Standing Youth with Hands Behind His Back, and a Seated Youth Reading (recto); Two Studies of Hands (verso)
Filippino Lippi (Italian, Prato ca. 1457–1504 Florence)
Metalpoint, highlighted with white gouache, on pink prepared paper (recto); metalpoint, on pink prepared paper (verso)
sheet: 9 5/8 x 8 1/2 in. (24.5 x 21.6 cm)
Harris Brisbane Dick Fund, 1936
Not on view
This sheet of figure studies illustrates Filippino Lippi’s virtuosity as a draftsman. His handling of the challenging technique of metalpoint is precise and descriptive. The lean, muscular male nude at left was conceived as preparatory study for either a Saint Sebastian or for Christ in a Flagellation scene. The study at right of a seated young man reading a book is probably of a workshop assistant posing as a model. The two faded studies of hands on the verso are of weaker execution than the figures on the recto. Extremely rare in Filippino's oeuvre for their large scale, they are in a style that dates no later than his Lucchese period, 1482-83, as exemplified by his Magrini altarpiece in Lucca. (Carmen C. Bambach, 1997, revised 2014)
Marking: Watermark: Briquet no. 11662.
Sir Algernon Sidney, 4th baron de L'Isle and Dudley (British, 1854–1945); John Postle Heseltine; Henry Oppenheimer (British (born America), Washington, D.C. 1859–1932 London); his sale, Christie's, London, July 10, 13–14, 1936, no. 112, recto repr.
Philadelphia Museum of Art. "Masterpieces of Drawing: Diamond Jubilee Exhibition," November 4, 1950–February 11, 1951.
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The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," October 29, 2002–January 26, 2003.
New York. The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," July 15–September 29, 2014.
Hermann Ulmann Repertorium für Kunstwissenschaft. vol. 17, 1894, p. 113, no. 17 (as Raffaellino del Garbo).
Hermann Ulmann Jahrbuch der königlich preussischen Kunstsammlungen. vol. 15, 1894, p. 244, no. 15 (Raffaellino del Garbo).
Bernard Berenson The Drawings of the Florentine Painters: Classified, Criticised and Studied as Documents in the History and Appreciation of the Tuscan Art, with a Copious Catalogue Raisonné. 2 vols., London, 1903, no. 1349 (as Filippino Lippi).
John Postle Heseltine Original Drawings by Old Masters of the Italian School Forming part of the Collection of John Postle Heseltine. London, 1913, no. 22 (as Domenico Ghirlandaio).
Egerton Beck "The Oppenheimer Collection of Drawings" Art News. vol. 26, April. New York, 1928, fig. no. p. 41, pp. 39, 41, ill.
A Commemorative Catalogue of the Exhibition of Italian art held in the galleries of the Royal Academy, Burlington House, London, January-March, 1930. David Lindsay Lord Bainiel, Sir Kenneth Clark, Royal Academy of Arts, London, 1930, no. 434.
Arthur Ewart Popham Italian Drawings Exhibited at the Royal Academy. Burlington House, London, 1931, p. 14, no. 46, pl. 40.
Alfred Scharf Filippino Lippi. Vienna, 1935, p. 82, no. 229, fig. 148.
Christie, Manson and Woods The Oppenheimer Sale: Catalogue of the Famous Collection of Old Master Drawings Formed by the Late Henry Oppenheimer, Esq., F.S.A. Sale cat. London, July 10-14, 1936, p. 57, lot 112, pl. 25, ill.
Bernhard Degenhart "Zur Graphologie der Handzeichnung: Die Strichbildung als stetige Erscheinung innerhalb der italienischen Kunstkreise." Kunstgeschichtliches Jahrbuch der Bibliotheca Hertziana. vol. 1, 1937, pp. 333-36, no. 213a, fig. 331.
Harry B. Wehle "Four New Drawings at the Metropolitan Museum of Art." The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, vol. 32, New York, January 1937, pp. 6-8, ill.
Bernard Berenson The Drawings of the Florentine Painters. 3 vols., amplified edition. Chicago, 1938, p. 73, vol. 2, no. 1353.
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One Hundred Master Drawings. To accompany "Seventy master drawings," a loan exhibition at the Fogg Museum of Art, Nov. 1948-Jan. 1949, held on the occasion of the 70th birthday of Paul J. Sachs, and 30 additional drawings from the museum's collections
Exh. cat., Fogg Art Museum, Cambridge. edited by Agnes Mongan, Harvard University Press, Cambridge, 1949, p. 24.
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Bernard Berenson, Luisa Vertova I disegni dei pittori fiorentini. 3 vols., Revised and enlarged. Milan, 1961, p. 264, Vol. 2, no. 1353 B (as Filippino Lippi).
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Jacob Bean, Felice Stampfle Drawings from New York Collections, Vol. I: The Italian Renaissance. Exh. cat. The Metropolitan Museum of Art, New York, 1965, p. 30, no. 22, ill.
Jacob Bean, Lawrence Turčić 15th and 16th Century Italian Drawings in the Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, 1982, pp. 126-27, no. 117, cat. no. 117, fig. no. 117, ill.
George R. Goldner, Carmen C. Bambach, Alessandro Cecchi, William M. Griswold, J. Nelson, Innis H. Shoemaker, Elizabeth E. Barker The Drawings of Filippino Lippi and His Circle Exh. cat., October 28, 1997 - January 11, 1998. The Metropolitan Museum of Art, New York, 1997, pp. 127-131, both recto and verso repr., ill.
Patrizia Zambrano, Jonathan Katz Nelson Filippino Lippi. Milan, 2004, pp. 216, 223, 296, notes 120, 136, pp. 302, note 110, p. 344, under cat. 29, fig. 203.
Carmen C. Bambach "Tuscan Drawings of the Quattrocento and Cinquecento in the Metropolitan Museum of Art 1998-2005." Invisibile agli occhi: Atti della giornata di studio in ricordo di Lisa Venturini. Ed. by Nicoletta Baldini, Fondazione di Studi di Storia dell'Arte Roberto Longhi, Florence, 2007, p. 89 n.18.
Artist: Filippino Lippi (Italian, Prato ca. 1457–1504 Florence)Date: ca. 1480Medium: Soft metalpoint, highlighted with white gouache (some touches of black chalk probably added by later hand), on ochre prepared paperAccession: 1998.193On view in:Not on view
Artist: Attributed to Filippino Lippi (Italian, Prato ca. 1457–1504 Florence)Date: 1457/58–1504Medium: Pen and brown ink, brush and brown wash, highlighted with white gouacheAccession: 68.204On view in:Not on view