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Gerard David and the Workshop of Dieric Bouts 322-23;Ainsworth 1993, P

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Gerard David and the Workshop of Dieric Bouts 322-23;Ainsworth 1993, P Italian Renaissance Workshop, exh. cat., Victoria and Albert concerning this issue are made in the body of his text as Museum (London, r983). well as in the catalogue entries. 6. Sonkes 1969b, pp. r-s; for Dieric Bouts, see Brussels 16. Waagen 1867, p. 196; Conway 1908, p. 155;Winkler 1957-58,nos. 32,33,pp.92,94· 1929, pp. 271-75; Friedlander 1967-76, vol.VIb (1971), p. 91; 7· Waagen first published certain of these drawings in the Mundy 198oa, pp. 55-71; Mundy 198ob, pp. 124-25; Hand Klinkosch collection,Vienna, as Holbein (Waagen r867, p. 196). et al. 1986, p. 131 n. 5; van Miegroet rg88d, pp. 131-33; van They were sold as such in the Klinkosch sale: Katalog der reich­ Miegroet 1989, p. 322; Ainsworth 1988, pp. 528-30. haltigen und vorziiglichen Sammlung von alten Handzeichnungen, 17. On the possible identification of this head as Mirtiaturen, alten Kupferstichen, Radirungen, Holzschnitten, Engelbert II, count of Nassau, see van Miegroet 1989, pp. 164, Buchern Bildwerken, etc. aus dem Nachlasse des Herrn ]osif C. 169-70. Ritter von Klinkosch (April 15, 1889,Vienna), pp. 43-44, nos. r8. Brussels 1957-58, p. 94, no. 33· 468--473 (wherein the accompanying text suggests that they 19. See Mundy 198ob, pp. 122-25, and Ainsworth 1988, may instead be by Rogier van der Weyden); Conway (1908, pp. 528-30. p. 155) attributed them to David, and Meder (1908, no. 1407) 20. Waagen r867, p. 196; Meder 1908, no. 1407; Conway agreed, although Leprieur (1910, pp. 161-75) considered one 1908, p. rss; Leprieur I9IO, pp. I6I-75;Winkler 1913, p. 271; of the Louvre drawings to be French. Winkler (1913, pp. 273-74; Winkler 1929, pp. 271-75; Friedlander 1934, vol.VI, p. 98; 1929, pp. 271-75) regarded the assembled six sheets as part of ibid., vol. XIV (1937), pp. ro6-7; Friedlander 1937, p. 14; the same sketchbook, dating them to between 1500 and 1515. Besancon 1951, p. 49; Benesch 1957, p. 13; Lugt 1968, p. 20, After first accepting the idea of the Klinkosch sketchbook, no. 57; Friedlander 1967-74, vol.VI (1971), p. 91; Mundy Friedlander (1937, pp. 5-18) discovered the relationship 198oa, pp. 62-63; Mundy 198ob, p. 125; Hand et al. 1986, between one of the drawings, a Portrait of a Man on the p. I31 n. s; van Miegroet 1989, pp. 134, 322. reverse of the Louvre study of Four Girls' Heads and Two 21. Klinkosch sale (in note 7) as by Holbein; Waagen Hands, and a painted portrait of Charles Brandon, duke of r867, vol. II, p. I96; Conway 1908, p. rss; Winkler 1929, Suffolk, and renamed the artist of all of the assembled p. 275 n. I; Lugt 1968, p. 20; Friedlander 1967-76, vol. VIb drawings the Master of the Brandon Portraits. This attribu­ (I97I), p. 9I; Mundy 1980a, p. ss; Mundy I980b, p. 125; tion has never been accepted in the literature, the most Hand et al. 1986, p. 131 n. 7; van Miegroet 1989, pp. 134, recent of which (Lugt 1968, p. 20; Mundy 1980a, p. 58, and 322-23;Ainsworth 1993a, p. J4. 198ob, p. 125; Hand and Wolff 1986, p. 131 n. 7; Ainsworth 22. See note 7 above; for Krakow literature not men­ 1988, pp. 528-30; Ainsworth 1989a, pp. 53-60; 1989b, pp. 9, tioned in van Miegroet 1989, pp. 324-25, see M.Jarostawiecka, 22-34; and 1993, pp. n-33; and van Miegroet 1989, pp. 321-26 "Rysunki flamandzkie XVI wieku w Muzeum XX. [who misidentifies the medium of many of the drawings and Czartoryskich w Krakowie," Przeglad hist01ji Sztuki PAU 2 must be read with caution as to reliability of the text]) have (1930-31), pp. 22-27. securely established these drawings as by David. 23. For the most complete discussion of this painting 8. On the development of model books and workshop and its dating, see Janssens de Bisthoven 1981, pp. 130-62. practice, see P W Scheller, Exemplum Model-book Drawings and 24. The other is the Portrait of a Goldsmith in Vienna, the Practice ofArtistic Transmission in the }\;fiddle ARes, ca. goo- Kunsthistorisches Museum. ca. 1470, trans. M. Hoyle (Amsterdam, 1995), esp. pp. r-88. 25. Ainsworth 1989b, p. 24. 9. Leonardo da Vinci 1956, par. 249, p. 105. 26. Waagen 1867, vol. II, p. 196; Conway 1908, p. 155; 10. Ibid., par. 258, p. I07. Winkler 1929, pp. 271-75; Paris 1959-60, pp. 49-51, no. 46; II. Benesch 1957, pp. 12-13. Friedlander 1967-76, vol.VIb (1971), p. 91; Mundy 198oa, 12. Brussels 1957-58, p. 92, no. p. The relationship p. 125; Hand et al. 1986, p. 131; van Miegroet 1989, pp. 133-34, between Gerard David and the workshop of Dieric Bouts 322-23;Ainsworth 1993, p. r6. will be discussed more thoroughly in chap. 3. 27. Paris 1878, no. 629; Leprieur 1910, p. r6r; Popham 13. Fritz Koreny (Albertina,Vienna) has kindly notified 1926, p. 27;Winkler 1929, pp. 271-75;Adhemar 1954, no. me that the sheet with ten heads (Figure 2) was subsequently 20.649; Lugt 1968, pp. 19-20, no 56; Friedlander 1967-76, mentioned in a 1908 inventory of objects in Viennese collec­ vol.VIb (1971), p. 91; Mundy 198oa, p. 62; van Miegroet tions ( Osterreichische Kunsttopographie, vol. 2, Die Denkmale der 1989, pp. 323-24; Ainsworth 1989b, pp. 9-10, and Ainsworth Stadt Wien, XI-XXI Bezirk [Vienna, 1908], p. 224; fig. 241, 1993, pp. 16-17. p. 220). Richard Day Ltd. (letter of March 3, 1993) has 28. Discussed in Ainsworth 1989a, pp. 123-30, and informed me that the drawing was formerly in the Kuffner Ainsworth r 99 3, pp. I 6-I7. This darkening of the paint also collection, Vienna, and later in the Mrs. V Eberstadt collec­ has occurred in two other paintings by David, namely the tion, New York. The sheet cannot at present be traced. Virgin and Child with Saints and a Donor (National Gallery, 14. Ainsworth 1997b. London) and the Saint Anne Altarpiece (National Gallery of 15. This determination of medium cannot be made by Art, Washington), where a mixture of azurite and red lake photographs, and in most cases the black-chalk underdraw­ turned almost black over time (see Wyld et al. 1979 and ing can be seen only with the use of magnification. In terms Metzger 1992). of the identification of the medium of the drawings, van 29. Van Miegroet 1989, pp. 212, 217, and 227, nn. 88 and Miegroet 1989 cannot be relied upon, as numerous mistakes 90, for various opinions about a possible trip to Italy for DESIGNING SOLUTIONS 53 .
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