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MASTER DRAWINGS Index to Volumes 1–54 1963–2016 Compiled by Maria Oldal [email protected]

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MASTER DRAWINGS Index to Volumes 1–54 1963–2016 Compiled by Maria Oldal Oldalm@Themorgan.Org MASTER DRAWINGS Index to Volumes 1–54 1963–2016 Compiled by Maria Oldal [email protected] The subject of articles or notes is printed in CAPITAL letters; book and exhibition catalogue titles are given in italics; volume numbers are in Roman numerals and in bold face. Included in individual artist entries are authentic works, studio works, copies, attributions, etc., arranged in sequential order within the citations for each volume. When an author has written reviews, that designation appears at the end of the review citations. Names of collectors are in italics. Abbreviated names of Italian churches are alphabetized as if fully spelled out: "Rome, S. <San> Pietro in Montorio" precedes "S. <Santa> Maria del Popolo." Concordance of Master Drawings volumes and year of publication: I 1963 XII 1974 XXIII–XXIV 1985–86 XXXV 1997 XLVI 2008 II 1964 XIII 1975 XXV 1987 XXXVI 1998 XLVII 2009 III 1965 XIV 1976 XXVI 1988 XXXVII 1999 XLVIII 2010 IV 1966 XV 1977 XXVII 1989 XXXVIII 2000 XLIX 2011 V 1967 XVI 1978 XXVIII 1990 XXXIX 2001 L 2012 VI 1968 XVII 1979 XXIX 1991 XL 2002 LI 2013 VII 1969 XVIII 1980 XXX 1992 XLI 2003 LII 2014 VIII 1970 XIX 1981 XXXI 1993 XLII 2004 LIII 2015 IX 1971 XX 1982 XXXII 1994 XLIII 2005 LIV 2016 X 1972 XXI 1983 XXXIII 1995 XLIV 2006 XI 1973 XXII 1984 XXXIV 1996 XLV 2007 À l’ombre des frondaisons d’Arcueil: Dessiner un jardin du XVIIe siècle, exh. cat. by Xavier Salmon et al. Review. LIV: 397–404 A. S. coll. XII: 148–50, fig. 19 (Dandré-Bardon) Aachen, Hans von. IV: 444–45, fig. 5; XXII: 324–26, fig. 1; XXXIX: 109, fig. 5 Aachen, Suermondt-Ludwig-Museum. XII: 63, fig. 1 (Rembrandt) Aar, Jan Govertsen van der. XXXI: 253, fig. 49 (portrait of) Abate, Niccolò dell’. IV: 59; IX: 66–67; XXV: 226–27, fig. 8; XXVIII: 9, 17, 31, figs. 5a-5b, 27 (after); 265–67, figs. 1–2; XLV: 20, 22, figs. 13–14; L: 39, fig. 8 Abbate, Niccolò dell’, see Abate, Niccolò dell’ Abbeville, Musée Boucher de Perthes. XVIII: 383–84, figs. 2–3 (Poussin), notes 7–8 Abbey, Edwin Austin. XXXI: 40, fig. 5 Abbott, P.A.J. and M.P.K. XLVI: 469, 504, 513, figs. 34, 90, 105 (Gainsborough) Abelló, Juan. XLVIII: 437, 441, figs. 3, 7 (Francisco Pacheco), note 11; 451, fig. 9 (inscription on anonymous drawing), note 39; 544–46; LII: 458, figs. 11–12 (Pacheco), note 21 Aberdeen, Art Gallery and Museums. XVI: 405–06, pl. 19 (Wilson); XXI: 182 (review) Aberystwyth, National Library of Wales. XXII: 330 (review) 1 Abildgaard, N. A. XVII: 286 Abingdon, Berks., Private coll. XI: 45–48, figs. 1–2, note 2, pl. 43 (Dadd) Abrams, George S. XXXVI: 5–8 (EGBERT HAVERKAMP-BEGEMANN) Abrams, Maida and George. XI: 403 (review); XX: 284–85, pl. 29 (Doomer); XXVII: 122, fig. 11 (Lievens), note 17; XXVIII: 305–06, 309, figs. 4–7 (Van der Haagen); XXX: 443–49; XXXI: 255, 262, figs. 52, 61–62 (Goltzius); XXXVI: 5–8, figs. 1 (Jan van Goyen), 2 (Jan Lievens erroneously reproduced as Cornelis Bega), 3 (Cornelis Saftleven), 4 (Jan Lievens), 5 (Gerrit de Heer); 217, figs. 1 (Cornelis Bega), 2 (Jan Lievens); XLII: 258–61 (review); XLIII: 28, 56, fig. 21 (Van der Cooghen); XLIX: 197, fig. 39 (Simon de Vlieger), note 41; 363, fig. 26 (Jan Lievens), note 31; LIII: 455, fig. 2 (Bol), note 12 ______ (promised gift to the Fogg Art Museum). XXXVIII: 238, fig. 6 (Buytewech), note 16 ______, formerly. XLIII: 22, 27, 31, 48, 53, 58, figs. 17, 19 (Van der Cooghen, after Jacob Jordaens), 34 (Van der Cooghen) Abromaitis, Michael J. XLII: 179 (LETTER) Academy. The Academic Tradition in American Art. National Collection of Fine Arts, Smithsonian Institution. Review. XVIII: 48 Accorsi, Pietro, formerly. LI: 31–38, figs. 2 (Passarotti), 4 (Maganza), 5–7 (Allegrini), 10, (Bassetti), 12 (Barbelli), 15 (Novelli), 17 (Duranti), notes 5, 8, 11–13, 16, 18, 21, 23 Achenbach, Sigrid. Eduard Bendemann (1811–1889), exhibition catalogue. Review. XLVI: 257–61 Acireale, Catania, Accademia di Scienze, Lettere e Belle Arti degli Zelanti e dei Dafnici. XLV: 370, 380, figs. 5, 26 (Vieira Lusitano), notes 17, 40 Ackerman, Gerald M. XIII: 161–69 (GLEYRE) Ackland, NC, University of North Carolina at Chapel Hill, Ackland Art Museum. XXXIX: 261, fig. 1 (C.-N. Cochin, the Younger), note 10 ______, ______, ______, Peck coll. XXXIX: 432–33 (review) Ackley, Clifford S. LIII: 435–38 (JACQUES DE GHEYN II) Acton, David. Master Drawings from the Worcester Art Museum. Review. XXXVII: 308 Adam, Blair. IX: 162–65, figs. 3–5, pl. 38 (Robert Adam) ______, James. IX: 161–62, fig. 1 ______, John. IX: 161–62, figs. 1–2 ______, Robert. IX: 161–71, figs. 1, 3–6, pls. 38–46; XVI: 53–57, fig. 2, pls. 39–41 ______, William. IX: 168–69, fig. 8 (?) Adama van Scheltema, F., formerly. XLIII: 54, fig. 63 (Van der Cooghen) Adams, Eric. Francis Danby. Varieties of Poetic Landscape. Review. XII: 176–80 ______, Frederick B. XL: 179–80 (obituary) Adelaide, Art Gallery of South Australia. XXXIV: 303, fig. 1 (Cortona), note 1; XVIII: 147–48, pl. 19 (G. B. Tiepolo) Adhémar, Jean. XVIII: 155–68 (FRANÇOIS CLOUET) Adler, Wolfgang. Jan Wildens. Der Landschaftsmitarbeiter des Rubens. Review. XIX: 312–14 ______. Landscape. Corpus Rubenianum Ludwig Burchard. Part XVIII, Vol. I. Review. XXIII– XXIV: 249–51 Adolph Frederick, King of Sweden, formerly. LII: 27, 42, figs. 42 and covers (Genga) “Aelbrecht”. L: 346, fig. 29 (after Hans Bol) Aelst, Evert van. LIII: 20, fig. 17 ______, Pieter Coecke van, see Coecke van Aelst, Pieter ______, Willem van. LIII: 50, front cover Aeneid, see Virgil. Aeneid 2 Aertsen, Pieter. III: 355–68, figs. 1–4, 5 (after), 6, pls. 1–9; IV: 413–15, fig. 1, pl. 28; XII: 34– 36, fig. 2; XVIII: 134–41, figs. 1–2, pl. 15 Gli affreschi di Paolo III a Castel Sant’Angelo. Progetto ed esecuzione, 1543–1548. 2 vols. Review. XXV: 173–75 Agen, Musée des Beaux-Arts. L: 448, fig. 9 (Jean-Baptiste Oudry), note 50 Agnolo, Baccio d’, see Baccio d’Agnolo Agosti, Giovanni. Disegni del Rinascimento in Valpadana. Review. XL: 260–61 Agresti, Livio. XLII: 348, fig. 15; XLVII: 85–86, 90, figs. 2, 4, 8 Agüero, Cristina. LII: 491–512 (JOSÉ DEL CASTILLO) Águila, Miguel de Espinosa Maldonado y Saavedra, Conde del, formerly. XLVIII: 447–53, figs. 1–7 Aguirre, Andrés Ginés de, see Ginés de Aguirre, Andrés Aikema, Bernard. XXXV: 63–66 (DORIGNY); 404 (LETTER); XXXVI: 211–13 (REVIEW); 251–74 (GIOVANNI BATTISTA); XXXVII: 196–97; 303–04 (REVIEWS); XLII: 361– 69 (GIAMBATTISTA TIEPOLO); L: 543–48 (REVIEW) Ainsworth, Maryan W. XXVII: 5–38 (NORTHERN RENAISSANCE DRAWINGS); XXVIII: 223 (LETTER); XXIX: 63–65 (REVIEW); XLI: 240–65 (GERARD DAVID and the BENING WORKSHOP); 305–16; 397–98 (REVIEWS); XLIII: 235–38 (LETTER) ______, ed., Man, Myth, and Sensual Pleasures: Jan Gossart’s Renaissance, the Complete Works. Review. XLIX: 253–60 Aix-en-Provence, Atelier Cézanne. V: 273, fig. 7 (Cézanne) ______, Musée Arbaud. XII: 140–42, fig. 3 (Dandré-Bardon); XLIII: 199, fig. 9 (Daret), note 38 ______, Musée Granet. XII: 140–42, figs. 1–2 (Dandré-Bardon) Ajaccio, Corsica, Palais Fesch–Musée des Beaux-Arts. XXXIX: 300, figs. 1–2 (Boucher after Solimena); XLVIII: 398, fig. 4 (Étienne Parrocel), note 11 Albani, Francesco. III: 412–13; IV: 304 (studio of); VII: 152–55, pls. 29–32; XXII: 310–15, figs. 1, 4–5; XXX: 218, fig. 2; XXXIV: 5, fig. 2 (attributed to, after Agostino Carracci); XXXVI: 390, fig. 22 (formerly attributed to); XLIV: 299–332, figs. 1 (attributed to), 2, 5 (attributed to), 6, 7 (copy after), 8–10, 11 and 15 (attributed to), 17–19, 21 (attributed to), 22–25, 26 (attributed to), 27, 29–30; 369, fig. 1; XLVI: 49, figs. 10–11 ______, Giovanni Francesco, Cardinal, formerly. XLIII: 468, 480, figs. 18, 28 (Cortona) Albany, NY, Institute of History & Art. XXXIII: 74–80 (review), figs. 1–2 (Cole); XXXV: 116– 34, figs. 3 (Hennessey), 4 (Palmer), 5 (Thompson), 6 (Thompson ?), 7 (Cafferty), 8 (Boughton), 9 (Thompson), 10 (J. M. Hart), 11 (Thompson), 12 (Calverley), 13–20 (Thompson), 21 (Boughton), 22–25 (Thompson), 26 (W. Hart), 27–29 (Thompson), 30 (Dix), 31–32 (Thompson), notes 11, 19, 22, 26, 28–29, 35, 37–41, 43, 45–51, 54, 56–63; 142–44, figs. 1 (Cole), 2 (Durand), 3 (Ingham), 4 (Morse), 5 (Weir), 6 (J. L. Morton), 7 (H. J. Morton), note 6; XXXVI: 8, fig. 1 (Calverley), note 2 Albert, Duke of Sachsen-Teschen, formerly. XXXI: 404, fig. 2 (Agostino Carracci), note 3; XLII: 338, fig. 5 (G. Salviati); XLIII: 19, 29, 43, 47, 53, 64, figs. 9, 28, 55 (Van der Cooghen); 479, fig. 27 (Cortona); XLIV: 338, fig. 4 (Van den Bossche); XLV: 380, fig. 25 (Vieira Lusitano), note 39; XLVII: 174–89, figs. 1–13, 15, 17, 19, 23, 25–26 (Étienne Parrocel), note 5; 304, 308, 312–14, figs. 52 ("False Amand" hand after Dughet), 59 (anonymous after Dughet), 63–64 ("False Amand" hand after Dughet?), 65 ("False Amand" hand after Dughet); LII: 43, fig. 60 (Genga); 72, 75, 77, 83–84, figs. 18, 22–23, 28, 30 (Jan de Visscher); 277, 287, 293, 307, 328, 333, 335, figs. 2, 3b, 14b, 21, 42 (Coecke van Aelst) Alberti, Cherubino. IV: 135–36, fig. 6; XIII: 12–23, figs. 1, 10, 12 (etchings); XX: 247, 252–56, pl. 7; XLVIII: 293, figs. 8a–b (engraving after Polidoro da Caravaggio); LII: 227, fig.
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