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Xv Century Italian Drawings from the Robert Lehman Collection 1978 Xv Century Italian Drawings from the Robert Lehman Collection

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Xv Century Italian Drawings from the Robert Lehman Collection 1978 Xv Century Italian Drawings from the Robert Lehman Collection XV CENTURY ITALIAN DRAWINGS FROM THE ROBERT LEHMAN COLLECTION 1978 XV CENTURY ITALIAN DRAWINGS FROM THE ROBERT LEHMAN COLLECTION CATALOGUE BY GEORGE SZABO THE METROPOLITAN MUSEUM OF ART NEW YORK Antonio Pollaiuolo Study for an equestrian monument to Francesco Sforza Introduction Fifteenth-century Italian drawings, among the rarest and most treasured works of art in any great museum, are exception­ ally well represented in the Robert Lehman Collection at The Metropolitan Museum of Art. It contains forty-five drawings, all of which are shown in this exhibition. This distinguished group includes drawings by artists from many great Italian centers: Siena, Florence, Venice, and Verona. The roster of individual masters too is impressive: Stefano da Verona, Francesco del Cossa, Antonello da Messina, Ercole de'Roberti, Giovanni Bellini, Francesco di Giorgio Martini, Fra Bartolomeo, and Leonardo da Vinci are all represented by outstanding sheets. Be­ sides the firmly attributed drawings, there are many that may still present a challenge to connoisseurs and scholars with their problems of dating and attribution. The works in this exhibition not only represent an impor­ tant aspect of Robert Lehman's collecting activity, but also document an interesting phase in the history of collecting. Mr. Lehman acquired the majority of these drawings as the first American collector "to follow the lead of Pierpont Morgan" in the 1920s and 1930s. Many of the earliest drawings are from the sales of such distinguished collections as that of Luigi Grassi (1924) and Henry Oppenheimer (1936). A large number of the drawings are exhibited here in six­ teenth- and seventeenth- century frames, themselves works of art. These have been selected from holdings of the Lehman col­ lection not previously displayed. A number of objects in other media that are related to the drawings or the artists also are shown. This catalogue illustrates and describes briefly all forty-five drawings in the exhibition. References listed under the individual entries and in a selected bibliography at the end supply the essen­ tial scholarly information. The exhibition was organized and the catalogue prepared with the help of the staff of the Robert Lehman Collection. For the mounting of the drawings we are indebted to the Department of Paper Conservation. Graphics for the exhibition were provid­ ed by the Department of Design. George Szabo Curator Robert Lehman Collection 211052 Copyright © 1978 by The Metropolitan Museum of Art 1. Sienese artist, end of 14th century Man in armor with sword and globe in his hands Ink and pen on paper, 17.4 cm. x 12.6 cm. On the verso, 16th-century inscription: Vittore Pisanello. With no. 2 in this exhibition, this drawing once formed one single sheet, possibly in a sketchbook. Formerly attributed to Pisanello on the basis of the inscription, and now considered Sienese, it is related to paintings from around 1400, such as those of Paolo di Giovanni Fei and Sassetta. (Cf. Guidebook, nos. 11, 12, 13.) Bibl.: Degenhart-Schmitt, no. 105. 2. Sienese artist, end of 14th century Man in armor with lance Ink and pen on paper, 17.2 cm. x 13.4 cm. In lower left corner 16th-century inscription: Vittore Pisanello. The point of the lance is on drawing no. 1, indicating that the two drawings once formed a single sheet. Bibl.: Buffalo Cat., no. 5; Degenhart-Schmitt, no. 106. t* • r\ (— <--£s* 3. Stefano da Verona, Stefano da Zevio, Verona c.1375-1451 Allegorical Figure Pen and ink on paper, 30.5 cm. x 20.3 cm. Inscribed in lower right comer: Auant. Various other remains of inscriptions in the upper half. Sometimes called a "Wild Man,"this drawing most likely represents an allegorical figure from one of the "trionfi" so popular at this time. Bibl.: Degenhart, 1954, p. 106; Orangerie Cat., no. 127; Cincinnati Cat., no. 193; Steenbock, p. 14; Guidebook, pi. 103. , L t. I •• ;•& if ; *iV>. • ; w,i^ . V ,;'^:;V 4. Stefano da Verona, Stefano da Zevio, Verona c.1375-1451 Virgin and Child with Female Donor and Two Saints Pen and ink on paper, 23 cm. x 19.6 cm. Bibl.: Degenhart, 1937, p. 528; Orangerie Cat., no. 113; Cincinnati Cat., no. 195; Lugt, 1956, no. 1171 b. *yH#^4^^£ n yo *3rjt ^ -^ V V /' ^ 5. Veronese artist, beginning of 15th century A Nobleman with His Horse and Dog Pen and ink on paper, 25.4 cm. x 20.3 cm. Inscribed in lower center: Ripossate p(er) lafadiga che...ffato. The inscription ("Relax after your work is done.") and the drawing itself might refer to some popular saying. Bibl.: Lugt, 1956, no. 1171 b; Orangerie Cat., no. 114. 6. Veronese artist, beginning of 15th century Seated Female Figure Pen and ink on paper, 17.8 cm. x 12 cm. Bibl.: Grassi Sale Cat., no. 152. 7. Veronese artist, beginning of 15th century Prophet seated, holding a book and a scroll Pen and ink on paper, 29.2 cm. x 17.8 cm. Scroll inscribed: Uernisando ben zondado nota bene. Book inscribed: dipinxere adio pinxer tisin. No acceptable translation has been proposed yet for the inscriptions. Bibl.: Grassi Sale Cat., no. 114. 8. Veronese artist, beginning of 15th century Female figure, seated, holding a book and a scroll Pen and ink on paper, 14.6 cm. x 12.1 cm. Repaired with pieces of old paper, some with traces of drawings on the verso. Formerly called a female saint, she is most likely an allegorical figure. Bibl.: Grassi Sale Cat., no. 152. 9. Ottaviano Nelli, Ottaviano di Martini, Gubbio and Umbria, c.l375-before 1450 The Last Judgement Brush drawing in brown and white on prepared blue paper, 28.1 cm. x 16.7 cm. Restored on three sides, framed by lines drawn in ink. The above additions suggest that the drawing might have been part of Giorgio Vasari's Libro. Bibl.: Oppenheimer Sale Cat., no. 26; Degenhart-Schmitt, no. 256; Ragghianti Collobi, p. 29. 10. Lombard artist, beginning of 15th century A Gazelle Silverpoint, pen and ink with additional colors in brush on vellum, 10.2 cm. x 12.7 cm. This drawing was formerly attributed to Pisanello, but because of its refined technique, which resembles that of manuscript illuminations, it is now considered to be the work of a Lombard artist. Bibl.:OrangerieCat.,no. 118; Cincinnati Cat., no. 197; Fossi Todorow, 1966, no. 345; M. Fossi Todorow, I disegni dei maestri. L'ltalia dalle origini a Pisanello, 1970, pp. 89-90. 11. Venetian artist, c. 1400 Design for an altarpiece with the "Madonna della Misericordia" Pen and ink with traces of wash on paper, 13.8 cm. x 26.4 cm. Under the mantle of the Madonna are two groups of people; the Madonna is flanked by two saints. In the left niche the Circumcision, and in the right The Virgin in the Temple,are represented. Bibl.: Oppenheimer Sale Cat., no. 2a. 12. Francesco Pesellino, Francesco di Stefano Giuochi, Florence, c.1422-1457 Allegorical figure, possibly Justice Pen and ink on paper, 19.3 cm. x 16.8 cm. On the verso,sketch of an infant and remains of drawn framework in ink and pen, possibly by Giorgio Vasari. Inscribed in a 16th- century hand: Tadeo Gaddi. Possibly a design for or after a cassone panel. Judging from the verso, it was part of Vasari's Libro. Bibl.: Ragghianti Collobi. p. 64, fig. 154. 13. Giovanni del Ponte, Giovanni di Marco, Florence, c.l385-1437(?) Studies of Allegorical and Apostle Figures Silverpoint with white and bistre brush on red prepared paper, 24.8 cm. x 18.4 cm. Later additions in pen and ink,and numeral XXXII in upper right corner. The larger figures are the virtues Temperance, Hope and Justice. Bibl.: Buffalo Cat., no. 2; Orangerie Cat., no. 102; Cincinnati Cat., no. 194; Degenhart- Schmitt, no. 196; Ragghianti Collobi, p. 36. 330 VZ\4 ' ,-XA,. N • r i \ / ' V X r <: x.A 0 * 14. Michele Giambono, Michele di Taddeo Bono, Venice, active c.1420-1462 Knight on Horseback Pen and ink on paper, 20.3 cm. x 14.6 cm. Inscribed in lower left corner: Giambono. Bibl.: Buffalo Cat., no. 2; Orangerie Cat., no. 102; Cincinnati Cat., no. 200. 15. Michele Giambono, Michele di Taddeo Bono, Venice, active c.1420-1462 An Apostle Pen and ink on paper, 25.4 cm. x 16.5 cm. Formerly attributed to Vivarini, this drawing is more reminiscent of the apostle and saint figures of Giambono, such as those on the frescoes of Sant' Anastasia in Verona. Bibl.: Grassi Sale Cat., no. 146. I4&J, Me^ 16. Antonello da Messina, Antonello di Salvatore d'Antonio, Messina and Venice, c.1430-1479 Studies for a group of figures Pen and ink on paper, 12.1 cm. x 15.2 cm. Formerly attributed to Petrus Christus of Brugge or to a Burgundian master. R. Longhi-recognized first its relationship to Antonello's Sibiu Crucifix. Bibl.: Buffalo Cat., no. 11; R. Longhi, Frammento siciliano, Paragone, IV, no. 47, 1953, pp.128-129; Orangerie Cat., no. 85; Cincinnati Cat., no. 236; L. Sciascia and G. Mandel, L'opera completa di Antonello da Messina, Milan, 1967, pp.88, 104. •y* >> ,' -"• ar 1 J itlBT •P W9% 'V * 17. Francesco del Cossa, Ferrara, Bologna, c. 1435-1477 Venus Embracing Cupid at the Forge of Vulcan Pen and brown ink on paper, 28 cm. x 40.7 cm. The drawing is usually associated with the frescoes of the Palazzo Schifanoia at Ferrara. The iconography with its complex assembly of symbols and signs is still problematic. Bibl.: Bean-Stampfle, no. 8; Guidebook, pi. 176; Szabo, Cat., no. 3. 18. Francesco del Cossa, Ferrara, Bologna, c.
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