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Kneeling Bearded Old Man (recto); Section of a Draped Limb and Sketches (verso)

1500–1571
Not on view
Vividly rendered with pen and brown ink, brown wash over red chalk, this study was attributed to Nosadella, a pupil of Pellegrino Tibaldi, by Lawrence Turcic in 1979. His suggestion received confirmation in the old annotation, "nosadela", that was revealed when the drawing was removed from its old mount in 1980. The handling of pen and wash in the Museum's drawing is tipycal of the artist, may be usefully compared with that in a study of the kneeling Virgin by Nosadella in the National Gallery of Scotland, Edinburgh (inv. D 1530). The Edinburgh drawing is related to Nosadella's painting with The Presentation in the Temple (private collection; Sotheby's, July 15, 1970, no. 73 and Christie's, April 24, 1981, no. 95).

Artwork Details

Object Information
  • Title: Kneeling Bearded Old Man (recto); Section of a Draped Limb and Sketches (verso)
  • Artist: attributed to Nosadella (Giovanni Francesco Bezzi) (Italian, Bologna (?) ca. 1500–1571 Bologna)
  • Date: 1500–1571
  • Medium: Red chalk, pen and brown ink with brush and brown and red wash, highlighted with a little white (recto); pen sketch of a seated, bearded man, and a red chalk drapery (?) study amongst charcoal or black chalk transfer preparation (verso)
  • Dimensions: 9 x 6 15/16in. (22.8 x 17.6cm)
  • Classification: Drawings
  • Credit Line: Gift of Cornelius Vanderbilt, 1880
  • Object Number: 80.3.487
  • Curatorial Department: Drawings and Prints

More Artwork

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The Adoration of the Magi, Nosadella (Giovanni Francesco Bezzi) Italian, Pen and brown ink, brush and brown wash, over traces of black chalk, with some traces of white gouache highlights (oxidized); the kneeling male figure at center reworked by the artist with pen and darker brown ink; a strip of paper added at the bottom and the design of the feet of the figure at lower left completed in brush and brown ink by an early hand, not that of the artist
The Adoration of the Magi
Nosadella (Giovanni Francesco Bezzi)
1500–1571
Three Standing Figures (recto); Seated Woman and a Male Hermit in Half-length (verso), Stefano da Verona (Stefano di Giovanni d'Arbosio di Francia) Italian, Pen and brown ink, over traces of charcoal or black chalk (recto); pen and brown ink, brush with touches of brown wash, over traces of charcoal or black chalk (verso)
Three Standing Figures (recto); Seated Woman and a Male Hermit in Half-length (verso)
Stefano da Verona (Stefano di Giovanni d'Arbosio di Francia)
1435–38
The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci Italian, Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)
The Head of the Virgin in Three-Quarter View Facing Right
Leonardo da Vinci
1510–13
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti Italian, Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso)
Michelangelo Buonarroti
ca. 1510–11
Lucretia, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over black chalk, partially incised with a stylus (recto); rubbed with black chalk for transfer (verso)
Lucretia
Raphael (Raffaello Sanzio or Santi)
1508–10

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