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

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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

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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

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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. 1435-1477 Bishop Hugo defends St. Francis against his father Pen and ink with wash on paper, 25.4 cm. x 19 cm. This drawing might be a copy after a work of Cossa or one of his assistants. Bibl.: Grassi Sale Cat., no. 68. , 253 tfZK*

19. Antonio Pollaiuolo, Florence and Rome, 1433-1498 Study for an equestrian monument to Francesco Sforza Pen and brown ink with light brown wash on paper, 28.5 cm. x 24.4 cm. Dark brown wash in background; the outlines of the horse and the rider are pricked. This drawing and a related one in Munich were once owned by Giorgio Vasari, who might have been responsible for the dark background. Bibl.: S. Meller, Pollaiuolo tervrajzai Francesco Sforza lovasszobrahoz. Hommage a Alexis Petrovich, Budapest, 1934, pp. 204-206; Orangerie Cat., no. 119; Cincinnati Cat., no. 203; Bean-Stampfle, no. 6; Guidebook, pi. 173; Ragghianti Collobi, p. 78. 20. Antonio Pollaiuolo. Florence and Rome, 1433-1498 Seated Figure of a Prophet or a Saint Pen and brown ink, brown wash heightened with white paint on paper, 27.9 cm. x 18.7 cm. Pricked for transfer. Besides Pollaiuolo an impressive list of artists, which includes Piero della Francesca, Castagno, Francesco Botticini and Raffaellino del Garbo, has been attached to this drawing. Bibl.: K. Clark, Italian Drawings at Burlington House, The Burlington Magazine, LVI, 1930, p. 176; Berenson, no. 669b; Cincinnati Cat., no. 202; Bean-Stampfle, no. 7; Szabo, Cat., no. 1. 21. Francesco di Giorgio Martini, Siena, 1439-1502 A Kneeling Humanist Presented by Two Muses Pen and brown ink with brown wash and blue gouache on vellum, 18.4 cm. x 19.4 cm. Inscribed in pen and brown ink at lower left: Franco Francia, and also in the cartouche: Franco/Francia Bolognese. The "trompe l'oeil" presentation suggests that this drawing might have been a design for a sculptural project, an illusionistic painting, or intarsia. Bibl.: Orangerie Cat., no. 98; Bean-Stampfle, no. 10; Guidebook, pi. 175; Szabo, Cat., no. 3. 24. Ercole de' Roberti, Ferrara, c. 1456-1496 The Flagellation Pen and brown ink, with fine point of brush and brown wash, heightened with white on paper, 38.5 cm x 23.5 cm. The attribution to Roberti is still not settled; B. Berenson suggested the name of Bramantino, while others mentioned possible Milanese origin. Bibl.: Buffalo Cat., no. 13; Cincinnati Cat., no. 209; Bean-Stampfle, no. 20. '» \ ... "^iyr»^^' / i - / . _-^v **;' w$»tyjfc$

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25. Ercole de' Roberti, Ferrara, c. 1456-1496 St. Sebastian Pen and brown ink on prepared paper, 30.2 cm x 21 cm. The former attribution to Francesco Cossa recently was changed by E. Ruhmer to Ercole. Bibl.: Buffalo Cat., no. 12; Cincinnati Cat., no. 204; R. Ruhmer, Erganzendes zur Zeichenkunst des Ercole Roberti, Pantheon, XX, 1962, pp. 243-244, and 247. 26. Florentine artist from the school of Sandro Botticelli, Sandro di Mariano Filipepi, 1444/45-1510 The Last Communion of St. Jerome Pen and ink on paper, 15.9 x 19.7 cm. This drawing is a "faithful copy of the central group" of Botticelli's painting of the same subject in the Metropolitan Museum of Art (14.40.642), and "was certainly made in Botticelli's shop." Bibl.: Cincinnati Cat., no. 210; Berenson, no. 580A; Zeri, Catalogue. Florentine Paintings, p. 160. 27. Leonardo da Vinci, Florence, 1452-1519 Study of a Bear Walking with a sketch of a forepaw and a nude woman Silverpoint on light buff prepared paper, 10.3 cm. x 13.4 cm. Leonardo stated in his plan for an anatomical treatise: "Then I will discourse of the hands of each animal to show in what they vary; as in the bear, which has the ligatures of the toes joined above the instep." This and other silverpoint studies might be connected with the above and probably dated to around 1490. Bibl.: K. Clark, Leonardo da Vinci, Study of a Bear Walking, Old Master Drawings, XI, 1937, no. 44, pp. 66-67; Orangerie Cat., no. 106; Berenson, no. 1049E; Cincinnati Cat., no. 206; Bean-Stampfle, no. 18; Guidebook, pi. 174. 28. Pietro Perugino, Pietro di Cristoforo Vanucci, Perugia and Florence, 1450-1523 Studies of Standing Youths Silverpoint on pinkish prepared paper, 21.7 cm. x 17.7 cm. Although O. Fischel proposed that this drawing is a study for Perugino's fresco of the Adoration of the Magi in Citta della Pieve, the attribution is still unsettled. B. Berenson thought it might be an early Raphael. Bibl.: O. Fischel, Zeichnungen der Umbrer, 1917, p. 155, pi. 156; Orangerie Cat., no. 117; Cincinnati Cat., no. 205. 29. Pietro Perugino, Pietro di Cristoforo Vanucci, Perugia and Florence, 1450-1523 Studies of Nude Children Silverpoint on light grey prepared paper, 23.9 cm. x 18.9 cm. Inscribed on verso: Raffaelle. The infant Christ is seated on a tree stump; the infant St. John kneels next to him with an open book in his hand. Bibl.: O. Fischel, Zeichnungen der Umbrer, 1917, p. 235, no. 180; J. P. Heseltine, Italian Drawings, 1913, no. 39; Oppenheimer Sale Cat., no. 39. 30. Umbrian artist, second half of 15th centurv St. Francis (?) Point of brush with brown and white paint on paper, 17.5 cm. x 13.1 cm. Inscribed in the lower left corner: Gaddo Gaddi. This drawing, which is essentially a drapery study, formerly was attributed to Perugino. 31. Umbrian artist, second half of 15th century Kneeling knight Silverpoint heightened with white paint on grey prepared paper, 15.2 cm. x 10.2 cm. On the verso,figure of a child in ink and pen. Probably a study for a figure of St. Eustace. Bibl.: Grassi Sale Cat., no. 141 32. Pinturicchio, Bernardo di Betto, Siena, Rome, 1454-1513 A Group of Warriors Point of brush with ink heightened with colors on brown paper, 24.7 cm. x 15.8 cm. Other versions of the same composition are in the Louvre, in the Uff izi, and at Windsor. (O. Fischel, Zeichnungender Umbrer, 1917, pp. 119-121.) Bibl.: Oppenheimer Sale Cat., no. 143 33. Fra Bartolomeo, Baccio della Porta, Florence, 1472-1517 The Virgin with the Holy Children Pen and brown ink over black chalk, 18.4 cm. x 15.9 cm. On the verso, the child at extreme right is traced through and there is a sketch of another child. Dated c. 1500, this drawing is associated with several others at the Uffizi and at Windsor. All are presumed to be designs for a projected painting. Bibl.: H. von Gabelentz, Fra Bartolommeo, vol. II, 1922, p. 133; Oppenheimer Sale Cat., no. 31;OrangerieCat.,no. 86; Cincinnati Cat., no. 213; Bean-Stampfle, no. 213. •V.

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34. Fra Bartolomeo, Baccio della Porta, Florence, 1472-1517 Approach to a Mountain Village with Horsemen on the Road Pen and brown ink on paper, 29.8 cm. x 20.6 cm. This drawing once was part of an album containing forty-one landscape studies by Fra Bartolomeo, "which are among the earliest pure landscape studies in European art." (For the whole group: R. W. Kennedy, A Landscape Drawing by Fra Bartolomeo, Smith College Museum of Art Bulletin, 1959, pp.1-12.) Bibl.: Bean-Stampfle, no. 30. ,32*?

35. David Ghirlandaio, David Bigordi, Florence, 1452-1525 Head of a man Silverpoint heightened with white on pink prepared paper, 28.3 cm. x 20.6 cm. Bibl.: A. E. Popham, Mr. Alfred Jowett'sCollection, Apollo, March 1938, p. 133; Cincinnati Cat., no. 207; Berenson, no.852C. 36. Francesco Bonsignori, Verona, 1455-1519 Head of a Youth Pen and ink with watercolor on paper, 17.8 cm. x 14.6 cm. Inscribed in lower right corner: Mantegna. Bibl.: Grassi Sale Cat., no. 100; Cincinnati Cat., no.208. 37. Luca Signorelli, Cortona, 1441/50-1523 Head of a man Black chalk on paper, 29.9 cm. x 24.5 cm. Later pricked for transfer; even later, overworked with pen and ink, and signs around the ear. Probably part of a cartoon for a fresco of a Nativity scene. Bibl.: Berenson, no.2509G. 38. Giovanni Cristoforo Romano, Rome, Milan and Mantua, c.1470-1512 Design for a funeral monument Pen and ink with wash on paper, 29.6 cm. x 15.4 cm. Inscribed in ink in lower right :Mantenia. The bust in the center is surrounded by twelve Old Testament and New Testament scenes. On the top is the Virgin flanked by Faith and Hope; the lower frieze represents the separation of the Elect from the Damned. Bibl.: Szabo, Cat., no.6. '

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39. Paduan artist, end of 15th century Studies of cattle Pen and ink on paper, 14.2 cm. x 19.5 cm. On the verso old number in ink: No 12B. 40. Sienese artist, end of 15th century Saint Francis (?) Red chalk on paper, 21.3 cm. x 8.5 cm. Formerly attributed to Giovanni Bellini; however, the use of red chalk indicates Sienese origin. Bibl.: M. V, Drawings, Shades of the Old Masters, Art News, Nov., 1943, p. 12. 41. Milanese artist,end of 15th century Portrait of Bishop Antonius Campanus of Agram Pen and ink and wash on paper, 44 cm. x 33 cm. Background redone at a later time and the drawing mounted on canvas. Inscribed in Latin on verso: Antonius Campanus Eps. Agramien. Agram is the German name of Zagreb, Yugoslavia. 42. Bartolomeo Vivarini, Venice, Murano, c. 1432-c. 1499 Madonna and Child with Saint John Pen and ink and wash on paper, 20.3 cm. x 14.6 cm. Verso of the old mat inscribed in an 18th-century hand: Di Andrea Mantegna CLXVIII. The attribution to Vivarini is by no means final; the names of other Venetian artists such as Marco Zoppo have also been suggested. A polyptych by Vivarini is also in the Robert Lehman Collection. (Cf. Guidebook, pp.66-67.) •HHHH IHHH1

43. Venetian artist, end of 15th century Madonna and Child with Two Saints Pen and brown ink and point of brush with colored wash on paper, 27 cm. x 26 cm. The Madonna is flanked probably by St. Joseph and St. Ann holding a child. The style and unfinished state resemble the engravings of the Mantegna school. (Cf. Early Italian Engravings Cat., pp.212-213.) 44. Francesco Morone, Verona, 1473-1529 The Virgin and Child with Saint Roch and Saint Sebastian

Point of brush with brown ink, further modeled and heightened with white and blue gouache, 24.4 cm. x 35.5 cm. Inscribed by a later hand in lower right corner: Fra/co Moron. The changes and additions reflect the character of the drawing as an early work of "juvenile ambition." Bibl.: E. Tietze-Conrat, Morone, p.87; Orangerie Cat., no.115; Cincinnati Cat., no.211; Bean-Stampfle, no.26. 45. Francesco Morone, Verona, 1473-1529 Saint Paul Point of brush with white highlights on paper, 26.3 cm. x 10.5 cm. Inscribed by a later hand along the lower right edge: Fran Moron. Bibl.: E. Tietze-Conrat, Morone, p.87. ABBREVIATIONS AND Bean-Stampfle Bean, Jacob and Stampfle, Felice. Drawings BIBLIOGRAPHY from New York Collections, I. The Italian Renaissance. New York, 1965.

Berenson Berenson, Bernard. I disegni dei pittori fiorentini. (Rev. ed.) Milan (1961) 3v.

Buffalo Cat. Buffalo Fine Arts Academy—Albright Art Gallery. Master Drawings, selected from the Museums and Private Collections of America (exhibition). (Buffalo, 1934).

Oppenheimer Sale Cat. Christie, Manson & Woods. Catalogue of the... Collection of Old Master Drawings ... formed by... Henry Oppenheimer... sold...Jul. 10, 13-14, 1936. London (1936).

Cincinnati Cat. Cincinnati Art Museum. The Lehman Collection. Cincinnati, 1959.

Degenhart, 1937 Degenhart, Bernhard. "Stefano di Giovanni da Verona." (In Thieme-Becker. Allgemeines Lexikon der Bildenden Kunstler. Leipzig, 1937.)

Degenhart, 1954 Degenhart, Bernhard. "Di una pubblica- zione su Pisanello e di altri fatti (II)." Arte Veneto. 1954. v.8. pp. 96-118.

Degenhart-Schmitt Degenhart, Bernhard and Schmitt, Annegrit. Corpus der italienischen Zeichnungen, 1300-1450. Berlin, 1968. v. 1.

Fossi Todorow Fossi Todorow, Maria. I disegni del Pisanello e della sua cerchia. Florence, 1966.

Lugt, 1956 Lugt, Frits. Les marques de collections de dessins et d'estampes. Supplement. The Hague, 1956.

Orangerie Cat. Paris—Musee de l'Orangerie. Exposition de la collection Lehman de New York. Paris, 1957. Pignatti, Cat. Pignatti, Terisio. Venetian Drawings from American Collections, a Loan Exhibition. (National Gallery of Art. Washington, D.C., ©1974.)

Grassi Sale Cat. Sotheby & Co. Catalogue of important drawings by old masters mainly of the Italian school... sold 13 May 1924. London, 1924.

Steenbock Steenbock, Frauke. "Zu einer Neuerworbenen Zeichnung von Stefano da Verona." (In Hans Mohle Zugeeignet. Studien aus dem Berliner Kupferstichkabinett. Berlin, 1966. pp. 9-(15).

Guidebook Szabo, George. The Robert Lehman Collection, a Guide. New York, The Metropolitan Museum of Art, 1975.

Szabo, Cat. Szabo, George. Renaissance Decorative Arts from the Robert Lehman Collection of The Metropolitan Museum of Art, New York (exhibition). The National Museum of Western Art, Tokyo. (Tokyo, ©1977.)

Tietze-Conrat, Morone Tietze-Conrat, Erika. "Francesco Morone in America." Art in America. April, 1943. v.31. pp.83-87.

Early Italian U.S.—National Gallery of Art. Early Italian Engravings Cat: Engravings. Washington, D.C., 1973.

Zeri Catalogue Zeri, Federico. Italian Paintings. A Catalogue Florentine Paintings of the Collection of The Metropolitan Museum of Art. Florentine School. New York, 1971.