargent’s oeuvre. The artist visited Venice numerous times over a period of more than forty years. He had a lifelong love affair with the city on the lagoon, of which he produced numerous watercolours and paintings, particularly in the early 1880s and from the late 1890s through to the first decade of the 20th century.

The present sheet may be dated to a period of some six months that Sargent spent in Venice between September 1880 and March 1881, when he rented a studio in the Ca’ Rezzonico on the Grand Canal.

He was joined there by several friends and fellow artists, including the Chilean collector and amateur painter Ramón Subercaseaux, to whom the present sheet is dedicated. As Richard Ormond has noted of Sargent’s Venetian works of the early 1880s, ‘he painted a sequence of pictures that portray working people, as he had earlier painted the gypsy troupes in Spain, and fisher folk in Brittany. His Venetian pictures…are quite different in mood and style from the picturesque scenes of Venetian life painted by his contemporaries.’2 In similar vein, Ormond’s fellow Sargent scholar Elaine Kilmurray has pointed out of the artist that ‘His Venetian models move through the city’s moody, dilapidated spaces with aloof and elegant grace. In drawing the day-to-day lives of young working-class men and women in a colloquial idiom, he creates a subfusc vision that is strikingly different from the imagery of contemporary Venetian genre painting.’3 Sargent produced around twenty watercolours in Venice during his two visits to the city in the early 1880s; first in the winter of 1880-1881 and again in the summer and autumn of 1882. Of the present watercolour, it has been noted by Ormond and Kilmurray that ‘This intimate study of a young boy resting, with lips parted, is similar to other heads of Venetian models…Assuming that Venice is the location, it is probable that the boy is a local inhabitant rather than the son of one of the artist’s friends.’4 Referring to the working-class models in Sargent’s Venetian paintings executed between 1880 and 1882, Ormond has further noted ‘a spirit of sensual indolence that some people at the time might have found provocative’5, coupled with ‘an air of mystery, sensuality and even decadence...Several were painted in watercolour, and they combine directness of imagery with economy of means.’6 Among stylistically comparable watercolour studies of individual figures from this early Venetian period is a Head of a Venetian Model in a private collection7 and an unfinished study of a Mother and Child, dated 18818.

This drawing bears the artist’s dedication to his friend, the wealthy Chilean politician, diplomat and amateur painter Ramón Subercaseaux Vicuña (1854-1937). Subercaseaux served as the Chilean consul in Paris from 1874 onwards, and in 1880 commissioned Sargent to paint a full-length portrait of his wife Amalia Errázuriz Subercaseaux9, which won the artist a second-class medal at the Paris Salon the following year. Ramón Subercaseaux joined Sargent in Venice in the winter of 1880, and during this period Sargent painted two portraits of him; a painting of Subercaseaux sketching in a gondola, now in the Dixon Gallery and Gardens in Memphis, Tennessee10, and a small unfinished head and shoulders oil sketch, today in the St. Louis Art Museum in Missouri11. The present sheet was inherited

by Subercaseaux’s grandson, Gabriel Valdés Subercaseaux (1919-2011), who served for many years as a Minister of Foreign Affairs and a senator in Chile and, upon his retirement from government, as the Chilean ambassador to Italy between 2006 and 2008.

34 EUGÈNE FREDRIK JANSSON Stockholm 1862-1915 Skara Winter Landscape Pastel on light brown paper. Signed Eugene jansson in pencil at the lower left.

315 x 685 mm. (12 3/8 x 27 in.) [image] 362 x 753 mm. (14 1/4 x 29 5/8 in.) [sheet] As a child, the Swedish painter Eugène Jansson suffered an attack of scarlet fever which left him with health issues, including poor eyesight and chronic kidney complaints, for the rest of his life. He trained as an artist in Stockholm, at both the Tekniska skolan (Technical School) and at the private art school run by the painter Edvard Perséus, before being admitted into the Royal Swedish Academy of Arts in 1881.

His earliest works were family portraits and still-life compositions. Unlike many of his fellow students, he lacked the financial resources to travel to Paris to complete his artistic education. In 1886 Jansson joined the newly-formed Swedish Artist’s Union, the Konstnärsförbundet, of which he became the secretary and with which he remained closely involved throughout his career. The artist, who lived in Stockholm all his life, developed a particular speciality of views of the city and its surroundings, often at night.

Jansson resided with his mother and brother in an apartment in the heights of Södermalm, the southern district of Stockholm, with a view over Riddarfjärden bay and the central part of the city beyond. Most of his paintings of the period between the early 1890s and 1904 were views over Riddarfjärden, seen from his home, or twilight street scenes in Södermalm, all characterized by a distinctive bluish tonality. (Indeed, Jansson was sometimes called the blåmåleren, ‘the blue painter’.) The influence of the Norwegian painter Edvard Munch, who was the subject of a major exhibition in Stockholm in 1894, is also evident in many of Jansson’s urban views. Among his patrons was the collector Ernest Thiel, who acquired several works and sponsored study trips to Paris in 1900 and to Italy and Germany in 1901.

Around 1904, however, Jansson confessed to a friend that he wanted to stop painting the nocturnal, atmospheric views of Stockholm that had dominated his output until then, and which had brought him some success. He gave up participating in exhibitions for a number of years, and in the last decade of his life moved away from landscape painting and began instead to produce portraits and figural works, mainly paintings of male nudes1. Jansson, who had always suffered from poor health, had taken up swimming and winter bathing, and he found new subjects for his paintings in the Swedish Navy’s cold-water bath houses on the island of Skeppsholmen in Stockholm. Using volunteer models from the Navy, he began producing large-scale canvases of young men exercising, performing gymnastics or lifting weights. Perhaps because of the nature of these male nude subjects, Jansson did not exhibit them in public until 1907. From 1911 onwards he maintained a studio near the military buildings in Skeppsholmen, and several of his paintings of athletic male nudes were exhibited at the Konstnärsförbundet during the Summer Olympics in Stockholm in 1912. Jansson died of a cerebral haemorrhage in 1915, and three years later a commemorative exhibition of his work was held at the Liljevalchs Konsthall in Stockholm. Although his work was best known for many years only in his native Sweden, recently Jansson’s oeuvre has come to wider international attention2, culminating in a monographic exhibition at the Musée d’Orsay in Paris in 1999.

Winter scenes appear often in the early work of Jansson, who was adept as a pastellist and used the medium to particularly fine effect in such atmospheric scenes as the present sheet. This large pastel landscape is likely to date from the late 1880s or the beginning of the 1890s, during the early part of the artist’s independent career. That Jansson’s pastel landscapes were admired is seen in the fact that King Oscar II of Sweden purchased one of them in 1891. After around 1894, however, Jansson seems to have worked much less in pastel, perhaps at the suggestion of his friend, the artist Karl Nordström, who encouraged him to focus on oil paintings instead of pastels.

A comparable pastel winter landscape by Jansson, of similar dimensions, has appeared in recent years at auction in Stockholm3.

35 PAUL CÉZANNE Aix-en-Provence 1839-1906 Aix-en-Provence Femme à la mante Watercolour and pencil on white wove paper. Inscribed La Mante in pencil on the verso.

477 x 315 mm. (18 3/4 x 12 3/8 in.)

Watermark: SAINTE-MARCEL LES ANNONNAY MONTGOLFIER. PROVENANCE: The estate of the artist; By inheritance to Paul Cézanne fils, Aix-en-Provence and Paris; Part of a large group of watercolours acquired from him on 11 March 1907 by Ambroise Vollard and the Galerie Bernheim-Jeune et Cie., Paris; Paul Cassirer, Berlin, in 1914; Possibly Marx collection, Paris; Anonymous sale, Paris, Hôtel Drouot [Bellier], 15 June 1938, lot 4; Dr. Jacques Soubies, Paris1; His posthumous sale, Paris, Hôtel Drouot [de Cagny & Ader], 13 December 1940, lot 3; René Gaffé, Brussels and Cagnes-sur-Mer2; Probably acquired from him by a private collection, France; Anonymous sale, Paris, Christie’s, 23 March 2017, lot 139; Private collection.

LITERATURE: Lionello Venturi, Cézanne: Son art – son oeuvre, Paris, 1936, Vol.I, p.276, no.1095, Vol.II, pl.317 (where dated 1895-1900); John Rewald, Paul Cézanne. The Watercolours: A Catalogue Raisonné, London and New York, 1983, p.178, no.383, illustrated fig.383 (where dated 1890-1895); Guy-Patrice and Floriane Dauberville, Cezanne: Paul Cezanne chez Bernheim-Jeune, Paris, 2020, Vol.I, p.95 (installation photograph as exhibited in 1914), p.126 (installation photograph as exhibited in 1931), Vol.II, pp.1092-1093, no.413; Walter Feilchenfeldt, Jayne Warman and David Nash, The Paintings, Watercolors and Drawings of Paul Cézanne: An Online Catalogue Raisonné [www.cezannecatalogue. com], no.FWN 1757 (where dated 1890-1895).

EXHIBITED: Paris, Galerie Bernheim-Jeune & Cie., Aquarelles & Pastels de Cézanne, H.-E. Cross, Degas, Jongkind, Camille Pissarro, K.-X. Roussel, Paul Signac, Vuillard, May 1909, no.2; London, Grafton Galleries, Second Post-Impressionist Exhibition, 1912, no.172; London, Grafton Galleries, Second Post-Impressionist Exhibition: Re-arrangement, January 1913, no.192; Brussels, La Libre Esthétique, Interprétations du Midi: Exposition de La Libre Esthétique à Bruxelles, 1913, no.53; Paris, Galerie Bernheim-Jeune & Cie., Exposition Cézanne, January 1914; Bremen, Kunsthalle Bremen, Internationale Ausstellung, February-March 1914, no.425; Dresden, Galerie Ernst Arnold, Französische Malerei des XIX. Jahrhunderts, April 1914, no.111; Berlin, Paul Cassirer, Cézanne-Ausstellung. Cézannes Werke in deutschem Privatbesitz: Gemälde, Aquarelle, Zeichnungen, November-December 1921, no.61; Berlin, Galerie Alfred Flechtheim, Cézanne, Aquarelle und Zeichnungen; Bronzen von Edgar Degas, May-June 1927, no.34 (‘La Mante’); Paris, Galerie Bernheim-Jeune & Cie., 6ème Rétrospective Cézanne, May 1931; Paris, Galerie Bernheim-Jeune & Cie., Quarante aquarelles par Cézanne, April – May 1938.

Paul Cézanne was one of the finest watercolourists of the 19th century, and over six hundred watercolours by him are known. Few of these watercolours can be related to his oil paintings, and most were not intended as studies for painted compositions but served primarily as a means of recording his impressions. As Christopher Lloyd has noted, ‘Cézanne seems to have favoured watercolour...as a viable alternative to painting, allowing for a more thorough and prolonged analysis of motifs. In fact, by the early 1880s Cézanne only very rarely used watercolour as part of the preparatory process and had instead begun to regard it as a medium in which he could capture the effects of nature more definitively than perhaps in his paintings.’3 Yet the artist himself seems not to have thought too much of his watercolours, as there are accounts of them strewn carelessly on the floor of his studio and, indeed, sometimes in the fields beyond.

A particular characteristic of Cézanne’s watercolours is the striking balance the artist was able to achieve between the pencil drawing itself, the delicate touches of translucent watercolour laid over this, and the

areas of the paper left in reserve, untouched by pencil or paintbrush. The artist applied watercolour to his drawings very thinly, achieving a transparency that allowed for no corrections or retouching, and underlining his sheer confidence in his handling of the medium. In the last part of Cézanne’s career, from around 1895 until his death in 1906, watercolour came to occupy more of his time, and the resulting landscapes and still life subjects of this period, as well as bather studies and a handful of portraits, are characterized by a noticeably more vibrant tonality.

Although a few of Cézanne’s watercolours were acquired during his lifetime by a handful of enlightened collectors, many of the artist’s larger, independent watercolours were only discovered among the contents of his studio after he had died. Nearly two hundred watercolours – including the present sheet – were acquired from the artist’s son by two Parisian dealers in 1907. That same year, a large exhibition of seventy-nine watercolours by the artist was mounted, to considerable acclaim, at galleries in Paris and Berlin.

While he is best known for his landscapes, still life subjects and bather compositions, Cézanne produced around 160 portraits out of a total painted oeuvre of slightly less than a thousand canvases. From his oeuvre of watercolours, however, only about twenty portraits are known, almost all of which were done late in his career. As one scholar has pointed out of the artist’s portraits in watercolours, ‘Striking in them is Cézanne’s reluctance to fully develop a face; all subjects are only vaguely characterized in their physiognomic details. He was just as interested in a jacket or a shirt; in any case, the accurate depiction of the features of a face was infinitely more suited to the qualities offered by drawing or oil painting than by the medium of watercolor...In all of the portraits, the subjects’ character is expressed by the reservation of their poses, by their surroundings, by their physical proportions, by their clothing…Once [his wife] Hortense and his son Paul were no longer available as before to serve as models for his countless drawings and paintings, the watercolorist in Aix preferred to rely on local field hands and farmers he had come to value as neighbours…

The more familiar with his models the painter was, the less he felt compelled to characterize them.’4 The sitter of Femme à la mante remains unidentified. As Lloyd has noted, ‘Many of the models chosen

by Cézanne in Aix-en-Provence during his final years were people who worked on the family property at the Jas de Bouffan before its sale in 1899. They are sometimes directly observed as portraits and at others deliberately posed for use in a narrative composition…Cézanne’s late portraiture, therefore, is dominated by those people in Provence with whom he felt most at ease and with whom he was in daily contact…the sitters are certainly not to be designated merely as types and mostly they defy classification. Rather, as with Vincent van Gogh, they reflect the artist’s respect for the dignity of his fellow human beings.’5 It has been noted that, unlike landscape studies, portrait drawings in watercolour on this large scale are rare in Cézanne’s late oeuvre.

The present sheet was one of a group of 187 watercolours acquired, for the sum of 62,000 francs, from Cézanne’s son in March 1907, less than six months after the artist’s death, by the art dealers Ambroise Vollard and Gaston and Josse Bernheim-Jeune. Later that same year the Bernheim-Jeune Gallery mounted the first large public exhibition of Cézanne’s watercolours in their Paris gallery. Femme à la mante was included in Bernheim-Jeune’s second exhibition of Cézanne watercolours two years later, in May 1909, and was later acquired for stock by the Berlin dealer Paul Cassirer, who, like the Bernheim-Jeunes in France, did much to promote the collecting of Cézanne’s watercolours in Germany.

36 LOUIS-ALBERT BESNARD Paris 1873-1962 Paris Sarah Bernhardt in the Role of Lorenzaccio Pencil, watercolour, brown wash and gouache. Signed Louis ABesnard. in pencil at the lower right centre.

109 x 205 mm. (4 1/4 x 8 1/8 in.)

PROVENANCE: Given by Sarah Bernhardt to her granddaughter, Simone Bernhardt-Gross, and pasted into an early 20th century album of photographs; By descent to Emmie Terka Reichenbach, née Gross; Thence by descent.

LITERATURE: Jean-Michel Charbonnier, ‘Grands rôles’, Connaissance des Arts. Sarah Bernhardt: Et la femme créa la star, 2023, illustrated p.34.

EXHIBITED: Paris, Petit Palais, Musée des Beaux-Arts de la Ville de Paris, Sarah Bernhardt: Et la femme créa la star, 2023.

Very little is known of Louis-Albert Besnard, who was the eldest son of the artist Paul-Albert Besnard (1849-1936), from his first, brief marriage to Ernestine Aubourg. Although recognized by his father, Louis does not seem to have been much involved in the family life of the elder Besnard after his second marriage, to Charlotte Dubray, in 1879. He does not appear in any of Paul-Albert Besnard’s family portraits of his four younger children, all of whom, like Louis-Albert, were active as artists. Louis-Albert Besnard is known to have exhibited his work in 1938 and 1939.

Born Henriette Rosine-Bernard, Sarah Bernhardt (1844-1922) was the most famous actress and celebrity of her age. As one recent author has commented, ‘no actress – not even Garbo – has ever attained such heights of fame. As early as 1883, a reliable witness, Emile Bergerat, ranked her, together 1 with Victor Hugo and Gambetta, as one of France’s three most illustrious citizens.’ ‘The Divine Sarah’, as she was known, loved to be surrounded by images of herself, and was in turn much admired by artists.

She posed for artists as diverse as Alfred Stevens (with whom she studied painting), Georges Clairin, Jules Bastien-Lepage, Louise Abbema, Alphonse Mucha, Edward Burne-Jones and William Graham Robertson; the last of these once noted of Bernhardt that ‘This strange dream-beauty was impossible to transfer to canvas; no portrait of her holds even the shadow of it.’2 The present sheet depicts Sarah Bernhardt in the title role in Alfred de Musset’s Romantic play Lorenzaccio, performed in Paris in 1896. Written in 1834, the play was meant to be read rather than performed, since – with thirty-nine scene changes and numerous characters – it was deemed too complicated to stage, and indeed no performances of the play occurred in Musset’s lifetime. Lorenzaccio was first staged in 1896 at Bernhardt’s Théâtre de la Renaissance in Paris, where she took on the lead role of Lorenzo de’ Medici. As the poet and writer Anatole France wrote of her performance, ‘She formed out of her own self a young man melancholic, full of poetry and of truth.’

At least two other drawn portraits of Bernhardt by Louis-Albert Besnard are known. A striking watercolour portrait, signed and dated 1894, was given by the artist to the sitter and is now in a private collection3, while a highly finished portrait in watercolour and gouache, dated 1896 and dedicated to Bernhardt’s daughter-in-law, Mme. Maurice Bernhardt, née Princess Maria-Teresa (‘Terka’) Jablonowska, is in a private collection in Paris4.

The present sheet was given by Bernhardt to her granddaughter, Simone Bernhardt-Gross (18891982), the daughter of her son and manager Maurice, and thence passed by descent to Simone’s daughter, Emmie Terka Reichenbach (b.1910).

37 CHARLES MAURIN Le Puy-en-Velay 1856-1914 Grasse The Sisters Black chalk and pastel, on paper laid down on board. Signed Ch. Maurin in pencil at the lower right.

Numbered 3 on a printed label pasted to the lower left corner.

524 x 444 mm. (20 5/8 x 17 1/2 in.) [sheet] Having won an art scholarship awarded annually by his hometown of Le Puy-en-Velay in southern France, Charles Maurin entered the École des Beaux-Arts in Paris in 1876, training in the studios of Jules Lefèbvre and Gustave Boulanger. He first exhibited at the Salon des Artistes Français in 1882, where he showed a pair of portraits, one of which gained an honourable mention. He made his debut at the Salon des Indépendants in 1887, showing a number of paintings, drawings and engravings that were admired by Edgar Degas, among others. Maurin worked in a variety of styles, the most distinctive being a sort of Symbolism evident in a range of allegorical subjects that he treated. He also had a lifelong interest in the depiction of the female nude, and produced a handful of splendid portraits of friends, patrons and fellow artists, including Georges Seurat and Rupert Carabin, as well as drawings and pastels of café, theatre and street scenes. Around 1885 he took up an appointment as a professor at the Académie Julian, where he met Félix Vallotton, who became a close friend. Another friend was Henri de Toulouse-Lautrec, with whom Maurin shared an exhibition in 1893 at the Galerie Boussod et Valadon in Paris. It was there that, at the urging of Degas, the collector Henry Laurent began to acquire Maurin’s work, eventually becoming the artist’s foremost patron and collector.

During the 1890s Maurin enjoyed a moderately successful career, with one-man shows with Ambroise Vollard in 1895 and Edmond Sagot in 1899. He received a commission from the State for a painting of Maternité; completed in 1893 and sent to the museum in Le Puy, the painting was soon regarded as one of the artist’s finest works. The previous year he had taken part in the inaugural Salon de la Rose + Croix, where he showed one of his largest paintings, a monumental triptych entitled L’Aurore, and he also contributed to the Salons de la Rose + Croix of 1895 and 1897. Maurin painted a series of large decorative panels of Tragedy, Dance and Music for the foyer of the municipal theatre in Le Puy in 1893, while for Sarah Bernhardt he designed sets and costumes for Edmond Rostand’s La Princess Lointaine in 1895. He exhibited with Le Libre Esthétique in Brussels in 1896 and 1897, and at the Exhibition of International Art in London in 1898.

A man of firm anarchist leanings, Maurin produced illustrations for the radical journal Le Temps nouveau, and published portrait prints of the French anarchists Louise Michel and Ravachol. In 1895 he was also commissioned to provide illustrations for the art and literary journal La Revue Blanche. After 1900, however, Maurin’s output declined considerably, partly due to ill health, and the last years of his life were spent in Brittany and Provence, where he died in obscurity. His work was largely forgotten after his death, although a retrospective exhibition was held at the Galerie Bernheim-Jeune in Paris in 1921, while a monograph on his work was published the following year. Although a significant collection of Maurin’s work is today in the collection of the Musée Crozatier in Le Puy-en-Velay, his paintings and drawings remain little represented in museums outside France.

As a draughtsman, Maurin was equally adept in pastel, chalk and pencil. His work was highly regarded by critics, collectors and fellow artists, and his drawings were particularly esteemed by Degas, who compared Maurin’s draughtsmanship to that of his own great hero, Ingres. An innovative artist, he invented a method of using an atomizer to spray pigment onto the surface of the paper to create what he termed ‘peintures au vaporisateur’; large, atmospheric watercolour landscapes of great subtlety and beauty. Maurin is perhaps best known today, however, as a gifted and prolific printmaker, and played an important role in the revival of colour etching and wood engraving in the 1890s. In keeping with his paintings and drawings, many of Maurin’s prints focus on the female nude or the theme of mothers and

children, and, like Degas and Mary Cassatt, he was fond of portraying women at intimate moments of their daily routine. He also developed a number of new techniques and processes, particularly with regard to printing in colour. Some of his prints were published in editions of ten or less, however, and much of his graphic work remains very rare today.

Although long forgotten or ignored after his death, Maurin’s eclectic oeuvre as a painter, printmaker and draughtsman remains one of the most distinctive of any artist in France in the late 19th century. The French scholar Jacques Foucart succinctly described the artist as ‘that curious and libertarian figure, so typical of the effervescent Paris of the Belle Epoque, an engraver of social customs comparable with Louis Legrand, a perfectionist and an inventive technician, a sensitive draughtsman à la [Albert] Besnard, a friend of Lautrec and Valloton. He created some of the most extravagant humanitarian and ‘socialist’ visions of the fin-de-siècle, which he treated in a flexible and decorative ‘graphisme’ in the manner of Eugène Grasset, or even of [Georges] De Feure.’2 In recent years, a revival of interest in Maurin’s remarkable body of work culminated in a major monographic exhibition at the Musée Crozatier in Le Puy-en-Valey in 2006.

Studies of young girls appear in around fifty works by Maurin – in paintings, pastels, drawings and prints – and make up a distinct part of his oeuvre. Datable to c.1896, this large and highly finished pastel drawing may have been executed as an independent work of art. A preparatory study for the present sheet (fig.1) is in the Musée des Beaux-Arts in Rouen3, while the composition also appears in one of a suite of twelve engravings of mothers and children, entitled L’Éducation sentimentale, which was published by Maurin in 1897.

Among stylistically comparable large-scale pastel drawings by Maurin is a Mother Bathing her Child in the collection of the Musée Crozatier4.

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38 PAUL-CÉSAR HELLEU Vannes 1859-1927 Paris A Young Girl Looking Up to the Right (Fermez les rideaux, from Chansons simplettes pour les petits enfants) Black, red and white chalks on buff paper. Signed Helleu in pencil at the lower right.

763 x 565 mm. (30 x 22 1/4 in.) [sheet] PROVENANCE: Private collection, France; Anonymous sale (‘De Caillebotte à Calder: Itinéraire d’une Passion’), Paris, Christie’s, 24 March 2021, lot 121.

LITERATURE: Lucie Félix-Faure Goyau, Chansons simplettes pour les petits enfants, Paris, 1906; Robert de Montesquiou, Paul Helleu: Peintre et Graveur, Paris, 1913, p.91; Frédérique de Watrigant, ed., PaulCésar Helleu, Paris, 2014, illustrated p.77.

Paul-César Helleu entered the École des Beaux-Arts in 1876, at the age of sixteen, and studied there with Jean-Léon Gérôme, whom he accompanied to London in 1885. He developed a strong attachment to England and was to return to London frequently throughout his career. In Paris, his circle of intimate friends included fellow artists Giovanni Boldini, Alfred Stevens, James Whistler, Edgar Degas, Claude Monet and, in particular, John Singer Sargent, with whom he briefly shared a studio and who is known to have bought a pastel from Helleu. He exhibited a number of large pastel portraits at the Salons of 1885 and 1886, where they were greatly admired, and his career was launched with a large exhibition of pastels at the Galerie Georges Petit in 1888. Helleu was friendly with many of the Impressionist painters, and was invited by Degas to participate in the eighth and final Impressionist exhibition of 1886, but declined to do so, claiming a profound dislike of the work of Paul Gauguin.

The following year he met Comte Robert de Montesquieu, who was to become his leading patron and who, in 1913, published the first important monograph on the artist. Helleu also enjoyed a long friendship with Marcel Proust, who based the character of the painter Elstir in A la recherche du temps perdu on him.

A gifted portraitist and a popular figure in polite society in both France and England, Helleu received numerous commissions and enjoyed considerable financial success. He was particularly highly regarded for his portraits of the elegant women of the beau monde of Paris and London. Encouraged by his friend Sargent, he travelled to America in 1902, where his reputation had preceded him, and there achieved further success as a portrait painter. It was in 1912, on his second visit to New York, that Helleu completed his most public work, the vaulted ceiling of the main hall of Grand Central Station, painted with the signs of the zodiac and the stars of the Milky Way. Helleu also produced a number of etched portraits of women, the popularity of which has tended to overshadow his less numerous oil paintings and pastels.

A fine example of Helleu’s practice of creating large-scale drawings in a combination of red, black and white chalks, intended as independent works of art in their own right, the present sheet is one of a handful of drawings later used as illustrations to Chansons simplettes pour les petits enfants (‘Simple Songs for Small Children’), a book of nine songs or ‘little poems’ published by Lucie Faure-Goyau in 1906, containing seven full-page illustrations of young girls drawn in trois crayons by Helleu. In the book, this drawing accompanied the song Fermez les rideaux (‘Close the Curtains’). As Robert de Montesquiou noted, in his 1913 monograph on Helleu, ‘Fermez les Rideaux…is a small masterpiece. In the evening, at her window, the child invincibly turns her eyes to the darkness that both attracts her and terrifies her, for… ‘At the top of the curtains is a heart. This dread black heart against pink curtains is terrifying…

Between the curtains lo’ how night peers in like a prisoner from his cell.’’1 The model for the present sheet may have been the artist’s elder daughter Ellen, born in 1887.

39 PASCAL-ADOLPHE DAGNAN-BOUVERET Paris 1852-1929 Quincey The Head of the Virgin (Study for Consolatrix Afflictorum) Pastel, heightened with touches of white, on buff paper laid down on card. Signed and dated 25 juin 98. / Pas. Dagnan. B. in pencil at the lower right centre.

208 x 178 mm. (8 1/8 x 7 in.)

PROVENANCE: Private collection, New York; Thence by family descent; Anonymous sale (‘Property of a Lady, New York’), New York, Sotheby’s, 31 January 2020, lot 424; Gallery 19C, Westlake, Texas.

Pascal-Adolphe-Jean Dagnan-Bouveret entered the École des Beaux-Arts in 1869, studying first with Alexandre Cabanel and then with Jean-Léon Gérôme. He first exhibited at the Salon in 1875, showing a painting – which was purchased by the State – and two drawings. He won second place in the Prix de Rome competition of 1876, but by 1878 had left the École des Beaux-Arts. Following a visit to Franche-Comté later that year, Dagnan-Bouveret was inspired to paint subjects taken from rural life and became a major exponent of naturalism in the later 19th century. He won medals at the Salons of 1878 and 1880, and his reputation was firmly established at the Salon of 1885, when a large painting of Horses at a Watering Place was acquired by the State. In the same year the artist was received into the Légion d’honneur, and made the first of several trips to Brittany, which was to be the inspiration for a number of significant works of the later 1880s and early 1900s. Among his most important paintings of Breton subjects was The Pardon in Brittany, exhibited to critical acclaim at both the Salon of 1878 and the Exposition Universelle of 1889 and now in the Metropolitan Museum of Art in New York. DagnanBouveret also showed at the Salon de la Société Nationale from its inauguration in 1890 and, in the same year, at the Société des Pastellistes. At around the same time he began to concentrate on portrait painting, for which he received several important official commissions.

In the mid-1890s Dagnan-Bouveret turned to religious subjects, creating a number of monumental paintings on Biblical and Christian themes which achieved much critical and commercial success.

Elected to the Institut de France in 1900, the artist won the grand prize for painting at the Exposition

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Universelle the same year. In 1910 an album of facsimile reproductions of some of his portrait and figure drawings was published, with the title Choix de dessins de Dagnan-Bouveret. In 1930, a year after the artist’s death, a large retrospective exhibition of his oeuvre was held at the École des Beaux-Arts, although by this time he was something of an anachronism, with his work long out of fashion.

Dagnan-Bouveret worked painstakingly on each of his paintings, making numerous preparatory drawings for each composition. The present sheet is a study for the head of the Virgin in one of the artist’s major religious paintings, Consolatrix Afflictorum (fig.1), painted in 1899 and today in the collection of the Frick Art Museum in Pittsburgh1. The monumental painting, more than twelve feet high and nine feet wide, depicts the Virgin and Child seated in a wooded landscape and flanked by three music-making angels, while a cowering man, representing human suffering, is shown at the foot of the composition. Dagnan-Bouveret seems to have been thinking of the painting in December 1897, when he wrote to his wife that ‘I have a theme that would involve me, a type of Madonna of the Afflicted, which I think I have already discussed with you.’2 The artist seems to have wanted to contrast the calmness of the pastoral setting and the innocent, gentle animals surrounding the Madonna and her attendant angels with the suffering man lying prostrate at her feet.

The American collector Henry Clay Frick had agreed to buy the painting of Consolatrix Afflictorum (‘Comforter of the Afflicted’) for the sum of $22,000 from the art dealers Arthur Tooth & Sons in 1898, before the artist had even begun working on it. It was one of three large-scale paintings by DagnanBouveret acquired between 1898 and 1901 by Frick, the others being Christ and the Disciples at Emmaus, painted in 1896-1897, and a commissioned portrait of his son Childs Frick, completed around 1899. Exhibited as part of a small retrospective exhibition of eight of Dagnan-Bouveret’s works at the Paris Exposition Universelle of 1900, for which the artist won the Grand Prix, Consolatrix Afflictorum was delivered the following year to Frick, who hung it in the dining room of his Pittsburgh estate, Clayton3, where it remained after his eventual move to New York in 1914. A reproductive etching by Léopold Flameng after the painting of Consolatrix Afflictorum was published by Arthur Tooth & Sons around 19034.

A closely related preparatory oil sketch on paper for the head of the Virgin in Consolatrix Afflictorum (fig.2) is in the collection of the Musée Georges-Garret in Vesoul5. Other studies for the Frick painting include an early compositional sketch, drawn in pastel, gouache and ink, in a private collection6, and an oil sketch for the seated Christ Child, which is also in the Frick Art Museum in Pittsburgh7.

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40 GUSTAV KLIMT Vienna 1862-1918 Vienna Two Female Nudes Black chalk on buff paper. Signed with the artist’s initials G. K. in pencil at the lower centre and inscribed R in pencil at the lower right. Numbered 21 in a circle in pencil on the verso.

443 x 309 mm. (17 3/8 x 12 1/8 in.)

PROVENANCE: August Lederer, Vienna; By descent to his son, Erich Lederer, Vienna and Geneva; The Piccadilly Gallery, London, in 1973; Private collection.

LITERATURE: Alice Strobl, Gustav Klimt: Die Zeichnungen. Vol.I: 1878-1903, Salzburg, 1980, p.224, pp.242-243, no.821 (where dated 1902).

EXHIBITED: London, The Piccadilly Gallery, Gustav Klimt, 1973, no.24.

Gustav Klimt was one of the foremost draughtsmen of the early 20th century, and while over four thousand drawings by him are known today, many more have been lost1. As the Klimt scholar Marian Bisanz-Prakken has written, ‘His intensive study of the human – primarily the female – figure centred on the individual…Klimt drew obsessively, subjecting himself to a highly disciplined approach. He usually worked from life, whereby he would subordinate the models’ poses and gestures to an overarching design…

As a creative draughtsman, Klimt was a law unto himself; as a result, the body of his works on paper is so rich and comprehensive that it must be viewed as a parallel universe, existing alongside his painterly oeuvre.’2 Another art historian has aptly described Klimt as having ‘an obsessive erotic engagement with the female form’3. Several contemporary accounts of the painter’s studio in Vienna record the constant presence of female models. One writer, perhaps only slightly fancifully, noted that ‘Here he was, surrounded by enigmatic naked women who, as he stood silently before his easel, would stroll up and down in his workshop, stretch and laze about, casting their radiance on the daylight hours – ever ready to obediently hold a pose at a nod from the master, as soon as he espied some posture, some movement that appealed to his aesthetic sense which he wanted to record in a quick sketch.’4 This large sheet is part of a group of figure drawings that can be associated with one of Klimt’s most significant public works; the monumental Beethoven Frieze fresco of 1901-1902, designed for the Secession Building in Vienna on the occasion of the 14th Secession Exhibition of 1902. The Secession exhibition that year was unusual in that it was devoted to the presentation of a single work; a large sculpture of Beethoven by the German artist Max Klinger. Flanking the gallery that housed this sculpture were two side rooms, and it was the frieze decoration of one of these rooms that was entrusted to Klimt. Originally intended as a temporary decorative scheme, to be destroyed after the Secession Exhibition, Klimt’s Beethoven Frieze was instead acquired by the Austrian industrialist Carl Reininghaus, and by 1915 had passed to the Viennese collector August Lederer. The entire ensemble, divided into eight panels, is today in the collection of the Österreichische Galerie and on permanent display in the Secession Building5 (fig.1).

As Tobias Natter has noted of the Beethoven Frieze project, ‘The development of the concept of the Gesamtkunstwerk – or total work of art – and its realization in a number of exhibitions and architectural schemes can possibly be considered the most significant achievement of the artistic revolution in Vienna around 1900…The pinnacle of the purposeful integration of all arts was the fourteenth Secession exhibition from April to June 1902, the ‘Beethoven Exhibition’…In the Beethoven exhibition, architecture, painting and sculpture came together in a coherent whole around the celebration of the life and music of the composer Ludwig van Beethoven and his Ninth Symphony in particular. Klimt’s magnificent Beethoven Frieze, the artist’s largest surviving integrated scheme, was intended as part of the Secession’s homage to the composer…The Secession deliberately set out to realize an ambitious scheme that fully utilized painting and sculpture in a carefully designed interior space devoted to the worship of the artistic genius of Beethoven.’6

Klimt’s Beethoven Frieze was situated in one of the two wings of the Secession building, placed within a staging designed by the architect Josef Hoffman, and was comprised of two long side walls and a short end wall. Running along the top of all three walls, the frieze measures just over two metres in height and is some thirty-four metres long. The elaborate allegorical narrative of the frieze, intended to be read from left to right, depicted a series of figures representing ‘humanity’s journey and struggle against adversity in its yearning for happiness with the eventual triumphant wish for fulfilment expressed in communal joy...Klimt’s Frieze represents an idiosyncratic homage to Beethoven’s Ninth Symphony in which the artist interprets a musical piece through a highly inventive and imaginative visual narrative.’7 As Rainer Metzger has written of Klimt’s preparatory process for the project, ‘a large number of studio sketches were produced that explored the individual figures and groups of the Beethoven Frieze, the male and the female, the young and the old. Klimt applied the casein paint directly to the plaster on the basis of this collection of materials. The drawings were put on paper in full knowledge of their subsequent use, many of them including poses that can be found on the wall. The figures are often shown as very compact silhouettes or clearly outlined shapes, in the same way that they appear on the large surface of the frieze.

These preliminary drawings had a very specific purpose, and the fact that they were to be included in a frieze was already implicit in their form. This gives them a concision and self-containedness that other drawings lack.’8 In her catalogue raisonné of Klimt’s drawings, Alice Strobl suggested that the present sheet contains the artist’s first ideas for the nude figure of ‘Gnawing Sorrow’ (‘Nagender Kummer’)9 in the Beethoven Frieze. Neither figure was used in the final work, however, although the standing figure may have been referred to a year or so later, when Klimt was developing the poses of the criminals in the Jurisprudence painted for the ceiling of the great hall of the University of Vienna between 1903 and 190710.

The first owner of this drawing was the Viennese industrialist and art collector August Lederer (18571936). The second wealthiest family in Vienna, after the Rothschilds, the Lederers assembled a superb art collection, mostly devoted to artists of the Vienna Secession. August Lederer, his wife Serena and eldest son Erich were the most important patrons and collectors of the work of Gustav Klimt, by whom they owned some twenty paintings, including the Beethoven Frieze fresco itself, as well as numerous drawings, although much of their collection of paintings was lost during the Second World War. As Christian Nebehay has stated, ‘Special mention must be made of the Klimt drawings in the Lederer Collection, which fortunately survived the chaos of the war years. One could justly claim that this collection is, for sheer quality, the finest known. We find here, selected by a discriminating taste, a large number of Klimt’s most notable drawings.’11

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41 GEORGES DE FEURE Paris 1868-1943 Paris Landscape with Houses by a River Gouache on buff paper, with framing lines in pencil. Signed de Feure in pencil at the lower right.

247 x 450 mm. (9 3/4 x 17 3/4 in.) [image] 300 x 490 mm. (11 3/4 x 19 1/4 in.) [sheet] PROVENANCE: Private collection, France.

Of Belgian and Dutch origins, Georges de Feure was born Georges Joseph van Sluijters in Paris. He began his career as a painter and illustrator, and soon allied himself with the Symbolist movement, taking part in the Expositions des Peintres Impressionistes et Symbolistes at the Galerie Le Barc de Boutteville. He also showed his work at the Salons de la Rose + Croix of 1893 and 1894, where his watercolours garnered critical praise, and at the Societé Nationale in 1894. The same year an exhibition of his watercolours was held at the Galerie des Artistes modernes in Paris. By this time he was also designing posters, many influenced by Japanese prints, and colour lithographs. Like such contemporaries as Alphonse Mucha and Eugène Grasset, De Feure was adept in the field of applied or decorative arts, and it was an association with the Art Nouveau pioneer Siegfried Bing that was to establish his reputation. He decorated the facade and designed two suites of furniture for Bing’s Pavillon de l’Art Nouveau at the great Exposition Universelle of 1900, a project that earned extravagant praise from critics. He thereafter worked closely with Bing as an artiste-décorateur, providing numerous designs for furniture, stained glass, wallpaper, ceramics and lamps. In 1903 a large exhibition of his decorative work for Bing’s Galerie de l’Art Nouveau was shown in Paris, The Hague and Hamburg.

De Feure also established his own atelier, which handled commissions from other sources, such as Julius Meier-Graefe’s gallery La Maison Moderne. He continued to work as a designer and interior decorator after Bing’s death in 1905, and among his significant later projects was the decoration of the Parisian studio of the couturier Madeleine Vionnet in 1922. Late in his career De Feure was appointed Professor of Decorative Art at the École des Beaux-Arts in Paris.

The major exhibition of De Feure’s work at the Galerie de l’Art Nouveau in 1903 included 155 paintings, watercolours and prints, most of which had been produced during the previous three or four years. Among the revelations of the exhibition, for critics and collectors alike, were a group of over fifty landscape paintings and drawings. A previously little-known aspect of De Feure’s oeuvre, these works drew the attention of several writers. As one critic noted, the artist ‘has applied the marvellous technique of the Japanese to European landscape, and has created a new style. The tones are worked in watercolors.

Whatman and Bristol paper become the palette of the artist, and on them he mixes, dilutes, shades off, and works his colors, here leaving a spot clear white, there laying on thickly with gouache. In brief, he paints water-colors with the methods of oil.’1 This gouache landscape is likely to date from the first decade of the 20th century, when the artist produced a number of small paintings and gouaches of towns and villages that are reminiscent of scenes in the Low Countries. As the De Feure scholar Ian Millman has noted of the artist, ‘Whether real or imaginary, the canals, windmills and estuaries of Flanders were an inexhaustible source of inspiration for him… In his Flemish landscapes, De Feure has masterfully captured the light of the North and the peaceful atmosphere of its canals and small towns.’2 Similarly, the French novelist Lucien Descaves praised the artist’s landscapes: ‘The light is not necessarily dazzling. There is as much light in Holland as in Italy...The painter breathes in the atmosphere and exhales it in colour.’3 As Millman has written, ‘De Feure developed a highly personal, original approach to the [landscape] genre that may best be described as Art Nouveau landscape painting. It distanced itself from Impressionism and Neo-Impressionism on one hand and the reactions against these movements by Gauguin and the PontAven Group and the Nabis on the other, yet the common factor underlying all these disparate currents was the impact of Japanese art.’4

42 EMIL PIRCHAN Brno 1884-1957 Vienna Composition in Mauve, Green, Orange and Yellow Watercolour and grey wash.

345 x 334 mm. (13 5/8 x 13 1/8 in.)

PROVENANCE: The estate of the artist, and thence by descent to the Steffan/Pabst collection, Vienna.

LITERATURE: Beat Steffan, ed., Emil Pirchan: A Universal Artist of the 20th Century, Wädenswil am Zürichsee, 2018, pp.158-159 (illustrated in situ in the hallway of Pirchan’s home in Brno in 1907).

One of the most creative and prolific artists of his day, working mainly in Munich, Berlin, Prague and Vienna, Emil Pirchan was active as a designer, scenographer, commercial graphic artist, costumer, book illustrator and architect, as well as a writer and teacher. Born in the Moravian city of Brno, he was a pupil of the Austrian architect Otto Wagner at the Academy of Fine Arts in Vienna. He was also much influenced by the work of his second cousin Joseph Hoffmann, an architect and designer who was a founder of both the Vienna Secession and the Wiener Werkstätte. Pirchan began his independent career in Brno, where he worked as a drawing teacher, before moving in 1908 to Munich and establishing a school for graphic design and applied arts. He undertook several projects for interior decorations, and produced a number of drawings for architectural projects. In 1912 an exhibition of fifty of Pirchan’s set designs was held at the Moderne Galerie in Munich, and five years later he was appointed director of set design and costumes at the Bavarian State Theatre. Also in 1917, exhibitions of his work were held at the Landesgewerbemuseum in Stuttgart and the Museum August Kestner in Hannover.

After a period of thirteen years in Munich, during which he won several prizes in national and international competitions, Pirchan moved to Berlin in 1921, working as a scenographer at the State Theatre and overseeing numerous productions. He won a gold medal in the category of set design at the International Exposition in Barcelona in 1928, and in 1930 produced futuristic designs for a theatre in South America, a project about which little else is known. In 1932 Pirchan settled in Prague, employed there as the head of set design at the German Theatre. He returned to Vienna in 1936 and was appointed a professor at the Vienna Academy of Fine Arts, also serving as director of the newlyestablished school of set design and working at the Burgtheater and the State Opera. Throughout his long and successful career Pirchan produced numerous designs for posters, advertisements, furniture, jewellery, arts and crafts objects and fabrics. In addition, he was a novelist and playwright, and published several books on art and artists, including one of the first biographies of Gustav Klimt. The full range of Pirchan’s oeuvre was only relatively recently brought to light in a retrospective exhibition held at the Museum Folkwang in Essen and the Leopold Museum in Vienna between 2019 and 2021, which established him as a leading figure of Central European Modernism1.

The present sheet is among a group of drawings by Pirchan, produced around 1907, using a sort of marbling technique that he seems to have invented. This Composition in Mauve, Green, Orange and Yellow is recorded, at the upper left, hanging alongside several other works on paper of this distinctive type in a 1907 photograph of the hallway of Pirchan’s home in Brno (fig.1), for which the artist designed all of the furnishings. Two similar works on paper are in a private collection in Vienna2.

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43 GWEN JOHN Haverfordwest 1876-1939 Dieppe Portrait of a Reclining Woman Pencil and grey wash on paper; a page from a sketchbook.

205 x 266 mm. (8 x 10 1/2 in.)

PROVENANCE: William Michael Berry, Baron Hartwell MBE, London; His estate sale, London, Christie’s, 21 November 2002, lot 123; Davis & Langdale, New York; Acquired from them in 2004 by a private collection, USA. EXHIBITED: New York, Davis & Langdale Company, Inc., Gwen John: Paintings, Watercolours, Drawings, 2004, unnumbered; Chichester, Pallant House Gallery, Gwen John: Art and Life in London and Paris, 2023.

The second of four children, Gwendolyn Mary John drew from an early age, and in 1895 enrolled at the Slade School of Fine Art in London, which her younger brother Augustus had entered the previous year. Both Johns remained at the Slade until 1898, with Augustus soon gaining recognition as one of the outstanding draughtsmen of his generation. After leaving the Slade in 1898, Gwen spent six months in Paris, studying at James McNeill Whistler’s short-lived school of painting, the Académie Carmen. Back in London, she exhibited twice yearly at the New English Art Club between 1900 and 1902. In 1904, at the age of twenty-seven, John settled in Montparnasse in Paris, where she earned a living by modelling for artists. Among these was the renowned sculptor Auguste Rodin, with whom she had a long and intense love affair that lasted some ten years. John lived in France for the remainder of her career, over the course of which she produced fewer than two hundred paintings as well as numerous drawings; her subjects were mainly portraits of solitary women and girls, as well as occasional landscapes, interiors and still life compositions. She worked in Montparnasse for seven years, occasionally sending her paintings back to London to be shown at the NEAC, and in 1911 moved to Meudon, in the southwestern suburbs of Paris. Throughout her career John worked mostly in isolation, having chosen to withdraw from both society and artistic circles. Although she continued to show at the NEAC in London, as well as the Salon des Tuileries and the Salon d’Automne in Paris, she seems to have been largely unconcerned with making her work better known. Only one solo exhibition was held in her lifetime, at the New Chenil Galleries in London in 1926, which included over forty paintings and watercolours and several albums of drawings. Within a few years, however, John had largely ceased to paint, and her last datable work was done in 1933.

Gwen John’s beautiful, enigmatic and delicately painted intimist works are almost always modest in scale and subdued in tonality. She painted very slowly and never signed or dated her work. Although over the course of her career she was always overshadowed by her brother Augustus John, a largerthan-life character who enjoyed success and notoriety, in recent years her critical reputation has come to surpass his, and she has been celebrated as one of the most significant British artists of the 20th century. Indeed, this is something Augustus had foretold, once stating that ‘In fifty years’ time I will be known as the brother of Gwen John.’

The present sheet, drawn on a page from a sketchbook, belongs with a small group of drawings (and one etching) by John executed around 1910, each depicting the same model wearing the same clothes, and therefore likely to have been done in one sitting. One of these drawings is today in the Swindon Museum and Art Gallery1 and others are in private collections2. The John scholar Cecily Langdale has noted of these pencil and wash studies that, ‘consistently assured in draughtsmanship and economical in means, they rank among her most beautiful drawings.’3 It has been suggested that the model for this group of drawings may be Maude Boughton-Leigh (1881-1945), known familiarly as Grilda, an artist who had studied at the Slade4. John first met Boughton-Leigh in Paris, when she employed her as a model, and the two soon became close friends. Grilda’s sister Ellen Theodosia, known as Chloë, was also a friend, and likewise the subject of several paintings and drawings by John.

44 SIMON BUSSY Dole 1870-1954 London An Angelfish Pastel, over an underdrawing in pencil, on paper laid down on board. Signed Simon / Bussy. in pencil at the lower right. Titled and inscribed No 19 / Angel Fish / f. 18 in ink and Poisson Ange / Angel Fish in pencil on the backing board.

304 x 286 mm. (12 x 11 1/2 in.)

Albert Simon Bussy studied under Gustave Moreau at the École des Beaux-Arts in Paris, where among his fellow students he met and befriended Henri Matisse. He mounted his first exhibitions of pastels at the Galerie Durand-Ruel in 1897 and 1899. Around 1901 Bussy visited London, where he was introduced into local artistic circles and the New English Art Club by his friend, the artist William Rothenstein. (Several years later, in April 1907, Rothenstein wrote a letter to Bussy in which he praised the exhibition of his work held at Leighton House the previous month; ‘It was a real delight to see your work again, and I got more pleasure and emotion from your beautiful pastels than I have had from any pictures of late.’1) In 1903 Bussy married Dorothy Strachey and the couple settled in Roquebrune, near Monaco, where they lived for the next three decades. Their house, called Le Souco, became a meeting place for English and French artists, writers and intellectuals visiting the area, including Dorothy’s brother Lytton Strachey and her cousin Duncan Grant, as well as Vanessa Bell, Rudyard Kipling, André Gide, Roger Fry, Mark Gertler, Paul Valéry, Virginia Woolf and Bernard Berenson, who came to own several of Bussy’s pastels, as did Gide, Valéry and Jean Schlumberger.

From early in his career, Bussy produced pastel landscapes and portraits of friends and family. After about 1912, however, he began to focus on pastel drawings of birds and animals, many of which he studied at the London Zoo. Throughout his career, Bussy’s work was exhibited at galleries in London and Paris. His pastels in particular were widely admired by his contemporaries and avidly collected.

As the poet Guillaume Apollinaire wrote, ‘The pastels of Simon Bussy are delicate images, as precious as Persian miniatures. Precision and vitality are the characteristics of Simon Bussy’s talent, and his use of colour often reaches the heights of Matisse.’2 By the Second World War, however, Bussy’s reputation had fallen into a decline in France, although he continued to exhibit in London. He died there in 1954, at the age of eighty-eight, and the contents of his studio were eventually dispersed at auction in 1960.

This Angelfish is a fine example of Bussy’s refined, delicate pastel technique. The artist invariably used a combination of French-made Roché pastels and buff paper produced by the firm of Cartridge in London. His pastel studies are usually depicted against a toned background of one muted colour, with a reserve of paper left untouched around the edges of the composition.

Most of Bussy’s pastel drawings of fish seem to have been made at the zoo at Vincennes, since he was unable to find adequate lighting at the London Zoo in order to make studies of fish there. As the French writer André Gide noted of the artist, ‘what now attracts him more and more rather than the likenesses of human beings are the likenesses of birds, fishes, insects. He spends most of his time at the London Zoo or in the Vincennes park or aquarium; then he shuts himself up with his collection of studies and by a kind of patient and lover-like distillation evolves from them his paintings. In face of each living form he seems to be asking, ‘And you there! What have you to tell me?” And the mygale, the crab, the scorpion become motionless and give up their secrets…There are some of Simon Bussy’s fishes whose stupidity fascinates me (as Flaubert’s St. Anthony said of the catoblepas) and at whom I can stand gazing in long drawn-out contemplation. And yet, with all its ineptness this matter is alive and a perfect organism.’3

45 CLAUDIO BRAVO Valparaiso 1936-2011 Taroudant (Morocco) Mystic Package Chalk, conte crayon and pastel. Signed CLAUDIO BRAVO in red chalk at the lower left and dated MCMLXVII in red chalk at the lower right.

750 x 1100 mm. (29 1/2 x 43 1/4 in.)

PROVENANCE: Alamillo Limited Collection, in 1997; Anonymous sale, New York, Sotheby’s, 27 May 2003, lot 11; Private collection, San Francisco.

LITERATURE: Furio Rinaldi, Color into Line: Pastels from the Renaissance to the Present, exhibition catalogue, San Francisco, 2021-2022, no.72, illustrated pp.104-105.

EXHIBITED: Miami Beach, Bass Museum of Art, Claudio Bravo: Wrapped Packages, 1997-1998, no.6; San Francisco, Fine Arts Museums of San Francisco, Legion of Honor, Color into Line: Pastels from the Renaissance to the Present, 2021-2022, no.72.

Born in Valparaiso in Chile, Claudio Bravo received a Jesuit education in Santiago and there took art classes in the studio of the painter Miguel Venegas Cienfuentes, eventually deciding to become an artist himself. He had his first exhibition at the age of seventeen and was soon much in demand as a portrait painter. In 1961, after several years of living and working in Santiago and Concepción, Bravo left Chile for Europe. Settling in Madrid, he became established as a painter and society portraitist. He spent six months working in the Philippines in 1968, and in 1970 had his first solo exhibition in New York. In 1972 he abandoned his busy life in Madrid for a large house and studio in Tangier in Morocco, where he began to focus on still life and landscape painting. Dividing his year between his studio in Tangier and another in Marrakech, as well as one in the far south of Chile, Bravo enjoyed a highly successful career until the end of his life. As one scholar noted, at the time of an exhibition of his work which toured four American museums in 1987 and 1988, ‘Claudio Bravo is one of the most significant artists working in a realist mode today. A painter and draftsman with a singularly fertile imagination, Bravo draws upon a myriad of sources in the art of the past and present, combining them in a uniquely personal manner.’1 In 1994 a large exhibition of Bravo’s paintings was mounted at the Museo Nacional de Bellas Artes in Santiago, Chile.

Bravo was a superb draughtsman, with a complete mastery of pencil, coloured chalks and pastel, applied with precision and delicacy. As one contemporary writer noted, ‘In an era when expressive energy in painting is the predominant mode, Bravo maintains strict fidelity to a calm, Renaissance-like grace and precision in his work…In terms of technique, Bravo is also a traditionalist. He uses only oils, pastel or pencil to create his images. Thoroughly grounded in precise draftsmanship, Bravo’s training (he is mostly selftaught) included scrupulous copying of old master works of art. In preparation for his own paintings, however, Bravo does few if any drawings...Independent drawings, nonetheless, form a significant part of his oeuvre.’2 This very large pastel, drawn in Madrid in 1967, can be grouped with a number of paintings, watercolours and pastels of wrapped packages, suggestive of canvases, loosely covered with paper and tied with string, that are among Claudio Bravo’s most captivating works. In particular, the present sheet is closely related to a large pastel White Package of the same year (fig.1) – of identical dimensions and apparently showing the same wrapped package from the other side – in the collection of the Museum of Modern Art in New York3. In Bravo’s first solo exhibition in New York, held at the Staempfli Gallery in December 1970, package paintings made up the majority of the twenty-two works on view, and represented the artist’s first significant departure from the genre of portraiture. Other significant, largescale pastels of the same motif from this period include Brown Package of 1967 in the Museo de Arte de Ponce in Puerto Rico4, and the vertical Package of 1969 in the Baltimore Museum of Art5.

As the artist later recalled of the genesis of the package paintings, ‘I suppose that the idea for these pictures came partly through looking at Mark Rothko’s paintings of large fields of color and partly through certain works that Antoni Tàpies had done using string across a canvas surface. The initial stimulus, however, was a very simple mundane one. Three of my sisters had come to stay with me from Chile. One day one of them came home with a number of packages and placed them on a table. I was fascinated by their forms and I painted them. I went on painting wrapped packages in many different ways, investigating the abstract possibilities of the forms while still creating recognizable objects.’6 In another interview, Bravo acknowledged the enigmatic nature of these works, but added that ‘Yes, there’s some mystery in the wrapped packages, but what I really wanted to paint was the wrapping. I wanted to give a sense of trompe l’oeil tactility.’7 In their simplicity and directness, Bravo’s wrapped packages of the late 1960s reflect the particular influence of the work of the Spanish Baroque painter Francisco de Zurbarán. As the artist himself stated, ‘I use light a bit like Zurbarán did. He was one of the few painters that gave true transcendent meanings to objects. This treatment…makes things seem more than they are…their essence is greater.’8 Soon after his move from Madrid to Tangier in 1972, however, Bravo decided to give up painting packages9. One of his final paintings on this theme, dated 1972 and depicting a very similar wrapped white package to that seen here, is in a private collection in Chile10.

Mystic Package was one of eighteen paintings and pastels of this distinctive subject shown in the exhibition Claudio Bravo: Wrapped Packages, held at the Bass Museum of Art in Miami Beach in 19971998. As the curator of that exhibition noted, ‘There is something mysterious about all of Claudio Bravo’s art, but the package paintings are particularly compelling. An unknown object wrapped with beautifully folded and crumpled paper fills the entire surface of the painting…As with all great art, there is in these paintings something more, something intangible, almost spiritual, something as affecting as it is memorable.

They are more than just beautiful paintings; their presence is overwhelming. In an art world where the art of painting oftentimes seems all but forgotten, the sheer sensuous beauty of Claudio Bravo’s wrapped packages reminds us of the pure pleasures of painting.’11 More recently, the present work was included in the exhibition Color into Line: Pastels from the Renaissance to the Present, held at the Fine Arts Museums of San Francisco in 2021-2022.

1

46 KENNETH NOLAND Asheville 1924-2010 Port Clyde Untitled, 1980 Dyed, pressed paper pulp on handmade paper. Signed and dated Kenneth Noland / 1980 in pencil on the verso. Numbered PK-0171-2 in pencil on the verso.

444 x 305 mm. (17 1/2 x 12 in.) [image] 626 x 490 mm. (24 5/8 x 19 1/4 in.) [sheet] PROVENANCE: Galerie Thierry Salvador, Paris; Anonymous sale, Versailles, Versailles Enchères, 14 December 2014, lot 110; Private collection, France.

After serving in the U.S. Air Force during the Second World War, Kenneth Noland studied at Black Mountain College in North Carolina on the G. I. Bill, which also allowed him to travel to Paris in 1948.

There he studied with Ossip Zadkine and was exposed to the work of Pablo Picasso, Henri Matisse and Joan Miro, and he also had his first one-man show at the Galerie Raymond Creuze. On his return to America Noland taught at Catholic University in Washington, D.C., and met the artist Morris Louis, who became a close friend. In 1953 Louis and Noland paid a visit to Helen Frankenthaler’s New York studio and, influenced by her technique of pouring thinned paint onto unprimed canvases, became pioneers of colour field abstract painting in Washington. Noland’s paintings were included in a number of important group shows in the mid-1950s, and he had his first solo exhibition at the Tibor de Nagy Gallery in New York in 1957. His work was included in the seminal 1964 exhibition Post-Painterly Abstraction, curated by Clement Greenberg, which firmly established the colour field movement as a significant development in American abstraction. Also in 1964, Noland had a solo exhibition at the Jewish Museum in New York and was one of several artists chosen for the American pavilion at the Venice Biennale, along with Louis, Jasper Johns, Robert Rauschenberg, Frank Stella, Claes Oldenburg, and several others.

In 1977 a major travelling retrospective exhibition of Noland’s work was organized by the Guggenheim Museum in New York. In a review of the exhibition, the New York Times art critic Hilton Kramer noted that, ‘Mr. Noland is one of the artists who have decisively shaped American painting – or at least some very important elements of it – over the last 20 years...no matter what the size or shape of his pictures, Mr. Noland has been consistent and unvarying – not to say single-minded – in his artistic purpose, which has been to fill the canvas surface with a pictorial experience of pure color…An art of this sort places a very heavy burden on the artist’s sensibility for color, of course – on his ability to come up, again and again, with fresh and striking combinations that both capture and sustain our attention, and provide the requisite pleasure. In this respect, at least, Mr. Noland is unquestionably a master.’1 His method involved staining the canvas with colour, rather than using a brush. Working on a large scale, he produced canvases characterized by simple patterns of chevrons, stripes, and concentric circles or targets painted in bold blocks of colour, as well as shaped canvases, which became asymmetrical in the 1970s and 1980s.

Regarded as one of the great colourists of the 20th century, Noland is recognized for his significant contribution to American abstraction.

This large and vibrant sheet is one of a distinctive series of works on paper produced by Noland starting in the second half of the 1970s, in a process which he continued to develop for the next two decades2.

In 1976, Noland participated in a Paper Workshop at Bennington College in Vermont, and he soon became interested in papermaking, eventually setting up a paper studio. As Judith Goldman has pointed out, ‘Making paper felt as familiar to Noland as staining color on canvas. It was fast, direct, and not like the traditional print media, a transfer process. He did not have to wait for inks to dry and acids to bite, and he need not depend on anyone else. He could make one-of-a-kind images himself. In some ways, papermaking was more direct than painting. A brush was unnecessary; he could use his hands. Instead of raw canvas,

he could begin on a colored ground. To create texture and color, he could overlap pulp, and add colored pulp and cut-up papers at any point in the process. By embedding color inside the paper, he could define its shape.’3 Between 1978 and 1982 Noland spent time working at Tyler Graphics in Bedford, New York, refining and developing his interest in papermaking, and creating a number of striking works as a result4. As Goldman notes, ‘Working with oriental and western fibres and bits of colored paper, he produced over 200 images. The results were staggering…no two are the same. Colors vary from filmy blues and bright yellows to soft purples and murky greys. Textures range from wafer-thin oriental surfaces to surfaces, thick as encrusted cardboard. In some pieces, image prevails; in some, structure does. Papermaking is never the point; for Noland, it is a way to explore color and create texture.’5 The artist also produced paper monoprints at the Institute of Experimental Printmaking in Santa Cruz, California, in the late 1970s and early 1980s.

The process of using paper pulp as the primary ingredient in this body of work was, in its immediacy and physicality, of great appeal to Noland. The layering of coloured paper pulp to create a final image allowed the artist to explore colour relationships in new ways. Noland’s process in the production of vibrant works in paper pulp, such as the present sheet, has been described at length by Goldman.

Writing of the artist’s activity over several months in 1978 working on his so-called Handmade Paper Project series at Tyler Graphics, she noted that, ‘Before each series, and sometimes each image, Noland decides on the base sheet’s color, texture and thickness. He selects fibers to be macerated in the beater, the mould to form paper and the material to color pulp…To form each base sheet, [master printer] Kenneth Tyler and Lindsay Green dip the mould into in the vat, remove and shake it back and forth, so that pulp covers the surface evenly. Then, they turn the mould over, exerting pressure, to transfer the paper to the wet felt on the arched table…While Tyler and Green were creating the base sheet, Noland selected colors in an adjoining room where thirty plastic pails filled with colored pulp covered the floor. There were at least eight different blues, as many greens, every imaginable yellow, grey, fuschia, peach. The array of colors seemed more than sufficient, but from those thirty colors, Noland created 100. Studying the options, Noland moved around the pails. Occasionally, he stopped to mix a new color. To indicate his pleasure, he tossed small buckets into the larger ones which an assistant filled and placed on a small table beside the handmade paper. Noland lined up the pails of color, rearranged them, put handfuls of color in a line on a ledge, looked at the sequence and began...Into [a plastic frame] Noland pushed and patted colored pulp.

Using his hands, he sometimes smeared pulp to create a ragged edge or poured water over the pulp, causing color to ooze and blend into the sheet…Noland calls everything he puts into the paper “stuff”, which is the trade name for pulp. The term suggests the sexiness of the material, which can be held in the hand, squeezed and made into shapes. When Noland finishes laying on color, Tyler and Green remove the plastic frame, put the wet sheet between felts and then into the press. The press removes excess water, and fuses the layers of pulp into a continuous surface. The process radically changes the image. Wet pulp looks as glossy and thick as paint; as paper dries, color turns matte, paper and color become inseparable.

The color is no longer on top of the paper, but in it.’6 As Judith Goldman has also written, ‘Noland’s methods take on interest as they reveal the intelligence and decisions of his art. To the papermaking process, he brought not only an intuitive, extravagant sense of color, but more than thirty years of painting experience…Throughout, he found additional ways to order color. As a painter, that is what he does. Papermaking affords him endless options...Noland brings art to the craft of papermaking. He finds ways to use pulp like paint.’7

NOTES TO THE CATALOGUE

No.1 Battista Franco 1.

A. E. Popham, ‘Battista Franco: Design for a Majolica Dish’, Old Master Drawings, September 1927; reprinted in Old Master Drawings: A Quarterly Magazine for Students and Collectors, Vol.II, London, 1928, p.22.

2.

Giorgio Vasari, Lives of the Painters, Sculptors and Architects, trans. Gaston du C. de Vere, London, 1912; 1996 ed., Vol.II, p.498.

3.

Inv. WA1846.73; K. T. Parker, Catalogue of the Collection of Drawings in the Ashmolean Museum; Volume II: Italian Schools, Oxford, 1956 (1972 ed.), pp.166-167, no.327, Vol.II, pl.LXXXV; Charles de Tolnay, Corpus dei Disegni di Michelangelo, Novara, 1975-1980, Vol.I, pp.27-28, no.8 recto, pl.8; Paul Joannides, The Drawings of Michelangelo and His Followers in the Ashmolean Museum, Cambridge and New York, 2007, pp.143147, no.24. The Ashmolean drawing, whose dimensions are 270 x 180 mm., is in relatively poor condition. The sheet was at one time cut in half vertically to separate the two standing draped figures on the verso, but the two sides of the drawing were subsequently rejoined.

4.

‘Si tratta di una testa marziale, dall’espressione intensamente passionale, messa in rilievo dall’occhio roteante con la pupilla nell’angolo, gli zigomi forti, il naso ricurvo, il mento energetico. Il cappello e simile a quelli portati dai guerrieri italiani durante la prima metà dl Quattrocento, verso il 142030…Michelangelo però ha trasformato la forma quasi simmetrica del copricapo in un cappello che ricorda nella silhouette quello degli antichi Frigi, portandone in avanti la sommità.’; de Tolnay, op.cit., p.27, under no.8.

5.

Joannides, op.cit., p.146, under no.24.

6.

Inv. RCIN 809565; Francis Haskell et al, The Paper Museum of Cassiano dal Pozzo, exhibition catalogue, London, 1993, p.259, no.162; Mark McDonald, The Paper Museum of Cassiano dal Pozzo. A Catalogue Raisonné. Series C, Part One: Ceremonies, Costumes, Portraits and Genre. Vol. III, London, 2017, p.775, no.1409. The inscription on the engraving identifies the subject as a portrait of the 15th century Italian condottiere Bartolomeo Colleoni, and states that it is an exact line copy of Michelangelo’s original drawing (‘Bartholomei Coleoni effigies / à M. Ang. Bonaroto delineata / G.D. eadˌ lineamˌta secutus inc. 1610.’).

7.

Haskell et al, ibid., p.259, under no.162.

8.

Inv. KG 15888. An image of the print, which lacks the inscription found on the impression in the Royal Collection, is visible online at https:// www.teylersmuseum.nl/en/collection/art/kg-15888-kop-van-een-man-naar-michelangelo [accessed 4 November 2023].

9.

Anne Varick Lauder, ‘Absorption and interpretation: Michelangelo through the eyes of a Venetian follower, Battista Franco’, in Francis Ames-Lewis and Paul Joannides, ed., Reactions to the Master: Michelangelo’s Effect on Art and Artists in the Sixteenth Century, Aldershot and Burlington, 2003, p.93.

10. New York, Katrin Bellinger Kunsthandel at W. M. Brady & Co., Old Master Drawings, exhibition catalogue, 1995, no.4; Lauder, ibid., pp.97-100, fig.5.3; Anonymous sale, New York, Christie’s, 25 January 2005, lot 32. The original drawing by Michelangelo is illustrated in de Tolnay, op.cit., p.29, no.9 recto, pl.9, and in Joannides, op.cit., 2007, pp.180-185, no.33.

No.2 Giorgio Vasari 1.

Pierluigi Leone de Castris, Pittura del Cinquecento a Napoli: 1540-1573 Fasto e devozione, Naples, 1996, pp.124-125; Härb, op.cit., 2015, p.277, figs.129.1 and 129.2; Barbara Agosti and Valentina Balzarotti, ‘Giorgio Vasari nelle cerchia farnesiana, tra pittura e storiografia’, in Simone Verde, ed., I Farnesi. Archittetura, Arte, Potere, exhibition catalogue, Parma, 2022, pp.70-71, figs.2-3. Commissioned by the Pope’s grandson Ranuccio Farnese, Archbishop of Naples, Vasari’s organ shutters in San Gennaro were appraised by Titian shortly after they were completed.

2.

Anonymous sale, London, Christie’s, 19 April 1994, lot 12; Härb, op.cit., 2015, p.250, no.107.

3.

Inv. D 3091; Keith Andrews, National Gallery of Scotland: Catalogue of Italian Drawings, Cambridge, 1968, Vol.I, p.127, no.D 3091 (as a follower of Vasari), Vol.II, fig.847; Catherine Monbeig Goguel, ‘Un tableau d’autel de Cristofano Gherardi à Recanati’, Paragone, May 1977, pp.114-115, note 15, pl.84a; Catherine Monbeig Goguel, ‘Da Francesco Salviati a Cristofano Gherardi’, in Gianni Carlo Sciolla, ed., Nuove ricerche in margine alla mostra: Da Leonardo a Rembrandt – Disegni della Bibliotreca Reale di Torino. Atti del Convegno Internazionale di Studi, Moncalieri, 1991, p.122, p.129, fig.10 (as Cristofano Gherardi). The dimensions of the drawing, which bears an old attribution to Francesco Salviati, are 331 x 278 mm.

A version or copy of the Edinburgh drawing appeared at auction in London in 1969 (Anonymous sale (‘The Property of a Lady of Title’), London, Christie’s, 2 December 1969, lot 156).

4.

As Florian Härb has pointed out, the date of Gherardi’s death in 1556 provides a terminus ante quem for the present sheet by Vasari.

5.

Inv. WA1977.234; Hugh Macandrew, Ashmolean Museum, Oxford: Catalogue of the Collection of Drawings Vol.III, Italian Schools: Supplement, Oxford, 1980, pp.44-45, no.417A (verso not illustrated); Christopher White, Catherine Whistler and Colin Harrison, Il segno del genio: Cento disegni di grandi Maestri del passato dall’Ashmolean Museum di Oxford, exhibition catalogue, Rome, 1991, pp.50-53, no.22.

6.

Another drawing by Giorgio Vasari once owned by Fagg is a large architectural drawing of a Design for the Decoration of the Facade of the Apse and Two Side Chapels of a Gothic Church (Härb, op.cit., p.365, no.215, as location unknown), exhibited at Colnaghi’s in 1994 and 2001 and sold at auction in 2004 (Anonymous sale, London, Sotheby’s, 8 July 2004, lot 42).

No.3 Francesco Salviati 1.

The inscription on the verso of this drawing suggests that it was once in the collection of John (Johann), King of Saxony (1801-1873), when it was thought to be a work by Michelangelo.

2.

Giorgio Vasari, Lives of the Painters, Sculptors and Architects, Florence, 1568; translated Gaston du C. de Vere, London, 1912; 1996 ed., Vol.II, p.580-581.

3.

Rhoda Eitel-Porter in Bear et al, op.cit., p.68, under no.18.

4.

Inv. 1946,0713.518; Nicholas Turner, Florentine Drawings of the Sixteenth Century, exhibition catalogue, London, 1986, pp.177-178, no.129; Luisa Mortari, Francesco Salviati, Rome, 1992, p.218, no.278.

5.

Inv. 1657; Mortari, ibid., pp.255-256, no.465; Catherine Monbeig Goguel, ed., Francesco Salviati o la Bella Maniera, exhibition catalogue, Rome and Paris, 1998, p.196, no.65.

6.

Inv. 778; Catherine Monbeig-Goguel, Musée du Louvre: Inventaire général des dessins italiens I. Vasari et son temps: Maîtres toscans nés après 1500, morts avant 1600, Paris, 1972, p.133, no.155 (not illustrated); Mortari, op.cit., p.251, no.446.

7.

Dominique Cordellier et al, De la Renaissance à l’Age baroque: Une collection de dessins italiens pour les musées de France, exhibition catalogue, Paris, 2005, p.58, no.27, illustrated p.61.

8.

While it has been suggested that these distinctive drawings by Salviati may have been intended as designs for chiaroscuro woodcuts, no such prints are known. As one scholar has pointed out, ‘It is unlikely that [they]…were drawn with a specific composition in mind; rather, such drawings were probably kept in the artist’s workshop as ready-made models for immediate use in case of urgent and demanding mural commissions.’; Alessandro Nova, ‘Salviati, Vasari, and the Reuse of Drawings in Their Working Practice’, Master Drawings, Spring 1992, p.93.

9.

Turner, op.cit., p.178, under no.129.

10. Mortari, op.cit., pp.123-124, no.40, illustrated in colour p.70.

11. Mortari, op.cit., illustrated in colour p.59; Monbeig Goguel, ed., op.cit., 1998, illustrated in colour p.21.

No.4 Gherardo Cibo 1.

As has recently been noted, ‘That Cibo would eventually be regarded as one of the most delightful and original Italian landscapists of the sixteenth century is an unexpected reward for this gentil’ huomo who never received classical training as an artist and who may well have regarded his activities as a landscape draftsman as little more than a pleasurable distraction.’; Oliver Tostmann, in Margaret Morgan Grasselli and Arthur K. Wheelock, ed., The McCrindle Gift: A Distinguished Collection of Drawings and Watercolors, exhibition catalogue, Washington, 2012, p.32, under no.5.

2.

Enrico Celani, ‘Sopra un erbario di Gherardo Cibo conservato nella R. Biblioteca Angelica di Roma’, Malpighia, 1902, p.190; Quoted in translation in Lucia Tongiorgi Tomasi, ‘Gherardo Cibo: visions of landscape and the botanical sciences in a sixteenth-century artist’, Journal of Garden History, 1989, p.210.

3.

Inv. 1966-54; Felton Gibbons, Catalogue of Italian Drawings in the Art Museum, Princeton University, Princeton, 1977, Vol.I, p.184, no.577, Vol. II, fig.577 (as Ulisse Severino da Cingoli); Mangani and Tongiorgi Tomasi, ed., op.cit., 2013, p.179, no.233 (not illustrated).

4.

Inv. 2010.93.13; Bolten, op.cit., p.143, no.115 (not illustrated); Grasselli and Wheelock, ed., op.cit., pp.32-33, no.5; Mangani and Tongiorgi Tomasi, ed., op.cit., 2013, p.190, no.258 (not illustrated).

No.5 Alessandro Allori 1.

Luciano Berti, ‘Note brevi su inediti toscani: Alessandro Allori (Firenze 1535-1607), ‘Noli me tangere’. Dipinto su tela; m. 1,74 x 1,22.’, Bollettino d’Arte, July-September 1953, pp.280-281, fig.6; Simona Lecchini Giovannoni, Alessandro Allori, Turin, 1991, pp.262-263, no.97, fig.216. The painting is recorded as being signed and dated 1584, although its location high up on the wall of the church makes the inscription almost impossible to see today.

2.

Adolfo Venturi, Storia dell’arte italiana. Vol IX: La pittura del Cinquecento, Part VI, Milan, 1933, p.111, fig.70; Lecchini Giovannoni, op.cit., 1991, pp.274-275, no.117 (not illustrated); Anonymous sale (‘Property sold to Benefit the Cornell University College of Veterinary Medicine’), New York, Christie’s, 29 January 2014, lot 173; Alana sale (‘New Perspectives: Masterworks from the Alana Collection’), New York, Christie’s, 9 June 2022, lot 13. The painting, on panel, measures 61.4 x 48.8 cm.

3.

Inv. 1961.61.1; Lecchini Giovannoni, op.cit., 1991, fig.357; Larry J. Feinberg, From Studio to Studiolo: Florentine Draftsmanship under the First Medici Grand Dukes, exhibition catalogue, Oberlin and elsewhere, 1991-1992, pp.56-57, no.3; Suzanne Boorsch and John Marciari, Master Drawings from the Yale University Art Gallery, exhibition catalogue, 2006-2007, illustrated p.18, fig.13.

4.

Lecchini Giovannoni, op.cit., 1991, pp.289-290, no.152, fig.356.

5.

Inv. 1886,0609.33; Nicholas Turner, Florentine Drawings of the Sixteenth Century, exhibition catalogue, London, 1986, pp.207-208, no.155; Lecchini Giovannoni, op.cit., 1991, fig.143; Julian Brooks, Graceful and True: Drawing in Florence c.1600, exhibition catalogue, Oxford and elsewhere, 2003-2004, pp.42-43, no.1.

6.

Lecchini Giovannoni, op.cit., 1991, p.247, no.69, fig.140; Florence, Galleria degli Uffizi, Puro, semplice e naturale nell’arte a Firenze tra Cinque e Seicento, exhibition catalogue, 2014, pp.174-175, no.16.

7.

Lecchini Giovannoni, op.cit., 1991, p.281, no.132, fig.316.

8.

Lecchini Giovannoni, op.cit., 1991, p.298, no.171, fig.403; Francesco Saracino, ‘Alessandro Allori ‘arameo’’, Mitteilungen des Kunsthistorisches Institutes in Florenz, 2004, p.373, fig.8.

9.

Lecchini Giovannoni, op.cit., 1991, p.270, no.110, fig.254.

10. Florence, Palazzo Strozzi, Il Seicento Fiorentino: Arte a Firenze da Ferdinando I a Cosimo III. Vol.I – Pittura, exhibition catalogue, 1986-1987, p.85, no.1.3; Lecchini Giovannoni, op.cit., 1991, p.293, no.159, fig.381; Francesco Saracino, ‘Alessandro Allori ‘arameo’’, Mitteilungen des Kunsthistorisches Institutes in Florenz, 2004, p.360, fig.1.

11. Simonetta Prosperi Valenti Rodinò, The Golden Age of Florentine Drawing: Two Centuries of Disegno from Leonardo to Volterrano, exhibition catalogue, Fort Worth and elsewhere, 1994, p.68, under no.27.

12. Inv. 152; Rossana Muzzi, I grandi disegni italiani nella Collezione del Museo di Capodimonte a Napoli, Milan, 1987, unpaginated, no.58 (as Francesco Cozza); Julien Stock, ‘A Drawing in the Capodimonte, Naples, Reattributed to Alessandro Allori’, Master Drawings, Winter 2018, pp.482-485 (where dated c.1593-1594). The drawing, in black chalk on blue paper, is a preparatory study for Allori’s altarpiece of The Assumption of the Virgin in the Oratorio di San Michele in Prato, begun in 1594 and completed in 1603.

13. Inv. 10299F; Simona Lecchini Giovannoni, Mostra di disegni di Alessandro Allori (Firenze 1535-1607), exhibition catalogue, Florence, 1970, p.46, no.56, fig.27; Lecchini Giovannoni, op.cit., 1991, fig.284. The central head in the Uffizi drawing is a study for Allori’s altarpiece of Christ and the Canaanite Woman of c.1590 in the church of San Giovanni degli Scolopi in Florence.

14. Inv. 10204F; Lecchini Giovannoni, ibid., 1970, p.47, no.57 (not illustrated); Lecchini Giovannoni, op.cit., 1991, fig.317. The drawing can be related to several paintings by Allori, including the Montepulciano Raising of Lazarus of 1593.

No.6 Niccolò Martinelli, called Trometta 1.

‘Seppur difficile da districare e ancora da approfondire, il rapporto di dipendenza di Nicolò Trometta dalla maniera di Taddeo Zuccari che fu per il pesarese e per gran parte degli artisti operanti a Roma nella seconda metà del Cinquecento suo mentore ideale, risulta fondamentale per la comprensione della crescita artistica del nostro…’; Marco Simone Bolzoni, ‘Qualche aggiunta a Nicolò Trometta disegnatore’, in Francesco Grisolia, ed., Disegnare a Roma tra l’età del Manierismo e il Neoclassicismo. Horti Hesperidum: Studi di storia del collezionismo e della storiagrafia artistica, 2014, p.86.

2.

Two of Trometta’s four frescoes, depicting Saints Luke and Matthew, are illustrated in Tosini, op.cit., p.136, figs.5-6.

3.

Inv. 1964.106; Gernsheim photo no. 86635. An image of the drawing, which measures 243 x 140 mm., is visible online at https:// harvardartmuseums.org/collections/object/296938 [accessed 29 November 2023].

4.

Inv. F 253 Inf. 1226; J. A. Gere, ‘Drawings by Niccolò Martinelli, Il Trometta’, Master Drawings, Winter 1963, p.16, no.11 (not illustrated). An image of the drawing is visible online at https://digital-exhibits.library.nd.edu/2d498adc70/inventory-catalog-of-the-drawings-in-the-bibliotecaambrosiana/items/36f00d1fd2 [accessed 29 November 2023].

5.

Gere, ibid., pp.6-7, figs.2-3.

6.

Inv. 1962.17; Gere, op.cit., p.17, no.31, pl.4; Rhoda Eitel-Porter and John Marciari, Italian Renaissance Drawings at the Morgan Library and Museum, New York, 2019, pp.363-365, no.114.

No.7 Federico Zuccaro 1.

E. James Mundy, Renaissance into Baroque: Italian Master Drawings by the Zuccari 1550-1600, exhibition catalogue, Milwaukee and New York, 1989-1990, p.18.

2.

One of the paintings depicts the Annunciation and the other The Vision of Saint Jerome, each with the same subject painted on both sides of the wings; Rosemary Mulcahy, ‘Federico Zuccaro and Philip II: the reliquary altars for the basilica of San Lorenzo de el Escorial’, The Burlington Magazine, August 1987, p.503, figs.12-15; Rosemary Mulcahy, The Decoration of the Royal Basilica of El Escorial, Cambridge, 1994, pp.106-108, figs.43-45; Cristina Acidini Luchinat, Taddeo e Federico Zuccari: fratelli pittori del Cinquecento, Vol.II, Milan and Rome, 1999, pp.156-159, figs.2, 4, 6 and 9. Both works were heavily repainted by a minor Spanish painter, Juan Gómez, in the 1590s.

3.

Gere, op.cit., p.129, under no.15.

4.

Anonymous sale, New York, Sotheby’s, 28 January 1998, lot 66; Paris, Paul Prouté S.A., Catalogue della Bella, 2004, no.2. The dimensions of the drawing are 337 x 252 mm.

No.8 Spanish School, Late 16th Century 1.

Many of the vestments and altar linen for which these drawings were produced survive today at the monastery; several are illustrated in Paulina Junquera de Vega, ‘El obrador de bordados de El Escorial’, El Escorial 1563-1963, Madrid, 1963, Vol.II, pp.560-568 and pp.571-572.

2.

‘Cet ensemble de dessins, aujourd’hui le plus abondant et le plus cohérent pour l’Espagne de la Renaissance...’; Lizzie Boubli, Le dessin en Espagne à la Renaissance, Turnhout, 2015, p.231.

3.

Diego Angulo and Alfonso E. Pérez Sánchez, A Corpus of Spanish Drawings. Vol.1: Spanish Drawings 1400-1600, London, 1975, pp.20-21, nos.15-26, pls. VI-VIII, pp.48-51, nos.182-201, pls.LIV-LVI, and pp.67-76, nos.309-385, pls.LXXX-LXXXVII. Nine of these are illustrated in colour in Lizzie Boubli, ibid., pp.244-246 and 250, figs.44-52.

4.

A third album today in the Escorial library contains ninety-four substitute cartoons that are pricked copies of the primary drawings for the embroidered vestments. A concordance of the substitute cartoons in the album and the extant drawings from which they were made is found in Carmen C. Bambach, Drawing and Painting in the Italian Renaissance Workshop. Theory and Practice, 1300-1600, Cambridge, 1999, pp.368371.

5.

Mark P. McDonald, Renaissance to Goya: Prints and Drawings from Spain, exhibition catalogue, London, 2012-2013, p.74.

6.

Lisa A. Banner, ‘A Selection of Spanish Drawings from The Metropolitan Museum of Art’, Master Drawings, 1999, No.4, p.396.

7.

Angulo and Pérez Sánchez, op.cit., pp.67-68, nos.309-318, illustrated pl.LXXX and LXXXI. The drawings by the ‘Master A’ in the Escorial albums were formerly attributed, by Paulina Junquera de Vega in 1964 (op.cit., p.259), to the artist Miguel Barroso.

8.

Angulo and Pérez Sánchez, op.cit., p.67, no.309, illustrated pl.LXXX.

9.

Banner, op.cit., p.396.

10. Lizzie Boubli, ‘The State of Scholarship of Sixteenth- and Seventeenth-Century Spanish Drawings’, Master Drawings, 1999, No.4, pp.355-356.

No.9 Johann (Hans) Rottenhammer 1.

Alena Volrábová, ‘Hans Rottenhammer and the Technique of Drawing’, in Heiner Borggrefe et al, Hans Rottenhammer (1564-1625): Ergebnisse des in Kooperation mit dem Institut für Kunstgeschichte der Tschechischen Akademie der Wissenschaften durchgeführten internationalen Symposions am Weserrenaissance-Museum Schloß Brake (17.-18 Februar 2007), Marburg, 2007, p.139.

2.

‘Rottenhammer betrachtete das Zeichnen als einen zentralen Teil seiner künstlerischen Arbeit. Seine Zeichnungen zeigen ihn als einen souveränen Künstler, der in stetigem Fortschritt und beständiger Wandlung begriffen ist. Inspiriert…durch seine grundlegenden Erfahrungen in Venedig und Rom kann Rottenhammer als das Musterbeispiel eines italienreisenden Künstlers aus dem Norden gelten, der den Kanon der italienischen Vorbilder nicht bloß nachamt, ihn vielmehr durchdringt und zu etwas Neuartigem verdichtet. Sein Weg erweist ihn als neugierigen, einfühlsamen und produktiven Künstler, dem es gelang, aus den verschiedenen Strömungen, die ihm in Italien begegneten, eibn eigenständiges Oeuvre zu schaffen.’; Thomas DaCosta Kaufmann and Heiner Borggrefe, ‘Hans Rottenhammer als Zeichner’, in Heiner Borggrefe et al, Hans Rottenhammer begehrt – vergessen – neu entdeckt, exhibition catalogue, Schloss Brake and Prague, 2008-2009, p.61.

3.

‘…seguì alcune volte la manieri di lui, valendosi talora d’alcuna sua invenzione’; Quoted in translation in Michel Hochmann, ‘Hans Rottenhammer and Pietro Mera: two northern artists in Rome and Venice’, The Burlington Magazine, September 2003, p.643, note 19.

4.

Heinrich Geissler, ‘On Central European Drawing between the Renaissance and Baroque’, in Walter Strauss and Tracie Felker, ed., Drawings Defined, New York, 1987, p.338.

5.

Inv. 1997,0712.35; John Rowlands, German Drawings from a private collection, exhibition catalogue, London, Washington and Nuremberg, 1984, pp.62-63, no.62; Heiner Borggrefe, ‘Hans Rottenhammer (1564?-1625)’, in Borggrefe et al, 2008-2009, p.20, fig.25.

6.

Joachim Jacoby, Herzog Anton Ulrich-Museum Braunschweig: Die deutschen Gemälde des 17. und 18. Jahrhunderts, Braunschweig, 1989, pp.207209, no.1154; Borggrefe et al, op.cit., 2008-2009, p.20, fig.23. The painting is thought to be a collaborative work by Rottenhammer and Pauwels Franck, known in Italy as Paolo Fiammingo.

7.

Michael Jaffé, The Devonshire Collection of Northern European Drawings. Vol.IV: German, English and Spanish Artists, Turin, 2002, p.519, no.1573 [Chatsworth 692]; DaCosta Kaufmann and Borggrefe in Borggrefe et al, op.cit., 2008-2009, p.57, fig.93. The Chatsworth drawing was reproduced, in reverse, in an engraving by Raphael Sadeler.

8.

Inv. KdZ 10477; Borggrefe et al, op.cit., 2008-2009, pp.165-166, no.70.

9.

Anonymous sale, London, Sotheby’s, 8 July 2015, lot 16.

10. Jaffé, op.cit., pp.516-517, no.1571 [Chatsworth 689]; DaCosta Kaufmann and Borggrefe in Borggrefe et al, op.cit., 2008-2009, p.56, fig.92; Hoesch sale (‘Master Drawings from a Distinguished European Collection’), London, Sotheby’s, 6 July 2010, lot 59 (unsold); Heiko Damm and Henning Hoesch, ed., galleria portatile: Old Master Drawings from the Hoesch Collection, Petersberg, 2017, pp.116-119, no.26.

11. Anonymous sale, London, Christie’s, 25 April 2008, lot 104 (as Circle of Rottenhammer, unsold).

No.10 Isaac Oliver 1.

Richard Stephens, ‘‘The spirit and force of art’: Defining Drawing in England, 1600-1750’, in London, Lowell Libson & Jonny Yarker Ltd., The Spirit & Force of Art: Drawing in Britain 1600-1750, exhibition catalogue, London, 2018, p.14.

2.

Finsten, op.cit., Vol.I, p.141.

3.

Lindsay Stainton and Christopher White, Drawing in England from Hillard to Hogarth, exhibition catalogue, London, 1987, p.19.

4.

Quoted in Jeremy Wood, ‘Peter Oliver at the Court of Charles I: New Drawings and Documents’, Master Drawings, Summer 1998, p.123.

5.

Finsten, op.cit., Vol.II, p.235, under no.194.

6.

Hollstein 318; Bartsch 274.

7.

Finsten, op.cit., Vol.I, p.155.

8.

Inv. 1869,0612.295; Edward Croft-Murray and Paul Hulton, Catalogue of British Drawings. Volume One: XVI and XVII Centuries, London, 1960, Vol.I, p.22, no.7, Vol.II, pl.15; Finsten, op.cit., Vol.II, p.218, no.183, fig.158 (where dated c.1600-1610); Stainton and White, op.cit., pp.50-51, no.6; Wood, op.cit., p.141, fig.25.

No.11 Francis Cleyn 1.

The curator and scholar Edward (‘Teddy’) Croft-Murray (1907-1980), served as Assistant Keeper and later Keeper of Prints and Drawings at the British Museum. An expert on early English drawings, he joined the museum in 1933, and produced two catalogues of the drawings of the British School (one of which has remained unpublished) at the British Museum, as well as the seminal book Decorative Painting in England 15371837, before his retirement in 1972.

2.

As Edward Croft-Murray has noted, Cleyn was in particular ‘much appreciated for his grotesque[s]…the borders of his tapestries display several varieties of it, both Italian and Flemish.’; Edward Croft-Murray, Decorative Painting in England 1537-1837, Vol.I, London, 1962, p.39.

3.

Croft-Murray, ibid., 1962, p.111, pl.66; Christopher Rowell, ‘The Green Closet at Ham House: A Charles I Cabinet Room and its Contents’, in Christopher Rowell, Ham House: 400 Years of Collecting and Patronage, London, 2013, pp.14-31; David Howarth, ‘The Southampton Album: A Newly Discovered Collection of Drawings by Francis Cleyn the Elder and His Associates’, Master Drawings, Winter 2011, p.458, figs.43-44.

4.

Inv. RCIN 402871, 402873-402875, 402884 and 403967; John Shearman, The Early Italian Pictures in the Collection of Her Majesty the Queen, Cambridge, 1983, pp.197-200, nos.200-205, pls.172, 174 and 176-179; Pierluigi Leone de Castris, Polidoro da Caravaggio: L’opera completa, Naples, 2001, p.271, figs.318-321; David Franklin, Polidoro da Caravaggio, New Haven and London, 2018, p.86, figs.3.18-3.23.

5.

Inv. RCIN 402875; Shearman, op.cit., pp.197-198, no.201, pl.174; Leone de Castris, op.cit., p.271, fig.320; Rowell, op.cit., p.188, fig.173; Franklin, op.cit., p.86, fig.3.23.

6.

Howarth, op.cit., p.469.

7.

The Royal Coat of Arms depicted in this drawing is the one that was in use between 1603, when James VI of Scotland assumed the throne of England as James I, and 1688.

8.

King Charles II acquired such a set in 1667-1668 from Francis Poyntz, then the director of the Mortlake tapestry factory, while a further set survives at Hardwick Hall.

9.

Inv. 2021.186a & b. An image of the two drawings is visible online at https://www.metmuseum.org/art/collection/search/853452 [accessed 4 December 2023].

No.12 Salvator Rosa 1.

Inv. E 9; Mahoney, op.cit., Vol.I, p.287-289, no.24.1, Vol.II, fig.24.1; Herwig Guratzsch, ed., Salvator Rosa: Genie der Zeichnung. Studien und Skizzen aus Leipzig und Haarlem, Leipzig, 1999, pp.104-105, p.224, no.25, p.224; Carel van Tuyll van Serooskerken, The Italian Drawings of the Seventeenth and Eighteenth Centuries in the Teyler Museum, Leiden and Haarlem, 2021, Vol.II, p.586, no.745.

2.

Inv. 48-809; Mahoney, op.cit., Vol.I, p.293, no.24.9, Vol.II, fig.24.9; Felton Gibbons, Catalogue of Italian Drawings in the Art Museum, Princeton University, Princeton, 1977, Vol.I, p.176, no.540, Vol.II, fig.540.

3.

Inv. 125305; Mahoney, op.cit., Vol.I, p.293, no.24.10, Vol.II, fig.24.10.

4.

Inv. 9758; Mahoney, op.cit., Vol.I, p.157, no.4.1, Vol.II, fig.4.1; Pierre Rosenberg, Les dessins de la collection Mariette: Écoles italienne et espagnole, Paris, 2019, Vol.III, p.1085, no.I1808.

No.13 Thomas Wijck 1.

Robert Fucci, Drawn to Life: Master Drawings from the Age of Rembrandt in the Peck Collection at the Ackland Art Museum, exhibition catalogue, Chapel Hill and Amsterdam, 2022-2023, p.118, under no.26.

2.

Maud van Suylen, ‘Drawings of Interiors by Thomas Wijck’, Master Drawings, Summer 2020, p.203.

No.14 Ciro Ferri 1.

The first recorded owner of this drawing was the English peer John Rushout, 2nd Baron Northwick (1770-1859), who lived in Italy between 1793 and 1800 and developed a particular interest in Italian art. He assembled a fine collection of Old Master and British paintings, and in 1832 built a gallery for his painting collection at his family seat, Northwick Park in Worcestershire (now Gloucestershire). By 1851 his collection of paintings numbered over 1,400 works, much of which was displayed at Thirlestaine House in Cheltenham, which was opened to the public.

Northwick died intestate in 1859, and the contents of both houses were sold at auction over a period of twenty-one days. Many of the works were bought at the sale by Northwick’s nephew, George Rushout (1811-1877), who had succeeded to the baronetcy, and were returned to

Northwick Park. The Northwick collection eventually passed by family descent to another noted collector, Captain Edward George SpencerChurchill (1876-1964), who sold a number of the Old Master drawings, including the present sheet, at auction in 1920.

2.

‘Niun altro discelopo piu di Ciro imito bene la maniera del maestro Cortona: a niun altro più di lui s’accosto alle sue belle idee, a bizarre invenzioni.

Niun di loro lo superò nel disegno…’; Lione Pascoli, Vite de’ pittori, scultori ed architetti moderni, Rome, 1730-1736, Vol.I, p.171.

3.

Anna Lo Bianco, ‘Pietro da Cortona e gli Oratoriani’, in Rome, Museo Nazionale del Palazzo di Venezia, La Regola e la Fama: San Filippo Neri e l’Arte, exhibition catalogue, 1995, p.183, fig.189, illustrated in colour pl.XI; Anna Lo Bianco, ‘Le ragioni di una mostra: la celebrazione del centenario della nascita di Pietro da Cortona e lo stato attuale degli studi’, Antichità viva, March-June 1997, p.8, fig.2; Donatella Livia Sparti, ‘Cortona tardo: modus operandi e problemi di bottega’, Antichità viva, March-June 1997, p.14, fig.1; Anna Lo Bianco, Pietro da Cortona, 15971669, exhibition catalogue, Rome, 1997-1998, pp.380-381, no.60; Dieter Graf, ‘Disegni di Pietro da Cortona e della sua scuola per il Missale Romanum del 1662’, in Christoph Luitpold Frommel and Sebastian Schütze, ed., Pietro da Cortona: Atti del convegno internazionale RomaFirenze 12-15 novembre 1997, Rome, 1998, p.204, fig.8; Benedetta Ciuffa, François Spierre: Un incisore lorenese nella Roma barocca, Rome, 2021, p.78, fig.60.

4.

The contract for the Perugia altarpiece specified that the painting was to be ‘done by [Cortona’s] young pupils under his direction’ (‘farlo fare da’suoi giovani sotto la sua dirizione’).

5.

Lo Bianco, op.cit., 1995, p.186, fig.191; Graf, op.cit., p.204, fig.7; Ciuffa, op.cit., pp.196-199, no.I.1.2/2. Spierre’s engraving appears on p.342 of the Missale Romanum, as the frontispiece for the chapter ‘Die VIII in Conceptione B. Mariae Virginis’ [Le Blanc 22].

6.

The present sheet may be likened, in stylistic terms, to other finished drawings by Ciro Ferri used for the Missale Romanum of Alexander VII, such as a Last Supper and a Circumcision, both in the Metropolitan Museum of Art in New York (Inv. 68.38 and 1991.184.2, respectively; Jacob Bean, 17th Century Italian Drawings in The Metropolitan Museum of Art, New York, 1979, pp.135-135, no.171; Felice Stampfle and Jacob Bean, Drawings from New York Collections II: The Seventeenth Century in Italy, exhibition catalogue, New York, 1967, p.80, no.126, fig.126).

No.15 Giovanni Battista Tiepolo 1.

‘Egli è fecondissimo d’ingegno; perciò intagliatori e copiatori cercano d’intagliarne le opere, di averne le invenzioni e le bizzarrie di pensieri; e già i di lui disegni sono in tanta estimazione, che ne spedi de’ libri a’ più lontani paesi.’; Vincenzo da Canal, Vita di Gregorio Lazzarini, Venice, 1809; Quoted in translation in Bernard Aikema, Tiepolo and His Circle: Drawings in American Collections, exhibition catalogue, Cambridge and New York, 19961997, p.13.

2.

Adriano Mariuz, ‘Giambattista Tiepolo’, in Jane Martineau and Andrew Robison, ed., The Glory of Venice: Art in the Eighteenth Century, exhibition catalogue, London and Washington, D.C., 1994-1995, pp.180-182.

3.

Antonio Morassi, A Complete Catalogue of the Paintings of G. B. Tiepolo, London, 1962, p.38, fig.124; Guido Piovene and Anna Pallucchini, L’opera completa di Giambattista Tiepolo, Milan, 1968, p.101, no.110; Massimo Gemin and Filippo Pedrocco, Giambattista Tiepolo. I dipinti: Opera completa, Venice, 1993, p.316, no.215; Keith Christiansen, ed., Giambattista Tiepolo 1696-1996, exhibition catalogue, Venice and New York, 1996-1997, p.239, fig.81; Jon L. Seydl, Giambattista Tiepolo: Fifteen Oil Sketches, exhibition catalogue, Los Angeles, 2005, p.46, fig.6.1.

4.

Piovene and Pallucchini, ibid., p.115, no.198, illustrated in colour pl.XXXVIII; Gemin and Pedrocco, ibid., p.437, no.431; Christiansen, ed., ibid., pp.234-239, no.38; Seydl, ibid., p.47, fig.6.3; Adriano Mariuz [ed. Giuseppe Pavanello], Tiepolo, Verona, 2008, illustrated in colour pl.LXXV.

5.

Gemin and Pedrocco, op.cit., p.392, no.367, illustrated in colour p.16, pl.77. The painting measures 55 x 34 cm.

6.

Morassi, op.cit., p.27, fig.153, where dated 1740-1750; Piovene and Pallucchini, op.cit., p.111, no.167 (where dated 1745).

7.

Tancred Borenius, ‘Giovanni Battista Tiepolo’, Old Master Drawings, March 1927, p.54.

8.

von Hadeln, op.cit., pp.3-4.

No.16 Thomas Gainsborough 1.

John Hayes, ‘Gainsborough Drawings: A Supplement to the Catalogue Raisonné’, Master Drawings, Winter 1983, p.367.

2.

John Hayes, ed., The Letters of Thomas Gainsborough, London, 2001, p.68.

3.

Inv. 1988,0305.59; Stephen Lloyd and Kim Sloan, The Intimate Portrait: Drawings, Miniatures and Pastels from Ramsay to Lawrence, exhibition catalogue, Edinburgh and London, 2008-2009, p.99, no.53; Marco Simone Bolzoni, Thomas Gainsborough: Experiments in Drawing, exhibition catalogue, New York, 2018, p.16, fig.7.

4.

Susan Sloman, Gainsborough’s Landscapes: Themes and Variations, exhibition catalogue, Bath, 2012, p.11.

5.

Philip Thicknesse, A Sketch of the Life and Paintings of Thomas Gainsborough, Esq., London, 1788, pp.5-7. Thicknesse goes on to claim that one of Gainsborough’s very first drawings, which the artist presented to him, was a pencil sketch of a group of trees, ‘accompanied with a great many sketches of Trees, Rocks, Shepherds, Plough-men, and pastoral scenes, drawn on slips of paper, or old dirty letters, which he called his riding School, and which have all been given, borrowed, or taken away from me, except his first wonderful Sketch.’

6.

The Morning Herald, 4 August 1788.

7.

Hugh Belsey, ‘A Second Supplement to John Hayes’s The Drawings of Thomas Gainsborough’, Master Drawings, Winter 2008, pp.463-464, no.999, fig.25 (where dated c.1748).

8.

Inv. T08930; John Hayes, The Drawings of Thomas Gainsborough, New Haven and London, 1970, Vol.I, p.131, no.69 (not illustrated). An image of the drawing is visible online at https://www.tate.org.uk/art/artworks/gainsborough-tree-study-t08930 [accessed 8 November 2023].

9.

Eight of the ten sketchbooks were sold at the auction, mostly to various private collectors, although one was acquired by the dealer Colnaghi’s.

None of Gainsborough’s sketchbooks has remained intact today.

No.17 Ubaldo Gandolfi 1.

Biagi Maino, op.cit., p.263, no.69, fig.113; Bagni, op.cit., p.638, no.613.

2.

Inv. II/1095; Thiem, op.cit., pp.152-154, no.90; Stephen Pepper, ‘Bolognese Drawings from the Schloss Fachsenfeld Collection’ [book review], Master Drawings, Summer 1982, p.160, fig.4; Bagni, op.cit., p.640, no.615; Cazort, Bella Pittura: The Art of the Gandolfi, exhibition catalogue, Ottawa and Little Rock, 1993, p.52, no.23; Czére, op.cit., p.168, under no.136, fig.136/a. The drawing measures 292 x 190 mm.

3.

Inv. K.2001.2; Czére, op.cit., pp.166-169, no.136. An image of the drawing, which measures 310 x 206 mm., is visible online at https://www. mfab.hu/artworks/13633/ [accessed 19 November 2023].

4.

Biagi Maino, op.cit., pl.XXXIII; Bagni, op.cit., p.641, no.616.

5.

Inv. 1159; Venice, Isola di San Giorgio Maggiore and Bologna, Palazzo Pepoli Campogrande, I Gandolfi, Ubaldo, Gaetano, Mauro: Disegni e dipinti, exhibition catalogue, 1987, p.60, no.62, pl.62; Bagni, op.cit., p.639, no.614.

No.18 Giovanni David 1.

‘rare alle opere, bizzarro allo stile, oscuro alla vita e pressochè misterioso.’; Federico Alizeri, Notizie dei professori del disegno in Liguria, Genoa, 1864, Vol.I, p.371.

2.

Mary Newcome, ‘Drawings by Giovanni David’, Master Drawings (Essays in Memory of Jacob Bean), Winter 1993, p.474.

3.

Loredana Pessa, ed., Gerolamo Grimaldi e la società patria: Aspetti della cultura figurativa ligure nell’età dell’Illuminismo, exhibition catalogue, Genoa, 1990, pp.66-67, no.13, fig.51; Pietro Donati, ‘Pittori a Genova dal 1620 al 1630: Esordi e congedi’, Bollettino d’Arte, July-October 1992, p.117, fig.8 (incorrectly as a copy after Orazio de’ Ferrari); Newcome Schleier and Grasso, op.cit., pp.30-31, no.D9.

No.19 François-André Vincent 1.

Inv. MBA J 178; Cuzin, op.cit., p.435, no.380 P, illustrated pp.114-115.

2.

Cuzin, op.cit., p.441, no.402 P.

3.

The composition of the lost painting is known through a preparatory compositional drawing in the Snite Museum of Art at the University of Notre Dame in Indiana (Inv. 2004.053.010; Cuzin, op.cit., p.441, no.400 D, illustrated p.127) and an oil sketch whose location is unknown (Cuzin, op.cit., p.441, no.401 P, illustrated p.127).

4.

Cuzin, op.cit., pp.11 and 294.

5.

Inv. 62.124.1 and 62.124.2; Cuzin, op.cit., p.424, nos.338 D and 339 D, illustrated p.100.

No.20 Giuseppe Cades 1.

Edgar Peters Bowron and Joseph J. Rishel, ed., Art in Rome in the Eighteenth Century, exhibition catalogue, Philadelphia and Houston, 2000, p.481, under no.324.

2.

Anthony M. Clark, ‘An Introduction to the Drawings of Giuseppe Cades’, Master Drawings, Spring 1964, p.22.

3.

Inv. Kdz 22584; Maria Teresa Caracciolo, Giuseppe Cades 1750-1799 et la Rome de son temps, Paris, 1992, p.405, no.185, illustrated p.164, fig.64.

4.

Ibid., pp.188-189, no.19 (as location unknown, and dated to the 1770s); Adriano Cera, ed., Disegni, acquarelli, tempere di artisti italiani dal 1770 ca. al 1830 ca., Bologna, 2002, Vol.I, unpaginated, Cades no.3.

No.21 Giuseppe Cades 1.

Inv. 5814/a; Lyon, Musée Historique des Tissus, Dessins du XVIe au XIXe siècle de la collection du Musée des Arts Décoratifs de Lyon, exhibition catalogue, 1984-1984, p.53, no.42; Maria Teresa Caracciolo, Giuseppe Cades 1750-1799 et la Rome de son temps, Paris, 1992, pp.408-409, no.181. The drawing measures 192 x 108 mm.

2.

Inv. 1978-70-210; Caracciolo, ibid., p.209, no.39.

3.

‘Cette feuille montre bien l’évolution du style de Cades dessinateur vers la fin des années 70: la plume constitue désormais son moyen préféré pour cerner la forme d’un trait fin et nerveux, alternant une parfaite rigueur (dans le dessin des architectures) à des effets plus libres et capricieux dans les chevelures et les draperies. Les rehauts d’un lavis léger soulignent avec discrétion les ombres et les volumes. La raideur du trait des feuilles

d’adolescence, l’exubérance et les excès de modelli d’après l’histoire antique semblent désormais dépassés au nom d’un équilibre nouveau entre une composition classicisante et un graphisme toujours largement tributaire de la leçon maniériste (romaine et bolonaise), dont les lignes fermes et souples construisent des formes élégantes et achevées.’; Caracciolo, op.cit., p.209, under no.39.

No.22 Giuseppe Cades 1.

Edgar Peters Bowron, ‘Painters and Painting in Settecento Rome’, in Edgar Peters Bowron and Joseph J. Rishel, ed., Art in Rome in the Eighteenth Century, exhibition catalogue, Philadelphia and Houston, 2000, p.298.

2.

Anthony M. Clark, ‘An Introduction to the Drawings of Giuseppe Cades’, Master Drawings, Spring 1964, p.19.

3.

Inv. 1970.113.12; Jacob Bean and William Griswold, 18th Century Italian Drawings in The Metropolitan Museum of Art, New York, 1990, p.40, no.18; Maria Teresa Caracciolo, Giuseppe Cades 1750-1799 et la Rome de son temps, Paris, 1992, pp.384-385, no.151A.

4.

With Galleria Marcello Aldega, Rome, in 1990; Caracciolo, ibid., pp.388-389, no.157.

No.23 Carlo Alberto Baratta 1.

Mary Newcome, Genoese Baroque Drawings, exhibition catalogue, Binghamton and Worcester, 1972, p.xxiv.

2.

Mary Newcome, ‘Drawings by Carlo Alberto Baratta’, Studi di Storia dell’Arte, 2013, p.261.

3.

‘Le carte del Baratta sono per lo più ombrate di bistro e lumeggiate di biacca in campo azzuro, con una forza di chiaroscuro ed una risolutezza di tocco che non lasciano desiderare né le tinte né la diligenza dei quadri ad olio.’; Federigo Alizeri, Notizie dei professori del disegno in Liguria dalla fondazione dell’Accademia, Vol.II, Genoa, 1865, p.101.

4.

Newcome Schleier in Paragone, op.cit., 2013, p.58.

5.

Newcome Schleier in Paragone, op.cit., 2013, p.58.

6.

Mary Newcome Schleier and Giovanni Grasso, Giovanni David: Pittore e incisore della famiglia Durazzo, Turin, 2003, p.78, fig. D30b.1; Newcome Schleier in Paragone, op.cit., 2013, pl.42b. The painting, traditionally attributed to Valerio Castello, measures 120 x 85 cm.

7.

Farida Simonetti, Basilica di S. Maria Assunta a Camogli, Genoa, 1989, p.27, no.7.2 (not illustrated); Newcome Schleier in Paragone, op.cit., 2013, pl.43. The dimensions of the altarpiece are 480 x 250 cm.

8.

Inv. 1509; Eric Pagliano, de Venise à Palerme: Dessins italiens du musée des beaux-arts d’Orléans XVe-XVIIIe siècle, Paris, 2003, pp.274-276, no.166.

9.

Santo Varni came to possess much of the studio collections of drawings held in the estates of several Genoese artists, including the Piola and de Ferrari families of painters.

No.24 Filippo Pedrini 1.

‘…dalla natura ha sortito un bello ingegno per il disegno…si diede à copiare delle pitture delli Gandolfi e tanto bene le imitò.’; Marcello Oretti, Le pitture che si ammarano nelli palaggi e case de’ nobili della città di Bologna, MS, 1760-1780, Biblioteca Comunale, Bologna.

2.

Renato Roli, Pittura Bolognese 1650-1800: Dal Cignani ai Gandolfi, Bologna, 1977, figs.81b and 82a and b.

3.

Anonymous sale, London, Christie’s, 25 June 1968, lot 157 (as Gaetano Gandolfi); Anonymous sale, London, Christie’s South Kensington, 15 December 2000, lot 76 (as Attributed to Filippo Pedrini); New York and London, Colnaghi, Master Drawings, 2001, no.34.

4.

Donatella Biagi Maino, ‘La pittura in Emilia Romagna nella seconda metà del Settecento’, in La pittura in Italia: Il Settecento, Milan, 1989, Vol.I, p.292, fig.406 (as a Mythological Scene), illustrated in colour.

5.

nv. 381; Andrea Emiliani et al, L’arte del Settecento Emiliano: L’accademia clementina, exhibition catalogue, Bologna, 1979, p.147, no.318, fig.310.

6.

Anonymous sale, London, Christie’s, 20 April 1993, lot 170; John O’Brien sale (‘From Taddeo to Tiepolo: The Dr. John O’Brien Collection of Old Master Drawings’), New York, Sotheby’s, 27 January 2021, lot 329.

7.

Inv. II/1090; Christel Thiem, Disegni di Artisti Bolognesi dal Seicento all’Ottocento della Collezione Schloss Fachsenfeld e della Graphische Sammlung Staatsgalerie Stuttgart, exhibition catalogue, Bologna, 1983, pp.162-163, no.97.

No.25 Théodore Géricault 1.

Inv. MV 1739; Bazin, op.cit., p.358, no.110A; de Brem, op.cit., p.40, no.21.

2.

Eitner, op.cit., pp.21-22.

3.

Eitner, op.cit., p.325, note 50.

4.

‘On comprend que notre artiste, cherchant des sujets propres à l’inspirer, se soit intéressé à la Prise de Landshut, épisode qui se situe le 21 avril 1808 et qui montre l’action d’éclat du général Mouton, aide de camp de l’Empereur qui, à la tête des grenadiers du 17e de Ligne (division Morand), s’élança sous un déluge de mitraille sur le grand pont en flammes qui enjambait le bras principal de l’Isar. Le lavis un peu bouché de ce tableau en réalité très clair, pourrait faire croire à un épisode nocturne; le pinceau est lourd, les personnages sont des pantins; au dos se trouve un Cavalier galopant dans une forêt “qui pourrait être la copie d’une composition de Carle Vernet”, selon Clément; le cheval est en fer, le cavalier de bois et celui-ci galope entre des portants de théâtre appelés à figurer forêt.’; Bazin, op.cit., pp.262-263.

5.

Inv. 702 and 701; Bazin, op.cit., pp.356-357, nos.106 and 108, respectively. The two drawings at Bayonne are one of four early drawings by Géricault from the Coutan-Hauguet collection, which was sold at auction in Paris on 16-17 December 1889. It has been suggested that the present sheet may possibly share the same provenance, although it cannot be identified individually in the Coutan-Hauguet sale catalogue.

6.

François-Martial Marcille’s collection was partially divided between his two sons shortly before his death in 1856, while Eudoxe Marcille also acquired some works from the posthumous sale of his brother’s collection in 1876.

No.26 John Linnell 1.

Both this watercolour and the related painting by John Linnell were in the collection of the English painter, writer and curator Lawrence Gowing RA CBE (1918-1991).

2.

Linnell was eventually invited to join the Academy in the 1860s, when he was much more successful, but refused.

3.

John Linnell, ‘Autobiographical Notes’, unpublished MS, Fitzwilliam Museum, Cambridge, p.13; Quoted in Katharine Crouan, John Linnell: A Centennial Exhibition, exhibition catalogue, Cambridge and New Haven, 1982-1983, p.xiv.

4.

Cummings and Staley, op.cit., p.238, no.157; Paris, Petit Palais, op.cit., p.165, no.164 (not illustrated); Madrid, Museo del Prado, Pintura Británica de Hogarth a Turner, exhibition catalogue, 1988-1989, pp.242-243, no.60; David Linnell, Blake, Palmer, Linnell and Co.: The Life of John Linnell, Lewes, 1994, p.359, no.77 (not illustrated); Sale (‘Property Formerly in the Collection of the Late Sir Lawrence Gowing, C.B.E., R.A.’), London, Christie’s, 15 December 2022, lot 133. The painting is listed in Linnell’s account book: ‘1824-25 / Southampton from the River near Netley Abbey / Painted for Mr. Hall of Southampton 25 Gns. / Canvas 1 ft 6 x 3 ft.’

5.

Quoted in Crouan, op.cit., 1982-1983, p.23, under no.61.

6.

Katherine Crouan, John Linnell: Truth to Nature (A Centennial Exhibition), exhibition catalogue, London and New York, 1982, pp.VIII-IX and p.XIV.

No.27 J. M. W. Turner 1.

Eric Shanes, Turner’s England, London, 1990, p.7.

2.

Wilton, op.cit., pp.185-186.

3.

Inv. TB CCXXXVIII; Gerald Wilkinson, Turner’s colour sketches 1820-34, London, 1975, p.48.

4.

Shanes, op.cit., 1990, p.19.

5.

When the landscape architect and gardener Lancelot ‘Capability’ Brown transformed Blenheim’s grounds in the 1760s, he built two dams and a huge lake, which flooded the lower half of Vanbrugh’s bridge.

6.

Inv. TB CCLXIII 365; Wilton, op.cit., p.179, fig.193; Shanes, op.cit., 1990, p.221, fig.21.

7.

Inv. TB CCLXIII 366; Eric Shanes, Turner’s Watercolour Explorations 1810-1842, exhibition catalogue, London and Southampton, 1997, p.53, no.31 (where dated 1830-1831). This watercolour is also visible online in Matthew Imms, ‘Blenheim Palace and Park c.1830–2 by Joseph Mallord William Turner’, catalogue entry, March 2013, in David Blayney Brown, ed., J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, https://www.tate.org.uk/art/research-publications/jmw-turner/joseph-mallord-william-turner-blenheim-palace-andpark-r1144239 [accessed 28 July 2023].

8.

Inv. 1.20; Wilton, op.cit., p.399, no.846, illustrated p.179, fig.194 (where dated c.1832); Eric Shanes, Turner’s Picturesque Views in England and Wales 1825-1838, London, 1979, pp.37-38, no.52, pl.52; Shanes, op.cit., 1990, pp.220-221, no.189; James Hamilton, Turner’s Britain, exhibition catalogue, Birmingham, 2003-2004, pp.163-164, pl.138.

9.

Wilkinson, op.cit., illustrated p.48. Impressions of the engraving are in the collections of the Tate and the British Museum.

10. Inv. D.1922.31 (as Tivoli) and D.1922.45 (as Loch Katrine); Wilton, op.cit., p.380, nos.695-696; Charles Nugent, British Watercolours in the Whitworth Art Gallery, The University of Manchester: A Summary Catalogue of Drawings and Watercolours by Artists born before 1880, London, 2003, p.269. The first of these is also illustrated in colour in London, Andrew Clayton-Payne, JMW Turner RA (1775-1851): Masterpieces from the Whitworth Art Gallery, The University of Manchester, exhibition catalogue, 2013, pp.28-29, unnumbered.

11. Anonymous sale (‘The Property of a Lady’), London, Sotheby’s, 5 July 2023, lot 40.

No.28 Alfred De Dreux 1.

Les Muses, 1834; Quoted in Marie-Christine Renauld, Alfred De Dreux: Le cheval, passion d’un dandy parisien, Paris, 1997, p.150.

2.

‘soutiendrait peut-être la comparaison, pour la verve, l’énergie et la vérité, avec les chevaux de Géricault’; L’Artiste, no.7, 1834, p.63.

3.

The present sheet does not, however, appear in the posthumous sale of paintings, drawings and watercolours from the estate of Alexis Rouart (Paris, Hôtel Drouot [Baudoin], 8-10 May 1911), although two paintings and another watercolour by De Dreux were included.

No.29 James Holland 1.

E. T. Cook and Alexander Wedderburn, ed., The Works of John Ruskin: Modern Painters, Vol.I Parts I and II – Of General Principles and of Truth, London, 1903, p.529.

2.

Quoted in Hugh Stokes, James Holland (1800-1870) [Walker’s Quarterly, No.23], London, 1927, p.17.

3.

Ibid., p.41.

4.

Anonymous sale, London, Christie’s, 9 November 1999, lot 81. The watercolour, which measures 365 x 553 mm., is signed and dated ‘JH North Wales / 15 Oct. 1850.’

No.30 Théodore Chassériau 1.

Henry Marcel, L’art de notre temps: Chassériau, Paris, n.d. (1911), illustrated between pp.108 and 109; Leonce Bénédite, Théodore Chassériau: Sa vie et son oeuvre, Paris, 1931, VoI.II, illustrated p.443 and pl.XXXXVIII; Marc Sandoz, Théodore Chasseriau 1819-1856: Catalogue raisonné des peintures et estampes, Paris, 1974, pp.390-391, pl.CCXa; Christine Peltre, Théodore Chassériau, Paris, 2001, p.178, fig.206.

2.

Inv. PPP4541; Sandoz, ibid., pp.396-397, pl.CCXV.

3.

Inv. RF 3906; Stéphane Guégan, Vincent Pomarède and Louis-Antoine Prat, Théodore Chassériau (1819-1856): The Unknown Romantic, exhibition catalogue, New York, Metropolitan Museum of Art, 2002-2003, pp.361-363, no.232.

4.

Inv. PDUT1808; Marcel, op.cit., illustrated between pp.110 and 111; Bénédite, op.cit., VoI.II, pl.LIV; Sandoz, op.cit., 1974, pp.410-411, pl.CCXXIX; Tokyo, National Museum of Western Art, Théodore Chassériau: Parfum Exotique, exhibition catalogue, 2017, pp.234-235, no.103, detail illustrated p.194.

5.

Valbert Chevillard, Un peintre romantique: Thédore Chassériau, Paris, 1893, p.309, no.325; Bénédite, op.cit., VoI.II, illustrated p.449; Marc Sandoz, Cahiers Théodore Chassériau II: Portraits et visages dessinés par Théodore Chassériau, Paris, 1986, pp.184-185, no.187 (as a portrait of Marie Cantacuzène, preparatory for The Adoration of the Magi of 1856); Prat, op.cit., p.27, no.202 (not illustrated.)

6.

‘Le seul côté moderne qu’aient les têtes de Chassériau, ce sont les yeux empreints d’une fixité rêveuse ou noyés d’une langueur nostalgique…ces figures, d’une sérénité morne et d’une passivité dédaigneuse, rappellent les belles esclaves grecques captives à la cour de quelque roi barbare…’; Théophile Gautier, ‘Salon de 1853’, La Presse, 24 June 1853.

7.

‘Le sentiment que put éprouver Chassériau pour la princesse Cantacuzène n’eut aucune resemblance avec ceux qu’il ressentit pour d’autres femmes…La princesse n’est pas une jolie femme, mais elle a une physionomie très intéressante avec ses lourds cheveux en bandeaux nodules, ses beaux yeux doux et graves, sa petite bouche fraîche et bonne, son visage allongé et amaigri, son air pensif, la distinction de toute sa personne et sa grace un peu mélancolique. Ce que Chassériau trouva en elle…et ce qui explique sa veritable adoration, c’est une âme.’; Léonce Bénédite, Théodore Chassériau, sa vie et son oeuvre, posthumously published, Paris, 1931, Vol.II, p.496.

No.31 Alfred Dehodencq 1.

‘Il aimait ses enfants avec passion, d’une affection jalouse, presque tyrannique; il ne pouvait les perdre de vue; il les vouiait toujours près de lui; il les dessinait, les peignait sans cesse; il n’en est pas un dont il n’ait fait plus de dix fois le portrait.’; Gabriel Séailles, Alfred Dehodencq: Histoire d’un coloriste, 1885, p.216.

2.

Gabriel Séailles, Alfred Dehodencq: L’homme et l’artiste, Paris, 1910, illustrated p.8.

3.

‘Catalogue des oeuvres d’Alfred Dehodencq’, in Séailles, ibid., p.198, no.186 (as ‘Portraits intimes’ and dated 1872), illustrated p.165.

4.

Séailles, op.cit., 1910, p.198, no.189, illustrated p.168.

5.

Séailles, op.cit., 1910, p.198, no.191 (where dated between 1870 and 1881), illustrated p.23.

6.

London, Guy Peppiatt Fine Art and Stephen Ongpin Fine Art, One Hundred Drawings and Watercolours, exhibition catalogue, 2019-2020, p.89, no.74. The drawing was inscribed ‘portrait d’Edmond Dehodencq / le plus jeune fils du Maitre / Edmond Dehodencq, mort très jeune, presque / enfant encore, montrant les plus extraordinaires / dispositions pour la Peinture. Il aurait / ete surement un Artiste de valeur’.

7.

Sale (‘Property from the Estate of William Kelly Simpson’), Hudson, NY, Stair Galleries, 27 April 2019, lot 161.

8.

Séailles, op.cit., 1910, p.199, no.192, illustrated facing p.168; Anonymous sales, New York, Christie’s, 6 May 1998, lot 127 and Paris, Christie’s, 23 March 2005, lot 393.

No.32 François Bonvin 1.

‘Mon prix ordinaire était de 12 francs pour 8 dessins à l’aquarelle. M. Laperlier ne collectionnait guère que mes dessins, de préfèrence à tout autre, et il ne passait guère de semaine sans que je n’empochasse mes 12 francs.’; Philippe Burty, ‘Profils d’amateurs, I, Laurent Laperlier’, L’Art, 1879, p.149. Laperlier also came to own several works by the artist’s younger half-brother, Léon Bonvin.

2.

Etienne Milo, ‘Bonvin’, Journal des Arts, 24 December 1886, p.2; quoted in translation in Anisabelle Berès and Michel Arveiller, François Bonvin, the master of the “Realist School”, exhibition catalogue, Pittsburgh, 1999, unpaginated, under no.34.

No.33 John Singer Sargent 1.

Almost the entire contents of the first New York exhibition, amounting to eighty-three works, were acquired by the Brooklyn Museum for the sum of $20,000, while another large group of forty-five watercolours were purchased from the second Knoedler show by the Museum of Fine Arts in Boston. A third tranche of watercolours was acquired directly from Sargent’s studio in 1915 by the Metropolitan Museum of Art in New York.

2.

Richard Ormond, ‘Sargent’s Art’, in Elaine Kilmurray and Richard Ormond, ed., John Singer Sargent, exhibition catalogue, London, 1998-1999, p.26.

3.

Kilmurray and Ormond, op.cit., 1998-1999, p.61.

4.

Ormond and Kilmurray, op.cit., 2006, p.385, under no.836.

5.

Ormond and Kilmurray, op.cit., 2006, p.317.

6. Kilmurray and Ormond, op.cit., 1998-1999, p.78, under no.12.

7.

Warren Adelson et al, Sargent’s Venice, New Haven and London, 2006, p.50, fig.42; Ormond and Kilmurray, op.cit., 2006, p.383, no.834 (where dated c.1880-1881).

8.

Ormond and Kilmurray, op.cit., 2006, p.384, no.835.

9.

Ormond and Kilmurray, op.cit., 1998, pp.56-58, no.41; Kilmurray and Ormond, op.cit., 1998-1999, pp.93-94, no.21. The painting is today in a private collection, and currently on loan to the Metropolitan Museum in New York.

10. Inv. 1996.2.13; Ormond and Kilmurray, op.cit., 1998, pp.91-92, no.87; Adelson et al, op.cit., p.49, fig.40; Ormond and Kilmurray, op.cit., 2006, p.308, fig.193.

11. Inv. 85:1996; Ormond and Kilmurray, op.cit., 1998, pp.91-92, no.86.

No.34 Eugene Jansson 1.

Apparently, Jansson once told the painter, art collector and patron Prince Eugen Nicolaus, the son of the Swedish King, that he had always wished to be a figure painter but could not afford the models’ fees.

2.

A number of Jansson’s paintings were included in the groundbreaking exhibition Northern Light: Realism and Symbolism in Scandinavian Painting 1880-1910, shown at three American museums between 1982 and 1983, as well as in the exhibition Luminous Modernism: Scandinavian Art Comes to America in New York in 2011-2012.

3.

Anonymous sale, Stockholm, Bukowskis, 26 May 1999, lot 104; Anonymous sale, Stockholm, Bukowskis, 30 May 2006, lot 223; Anonymous sale, Stockholm, Lilla Bukowskis, 15 June 2009, lot 576. The dimensions of the work are 310 x 700 mm.

No.35 Paul Cézanne 1.

Dr. Jacques Soubies (1880-1940) was a collector of modern art who owned works by Pierre Bonnard, Cézanne, Henri Matisse, Amedeo Modigliani, Chaim Soutine, Henri de Toulouse-Lautrec, and others.

2.

The Belgian journalist and writer René Gaffé (1887-1968) assembled a fine and varied collection of modern art, particularly of the Dada and Surrealist movements, as well as African and Oceanic art.

3.

Christopher Lloyd, Paul Cézanne: Drawings and Watercolours, London, 2015, p.64.

4.

Götz Adriani, Cézanne Watercolors, New York, 1983, pp.88-89.

5.

Lloyd, op.cit., pp.124-125.

No.36 Louis-Albert Besnard 1.

Georges Bernier, Sarah Bernhardt and her Times, New York, 1984, p.76.

2.

W. Graham Robertson, Time Was, London, 1931, p.112.

3.

New York and London, Colnaghi, Master Drawings, 1998, no.49. The drawing, which measures 168 x 229 mm., was included in the sale of Sarah Bernhardt’s estate in Paris in June 1923. It is signed, dated and inscribed ‘Au rêve blond / A Madame Sarah Bernhardt / Louis ABesnard / Fev.1894’.

4.

New York and London, Stephen Ongpin Fine Art, Master Drawings, 2015, no.31.

No.37 Charles Maurin 1.

Phillip Denis Cate, ‘Charles Maurin: An Essay’, in New York, Lucien Goldschmidt, Inc., Charles Maurin 1856-1914: A Collection of Prints in Rare or Unique Impressions, Drawings, Pastels and an Oil Painting, exhibition catalogue, 1978, p.8.

2.

Jacques Foucart, ‘Five nineteenth-century exhibitions, held in France in 1978’, The Burlington Magazine, March 1979, p.200.

3.

Inv. 975.4.3044; Gilles Grandjean, ed., Charles Maurin, un Symboliste du Réel, exhibition catalogue, Le Puy-en-Velay, 2006, p.106, no.68. The drawing measures 310 x 241 mm.

4.

Inv. 78.1; Grandjean, ed., ibid., p.91, no.62.

No.38 Paul-César Helleu 1.

‘Fermez les Rideaux, qui est le petit chef-d’oeuvre. L’enfant, à sa fenêtre, le soir, tourne invinciblement ses yeux vers l’obscurité qui l’attire et le terrifie, car… ‘la grande, on veut la connaître; / En haut les rideaux dessinent un coeur. / Ce villain coeur noir, dans les rideaux roses, / Il semble effrayant.

Moi, je parle bas, / Elle assombrit tout pour cacher les choses, / La méchante nuit que l’on n’aime pas. / La lampe nous tient sous sa bonne garde, / Repoussant la nuit. Le feu donne chaud, / entre les rideaux, vois, la nuit regarde, / Comme un prisonnier du fond d’un cachot.’’; de Montesquiou, op.cit., p.91; Quoted in translation in Watrigant, op.cit., p.77. Two other drawings by Helleu for the Chansons simplettes pour les petits enfants are illustrated in Watrigant, op.cit., p.77.

No.39 Pascal-Adolphe Dagnan-Bouveret 1.

Gabriel P. Weisberg, ‘From Paris to Pittsburgh: Visual Culture and American Taste, 1880-1910’, in Gabriel P. Weisberg et al, Collecting in the Gilded Age: Art Patronage in Pittsburgh, 1890-1910, exhibition catalogue, Pittsburgh, 1997, p.277, no.108; Gabriel P. Weisberg, Against the Modern: Dagnan-Bouveret and the Transformation of the Academic Tradition, New York, 2002, p.115, fig.124; Ross Finocchio, ‘‘Frick buys a freak’: Dagnan-Bouveret and the development of the Frick Collection’, The Burlington Magazine, December 2013, p.829, fig.28; Melissa E. Buron, ‘French Paintings at the Exposition: A Triumph of Diplomacy’, in James A. Ganz, ed., Jewel City: Art from San Francisco’s Panama-Pacific International Exposition, exhibition catalogue, San Francisco, 2015, p.314, fig.142. The dimensions of the canvas are 223.5 x 195.6 cm.

2.

Quoted in translation in Weisberg, ibid., 2002, p.114.

3.

Finocchio, ibid., p.830, fig.29.

4.

Weisberg, op.cit., 1997, p.276, no.107. An impression of the print is in the Victoria and Albert Museum.

5.

Inv. 994.2.1; Jean-Auguste Dampt and André-Charles Coppier, Catalogue des oeuvres de M. Dagnan-Bouveret (Peintures), Paris, 1930, unnumbered (where dated 1898); Weisberg, op.cit., 1997, p.279, no.110; Weisberg, op.cit., 2002, p.116, fig.126. The sketch is dedicated to Julia Bartet, an actress at the Comédie-Française who owned works by Dagnan-Bouveret.

6.

Weisberg, op.cit., 2002, p.115, fig.125.

7.

Weisberg, op.cit., 1997, p.279, no.109.

No.40 Gustav Klimt 1.

The artist is known to have often thrown away his drawings, while some fifty sketchbooks were destroyed in a fire in 1945. That Klimt did not regard his drawings too highly is seen in an anecdote recounted by the Austrian art critic Arthur Rössler: ‘Klimt valued this abundant evidence of his industrious and penetrating study of nature only as means to an end, and he destroyed thousands of leaves when they had fulfilled their purpose, or if they failed to combine maximum expressiveness with the application of a minimum of technique. On one occasion when I was sitting with Klimt, leafing through a heap of five hundred or so [drawings], surrounded by eight or nine cats meowing or purring, which chased each other around so the rustling leaves flew through the air, I asked him in astonishment why he let them carry on like that, spoiling hundreds of the best drawings. Klimt answered, “No matter if they crumple or tear a few of the leaves – they piss on the others and that’s the best fixative!”’; Arthur Rössler, In memoriam Gustav Klimt, Vienna, 1926; Quoted in translation in Susanna Partsch, Klimt: Life and Work, Munich, 1993, p.297.

2.

Marian Bisanz-Prakken, ‘The drawings: a cosmos unto themselves. Stances – moods’, in Tobias G. Natter, ed., Gustav Klimt: The Complete Paintings, Cologne, 2012, p.373.

3.

Colin B. Bailey, ‘Prolegomena: A Klimt for the Twenty-first Century’, in Colin B. Bailey, ed., Gustav Klimt: Modernism in the Making, exhibition catalogue, Ottawa, National Gallery of Canada, 2001, p.15.

4.

Quoted in translation in Marian Bisanz-Prakken, ‘Gustav Klimt’s Drawings’, in Bailey, ed., ibid., p.143.

5.

Fritz Novotny and Johannes Dobai, Gustav Klimt, with a Catalogue Raisonné of His Paintings, London, 1968 [1975 ed.], pp.326-329, no.127, pls.37-41; Fritz Novotny and Johannes Dobai, Gustav Klimt, Salzburg, 1975, pp.325-328, no.127; Tobias G. Natter, ed., Gustav Klimt: Drawings and Paintings, Cologne, 2018, pp.114-117 and 119-125.

6.

Natter, ibid., pp.88-90.

7.

Natter, op.cit., pp.90 and 93.

8.

Rainer Metzger, Gustav Klimt: Drawings and Watercolors, London, 2005, p.121.

9.

Novotny and Dobai, op.cit., pl.39; also illustrated p.327, under no.127; Natter, ed., op.cit., 2018, illustrated pp.121-122.

10. Natter, ed., op.cit., 2018, illustrated p.130. Klimt’s ceiling paintings for the University were destroyed by fire during the Second World War. 11. Christian Nebehay, Gustav Klimt Dokumentation, Vienna, 1969, p.192; Quoted in translation in Johannes Dobai, ‘Introduction’, in London, Piccadilly Gallery, op.cit., unpaginated.

No.41 Georges de Feure 1.

René Puaux, ‘An Appreciation of the Art of Georges de Feure’, Brush and Pencil, May 1903, p.104.

2.

‘Qu’il s’agisse de scènes réelles ou imaginaires, les canaux, les moulins et les estuaires des Flandres lui furent une source inépuisable d’inspiration…

De Feure a rendu magistralement dans ses paysages flamands la lumière du Nord et l’atmosphère paisable de ses canaux et de ses petites villes.’; Ian Millman, Georges de Feure: Maître du Symbolisme et de l’Art Nouveau, Courbevoie, 1992, pp.191 and 238.

3.

‘La lumière n’est pas nécessairement éblouissante. Il y a autant de lumière en Hollande qu’en Italie…Le peintre la respire dans l’atmosphère et l’exhale en couleur.’; Quoted in Millman, ibid., p.239.

4.

Ian Millman, Georges de Feure 1868-1943, exhibition catalogue, Amsterdam, 1993-1994, p.27.

No.42 Emil Pirchan 1.

Much of the exhibition was based on an archival collection of Pirchan’s work that had been recently discovered in a box in an attic in a house in Zurich.

2.

Steffan, ed., op.cit., illustrated p.72 and p.363.

No.43 Gwen John 1.

Cecily Langdale and David Fraser Jenkins, Gwen John: An Interior Life, exhibition catalogue, London, Manchester and New Haven, 1985-1986, p.88, no.70, illustrated p.56; Cecily Langdale, Gwen John, New Haven and London, 1987, p.195, no.197, pl.286; Alicia Foster, Gwen John: Art and Life in London and Paris, London and New York, 2023, illustrated p.82.

2.

London, The Arts Council, and elsewhere, Gwen John: A retrospective exhibition, 1968, p.32, no.60; Langdale and Fraser Jenkins, op.cit., p.88, nos.69 and 71-72, illustrated p.56; Langdale, ibid., pp.194-195, nos.195-196 and 198-200, pls.285 and 287, p.36, pls.50-51 and p.43, pl.63. One of these is also illustrated in London, Browse & Darby, Gwen John, exhibition catalogue, 2004, no.3. Another example was also formerly with the Browse and Darby Gallery in London; an image is visible online at https://browseanddarby.co.uk/artists/40-gwen-john/works/ [accessed 11 May 2023].

3.

Langdale, op.cit., 1987, p.43.

4.

A putative self-portrait by Maude Boughton-Leigh (Langdale, op.cit., 1987, p.194, pl.50a) appears to depict the same sitter as the present sheet.

No.44 Simon Bussy 1.

Philippe Loisel, Simon Bussy (1870-1954). L’Esprit du Trait: du Zoo à la Gentry, exhibition catalogue, Beauvais and elsewhere, 1996, p.39, note 46.

2.

‘Les pastels de Simon Bussy sont de délicates images, précieuses comme des miniatures persanes. La netteté et la fraîcheur de Simon Bussy sont les caractéristiques de son talent, et son coloris chante parfois aussi haut que celui de Matisse.’; Guillaume Apollinaire, ‘La Vie artistique’, in L’Intransigeant, 21 February 1913; Quoted in François Fosca, Simon Bussy, Paris, 1930, p.16.

3.

Andre Gide, ‘Simon Bussy’, in London, Ernest Brown & Phillips Ltd. (The Leicester Galleries), Oiseaux, Poissons, Fleurs et Animaux: An Exhibition of Paintings by Simon Bussy, exhibition catalogue, October 1949, pp.2-3.

No.45 Claudio Bravo 1.

Edward J. Sullivan, Claudio Bravo: Painter and Draftsman, exhibition catalogue, Madison and elsewhere, 1987-1988, p.4.

2.

Edward J. Sullivan, Claudio Bravo, New York, 1985, p.10.

3.

Inv. 1313.1968; Sam Trower et al, Claudio Bravo: Wrapped Packages, exhibition catalogue, Miami Beach, 1997-1998, p.23, no.4. The work, which measures 749 x 1100 mm., was acquired by the museum the year after it was drawn.

4.

Inv. 72.0799; Trower et al, ibid., illustrated p.41, no.4. The dimensions of the pastel are 765 x 1095 mm.

5.

Inv. 1970.4.19. The dimensions of the pastel are 1003 x 702 mm.

6.

Quoted in Sullivan, op.cit., 1987-1988, p.25.

7.

Quoted in Sullivan, op.cit., 1985, p.37.

8.

Bravo’s friend, the Peruvian writer Mario Vargas Llosa, has written of the artist that ‘His true masters are the great classical masters, particularly Spanish 17th century, the Golden Age of Baroque, such as Fray Juan Sánchez Cotán, Antonio de Pereda or Francisco de Zurbarán, who revolutionized the treatment of the object, conferring on their still lifes – through a scrupulous study of details and the play of light – a dignity and intensity which appear to emancipate them from the inert and humanize them.’; Paul Bowles and Mario Vargas Llosa, Claudio Bravo: Paintings and Drawings, New York, 1997, p.19.

9.

The artist returned briefly to the motif of wrapped packages more than thirty years later in several paintings executed in 2003 and 2004.

10. Bowles and Vargas Llosa, op.cit., illustrated p.41; Trower et al, op.cit., p.35, no.16; Paul Bowles, Francisco Calvo Serraller and Edward J. Sullivan, Claudio Bravo: Paintings and Drawings (1964/2004), Madrid and New York, 2005, illustrated p.37.

11. Trower et al, op.cit., p.5.

No.46 Kenneth Noland 1.

Hilton Kramer, ‘Art: Landmarks On the Color Field’, The New York Times, 22 April 1977, page C20.

2.

As Judith Goldman has noted, ‘Kenneth Noland created his first handmade paper pieces in 1976. He had not planned to. When he produced a screenprint in 1969, he found printmaking uninteresting. At the time, he was uncomfortable with the collaborative process. Depending on others for results, on master printers and technicians, made him uneasy, and he disliked the idea that prints were reproducible.’; Judith Goldman, Kenneth Noland: Handmade Papers, Bedford Village, 1978, unpaginated.

3.

Ibid, unpaginated.

4.

Among other artists who experimented with paper pulp at Tyler Graphics at around the same time as Noland were Ellsworth Kelly and David Hockney, who produced his series of Paper Pools at Tyler Graphics between August and October 1978.

5.

Goldman, op.cit., unpaginated.

6.

Goldman, op.cit., unpaginated.

7.

Goldman, op.cit., unpaginated.

INDEX OF ARTISTS

ALLORI, Alessandro; No.5 BARATTA, Carlo Alberto; No.23 BESNARD, Louis-Albert; No.36 BONVIN, François; No.32 BRAVO, Claudio; No.45 BUSSY, Simon; No.44 CADES, Giuseppe; Nos.20-22 CÉZANNE, Paul; No.35 CHASSÉRIAU, Théodore; No.30 CIBO, Gherardo; No.4 CLEYN, Francis; No.11 DAGNAN-BOUVERET, Pascal-Adolphe; No.39 DAVID, Giovanni; No.18 DE DREUX, Alfred; No.28 DE FEURE, Georges; No.41 DEHODENCQ, Alfred; No.31 FERRI, Ciro; No.14 FRANCO, Battista; No.1 GAINSBOROUGH, Thomas; No.16 GANDOLFI, Ubaldo; No.17 GÉRICAULT, Théodore; No.25 HELLEU, Paul-César; No.38 HOLLAND, James; No.29 JANSSON, Eugène; No.34 JOHN, Gwen; No.43

KLIMT, Gustav; No.40 LINNELL, John; No.26 MAURIN, Charles; No.37 NOLAND, Kenneth; No.46 OLIVER, Isaac; No.10 PEDRINI, Filippo; No.24 PIRCHAN, Emil; No.42 ROSA, Salvator; No.12 ROTTENHAMMER, Johann (Hans); No.9 SALVIATI, Francesco de’ Rossi, called; No.3 SARGENT, John Singer; No.33 SPANISH SCHOOL, 16th Century; No.8 TIEPOLO, Giovanni Battista; No.15 TROMETTA, Niccolò Martinelli, called; Nos.6a-6b TURNER, Joseph Mallord William; No.27 VASARI, Giorgio; No.2 VINCENT, François-André; No.19 WIJCK, Thomas; No.13 ZUCCARO, Federico; No.7

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