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ITALIAN DRAWINGS.

LEONARDO, DA VINCI. The Story of Laocoon. The Priest at the moment of Sacrifice. A Composition of many figures. Elaborate architecture in the back-ground. Pen and bistre washed, heightened with white, on pale brown paper. This important drawing is obviously of the Early Florentine period of Leonardo, and reveals the influence of his master, Andrea Verrocchio. 9 in. W. by 11 in. H.

MICHAEL ANGELO BUONARROTI. The Creation of Adam. A Study for the Adam of that subject, which is on the ceiling of the Sistine Chapel. On the reverse of the paper is a man's head; both in Red Chalk, and both engraved in Ottley's School of Italian design. 10 in. W. by 7 in. H.

From the Collections of Richardson, Reynolds, Ottley, Lawrence and Woodburn.
See also Buonarroti in the Catalogue of Autographs.

RAFFAELLO SANZIO. Profile portrait, of the earliest period of the master. It represents a young man with flowing hair, looking to the right. In pen and bistre. On the other side of the paper is a sketch of three female heads. 5 in. W. by 7 in. H.

From the Wellesley Collection.

Full face head of a young man with long flowing hair, and wearing a cap. Probably a first sketch for the head of one of the disappointed suitors, in the well-known Sposalizia in the Brera. The type of countenance greatly resembles Raphael's own portrait. In Black Chalk, of the painter's early period. 7 in. W. by 10 in. H.

From the Wellesley Collection.

The Holy Family. The Virgin kneels before the Infant Jesus (who lies on the ground) and presents St. John, who also kneels, his hands joined in adoration. St. Joseph is seated on the left. Shaded, or chiaroscuro washed in sepia, and heightened with white. Several other drawings by the artist, studies for well-known pictures, are extant, which are

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TIZIANO VECELLI-ANTONIO ALLEGRI.

executed in exactly this manner. The present composition apparently belongs to his middle period, circa 1512. 9 in. W. by 7 in. H.

From the Revil, Dimsdale, Lawrence, and Woodburn collections.

Mr. Locker has a copy of "The works of Raphael Santi da Urbino, as represented in the Raphael collection in the Royal Library at Windsor Castle," 1876, 4to, presented to him by command of the Queen.

TIZIANO VECELLI. Landscape with a water-fall, and trees in the distance: a rocky foreground, with a church to the left. Pen and bistre. 14 in. W. by 9 in. H.

From the Mariette and Wellesley collections.

Study of an ancient tree, filling the whole of the left side of the drawing, buildings in the distance. Pen and bistre. 10 in. W. by 15 in. H. From the Mariette, Esdaile, Lawrence and Wellesley collections.

Two figures, male and female, kneeling, apparently at play, in the centre of the composition; a landscape back ground, with highlypicturesque buildings. Pen and bistre. 8 in. W. by 8 in. H.

There is a copy of this drawing by Watteau in the Louvre, it is in red chalk and hangs in the Salle appropriated to Watteau's framed drawings.

From the Mariette, West, Esdaile, Lawrence, and Wellesley collections.

"Sacra conversazione." A frieze shaped composition of fourteen figures. In the centre are two monks, one kneeling and holding in his arms the Infant Saviour, whom he presents to a richly dressed gentleman and lady. The other figures, habited in the costume of the first quarter of the 16th century, are apparently courtiers, etc. This most interesting drawing may have been designed for a votive picture. The two principal figures closely resemble the Emperor Charles 5th, and Eleanora, of Portugal, and the young man advancing in the left, has a strong look, even to his dress, of the portrait of their son, afterwards Philip 2nd, by Titian in the gallery at Madrid. Pen and sepia washed. 12 in. W. by 5 in. H.

The Scuola di Sant' Antonio, at Padua, contains some fine frescos by Titian, three of them representing miracles, ascribed to St. Anthony. The subject of the first would appear to be the Saint proving to a jealous husband his wife's innocence. This drawing is the original sketch for that fresco.

From the Cosway and Wellesley collections.

See Mr. E. Burne Jones.

ANTONIO ALLEGRI, il Correggio. A group of Angels foreshortened. A Study for the fresco of the assumption of the Virgin in the Cupola of the Duomo at Parma. Red chalk. 143 in. W. by 13 in .H.

There are engravings of this fresco by Vanni (1642) and Toschi.

From the collections of Charles 1st, Richardson, Lawrence, and Woodburn.

Half length bust of an Angel scattering flowers. It is probable that this is also a study for a portion of one of the Parma frescos. Red chalk. 7 in. W. by 63 in. H.

From the Woodburn and Wellesley collections.

FLEMISH & GERMAN DRAWINGS.

HANS MEMLING.

Ascribed to. Portrait of a man to the waist, wearing a high conical felt hat. Said to be the artist himself. Silver point on prepared ground. 4 in. W. by 5 in. H.

The late Herr Gruner, of the Museum at Berlin, was of opinion that this beautiful drawing was by Van Eyck. Its date is probably circa 1450—70, and if it is not by Van Eyck it is certainly by one of the greatest masters of the period. The drawings of this school and period are so rare that it is difficult to pronounce a decided opinion about it. The names of Roger Van der Weyden, Hugo Vander Goes, and Thierry Bout, suggest themselves.

From the Wellesley collection.

HANS HOLBEIN, the younger. Portrait of a man of middle age, wearing a barrette. He is dressed in the costume of a citizen: a doublet fitting to the neck, but open in front, showing the shirt. Silver point on prepared ground. Signed with the double H and the date 1513. 3 in. W. by 5 in. H. Evidently a study of Holbein's youthful period. The drawing was made before he left Basle for England.

The double H monogram occurs in a drawing by Holbein in the Malcolm collection.

ALBRECHT DÜRER. Head of a young man with curling hair. Doubtless a careful study from the life. This man appears to have served as a model for Durer on more than one occasion. See his engraved work. Silver point, signed "A.D. 1503." 7 in. W. by 8 in. H. From the collections of Crozart, Comte de Tessin, Louise Ulrique de Suède, Comte Steinbock, Comte de Barck and Adolphe Thibaudeau.

Jesus Christ, half length, naked, and crowned with thorns pointing with his right hand to the wound in his side. The lower part of the figure is hidden by a study of drapery, probably the sketch for the engraving. B 22. Reed pen and bistre. 5 in. W. by 9 in. H.

From the collection of Herr Hibbick, of Hamburgh.

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DUTCH DRAWINGS.

ANTHONY VANDYCK. Portrait of John Cachiopin, an amateur of the Fine Arts at Antwerp. He is turned to the left, his right hand resting on a balustrade, and he holds his cloak with his left. Black chalk, and pen and bistre. Signed A., v. D., and dated. 6 in. W. by 9 in. H.

From the collections of Laurence, the King of Holland, G. Leembruggen, etc.

There is a fac-simile of this drawing, and it has been copied, or to speak more correctly, orged more than once.

An elderly woman looking out of a

REMBRANDT VAN RIJN. window; her head resting on her hand.

Reed pen and bistre, washed. 5 in. W. by 63 in. H.

Cottages and a Windmill. Sailing Vessels in the distance.

Black chalk. 11 in. W. by 6 in. H.

From the Woodburn collection.

by 5 in. H.

A Lion reposing. Reed pen and bistre, washed. 8 in. W.

From the collections of Benjamin West, Thomas Laurence, etc.

A lengthy series of Rembrandt's Studies from lions are extant, and in the inventory of his effects, mention is made of a "book of drawings of Lions." Perhaps this drawing is a leaf of that book.

ADRIAN VANDEVELDE. A peasant woman, stooping and washing her feet in a stream. With two other studies for her head. Red chalk, 5 in. W. by 6 in. H.

A few years ago the oil picture, for which these are studies, was sold at Christie and Manson's for a very large sum.

From the Woodburn collection.

JAN VAN HUYSUM. A study of flowers in a vase, delicately tinted in colours. 6 in. W. by 9 in. H.

seen.

ANDRIAN VAN OSTADE.

From the William Russell collection.

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Jan Van Huysum was the most consummate painter of flowers that the world has ever

ADRIAN VAN OSTADE. A woman in a pink gown, with a child in blue body and yellow-green skirt at her knee, is seated at the door of a cottage, and an old man with a staff, in blue breeches and an apron, is standing talking to them. Fowls are feeding in the foreground. Signed A.O.V., 1684. 5 in. W. by 6 in. H.

Ostade etched this subject.

Interior of a cottage. Composition of five figures. A woman with red sleeves and a purple skirt is seated cooking. A child in a yellow cap and purple sleeves is on the floor, a cat is by her side, a little boy in a blue jacket stands behind the chair. In the back-ground is a man in a green jacket, and on the right a child in a red frock is drawing beer. The characteristic lean-to door is approached by wooden steps.

Signed "A. Ostade, 1673." 6 in. W. by 7 in. H.
From the Ploos van Amstel, Esdaile, and Hawkin's collections.

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