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Drawings from New York Collections, Vol. 1: The Italian Renaissance

Drawings from New York Collections. Vol. 1, The Italian Renaissance

Bean, Jacob, and Felice Stampfle
246 pages
151 illustrations
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The exhibition described and fully illustrated in this catalogue is the first in an extended series that will display the resources of collections of master drawings located in New York City and its environs. While the holdings of public institutions are reasonably well known, the drawings in private collections are generally less so, and we therefore hope to perform a service for both the interested public and art scholarship in our projected series of exhibitions and catalogues, which will encompass the drawings of Western European artists from the Italian Renaissance to the end of the nineteenth century.

The Metropolitan Museum of Art and The Pierpont Morgan Library possess the two major collections of drawings in the United States, and both are continuing to grow by purchases, gifts, and bequests. Because both institutions are fortunate enough to be in this position, and because both owe an incalculable debt to the vision, the standards of excellence, and the generosity of J. Pierpont Morgan and his son, J. P. Morgan, it has seemed wholly appropriate that they should join forces in presenting these exhibitions to the public. They will alternate between the two institutions, this first exhibition being held at the Metropolitan, and the second in the series, also of Italian drawings, at the Morgan Library during the winter of 1966–1967.

New York is a relative newcomer among the world's centers of master drawings collections, and even today the breadth of the city's resources owes much to the continuing activity and the discerning eye of collectors whose initial enthusiasm was nourished abroad. This catalogue and its successors will demonstrate what progress has been made in assembling here representative examples of the work of the leading draughtsmen of the past five centuries.

Saint Philip Seated, Holding a Book and a Cross, Pesellino (Francesco di Stefano)  Italian, Brush and brown wash, highlighted with white gouache, over black chalk
Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso), Leonardo da Vinci  Italian, Silverpoint, partly reworked by the artist with pen and dark brown ink on pink prepared paper; lines ruled with metalpoint (recto); pen and brown ink (verso)
Head of a Man in Profile Facing to the Left, Leonardo da Vinci  Italian, Pen and brown ink, over soft black chalk
Allegory on the Fidelity of the Lizard (recto); Design for a Stage Setting (verso), Leonardo da Vinci  Italian, Pen and brown ink (recto and verso)
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 outline in pen and brown ink at upper right (not by Leonardo)
Standing Youth with Hands Behind His Back, and a Seated Youth Reading (recto); Two Studies of Hands (verso), Filippino Lippi  Italian, Metalpoint, highlighted with white gouache, on pink prepared paper (recto); metalpoint, on pink prepared paper (verso)
Studies of a Seated Youth in Armor, Vittore Carpaccio  Italian, Black chalk, point of brush and gray wash, highlighted with white gouache, on blue paper
ca. 1505
The Angel of the Annunciation (Cartoon for an Embroidery), Raffaellino del Garbo (also known as Raffaelle de' Capponi and Raffaelle de' Carli)  Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache, over black chalk on paper washed brown; outlines of design and framing outlines pricked and with traces of rubbed black pouncing dust
A Small Town on the Crest of a Slope, Fra Bartolomeo (Bartolomeo di Paolo del Fattorino)  Italian, Pen and brown ink
Bacchanalian Scene, Amico Aspertini  Italian, Black chalk, highlighted with white, on brown-washed paper
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)
ca. 1510–11
The Arrest of Christ, Niccolò Giolfino  Italian, Brush and brown wash, highlighted with white gouache, over traces of black chalk, on greenish paper
ca. 1545–46
Madonna and Child with the Infant Saint John the Baptist; upper left, Study for the Right Arm of the Infant Saint John; upper right, Study for Drapery (recto); Study of a Nude Male Figure (verso), Raphael (Raffaello Sanzio or Santi)  Italian, Red chalk (recto); pen and brown ink (verso)
ca. 1506–7
Saint Christopher Bearing the Christ Child, Giovanni Antonio da Pordenone (Giovanni Antonio de Sacchis)  Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache, on blue paper, squared vertically and horizontally in red chalk, diagonally in charcoal
Nude Male Figure with Upraised Right Arm, Girolamo Romanino  Italian, Brush and brown wash, over slight traces of black chalk
Seated Sibyl and Attendant Genius (recto); Study of the Head of a Horse in Profile (verso), Pirro Ligorio  Italian, Red chalk on beige paper (recto); pen and brown ink (verso)
ca. 1540
Group of Trees, Titian (Tiziano Vecellio)  Italian, Pen and brown ink, traces of gray printer's ink at lower right, on beige paper
The Adoration of the Magi, Correggio (Antonio Allegri)  Italian, Red chalk, highlighted with white gouache
ca. 1517
The Annunciation, Correggio (Antonio Allegri)  Italian, Pen and brown ink, brush and gray-brown wash, highlighted with white gouache, squared in red chalk, on paper tinted with reddish wash
ca. 1522–25
Design for the Decoration of a Pilaster (recto); Putti with Trophies and Seated Figure with Child (verso), Giovanni Antonio da Pordenone (Giovanni Antonio de Sacchis)  Italian, Red chalk (recto); red chalk studies (verso)
ca. 1529
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