Checklist of Drawings
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
1 through The Roman Sketchbook c. 1544 Basel, Kunstmuseum, The following sequence includes: 27 Kupferstichkabinett, [U.IV.6 through U.IV.29] 1 Studies of the Base of Trajan's Column Pen and brown ink with brown wash, 208 × 297 mm Basel, Kunstmuseum, T1 Fol. 3r. The drawing depicts the dragon’s head and [In red chalk in upper right: 3; in lower left in brown Kupferstichkabinett, [U.IV.29] helmet from the west side and a sword and griffon ink: C; inscribed in the middle in brown ink COLLONE from the east side of the base of Trajan's Column. HISTOIae] 2 Torso of Athena in Chiton, Female Pen and brown ink with brown wash, 207 × 294 mm Basel, Kunstmuseum, T2 Fol. 4r. At right are two Amazons from a sarcophagus Torso, Erinys [In pen at top center: ANTICA op strat; inscribed in red Kupferstichkabinett, [U.IV.21] in the Palazzo Rospigliosi at Rome. chalk at upper right 4 and below at right D] 3 Fragments of a Sarcophagus Depicting Pen and brown ink with brown wash, 211 × 297 mm [At Basel, Kunstmuseum, T3 Fol. 5r. At left two sleeping Furies from the left end Orestes, Furies, and Details from the left in brown ink: anticka sint marck; at upper right in red Kupferstichkabinett, [U.IV.14] of a sarcophagus depicting Orestes. Base of Trajan’s Column chalk: 5; at lower right in brown ink: E] 4 Antique Triphies from the Reliefs on Pen and brown ink with brown wash, 225 × 303 mm [In Basel, Kunstmuseum, T4 Fig. 3.16 Fol. 8r. Studies after the south side of the base of the Base of Trajan's Column red chalk: 8; in brown ink: H] Kupferstichkabinett, [U.IV.27] Trajan's Column drawn from up close. 5 Study After the South Side of the Base Pen and brown ink with brown wash, 210 × 300 mm [In Basel, Kunstmuseum, T5 Fol. 9r. This drawing continues that on the previous of the Trajan’s Column, right half red chalk: 9; in brown ink: I] Kupferstichkabinett, [U.IV.28] folio, showing the right half of the same relief on the south side of the base of Trajan's Column. 6 Studies after a Relief Depicting an Pen and brown ink with brown wash, 207 × 299 mm [In Basel, Kunstmuseum, T6 Fol. 10r. Study of a relief then in Piazza Sciarra, Imperial Victory red chalk: 10; in pen K; inscribed: ANTICK op Straet] Kupferstichkabinett, [U.IV.9] now in the Palazzo dei Conservatori, representing a victorious Emperor. The head and foot at right are details extracted from the frieze at left. The flying genius at right comes from the south side of the base of Trajan's column. 7 Studies of a Neo-Attic Round Base in Pen and brown ink with brown wash, 222 × 297 mm [In Basel, Kunstmuseum, T7 Fol. 14r. The drawing depicts dancing Hours from Casa Cesi red chalk: 14; inscribed in brown ink: N; inscribed: antiCA Kupferstichkabinett, [U.IV.15] an antique puteal formerly in Casa Cesi, now in Villa in casa de seze] Albani. The woman at left, Autumn Carrying Game, had to have been drawn separately. The figure at right is Hecate and should be shown carrying torches, but because the base was placed against a wall they may not have been fully visible. 8 Study of Figures on the Base of the Pen and brown ink with brown wash, 210 × 296 mm Basel, Kunstmuseum, T8 Fol. 15r. The Altar of the Twelve Gods, also known as Twelve Gods [In red chalk: 15; inscribed in brown in: O; inscribed in Kupferstichkabinett, [U.IV.17] the Ara Borghese, is now in Paris, Musée du Louvre, brown ink: INCASAPTLDOE] inv. MA 672. Rather than copy the base precisely Floris freely combined the figures to create his own composition.
© koninklijke brill nv, leiden, ���8 | doi ��.��63/9789004343252_019 Edward H. Wouk - 9789004343252 Downloaded from Brill.com09/24/2021 04:36:47AM via free access Checklist of Drawings 629 Checklist of Drawings
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
1 through The Roman Sketchbook c. 1544 Basel, Kunstmuseum, The following sequence includes: 27 Kupferstichkabinett, [U.IV.6 through U.IV.29] 1 Studies of the Base of Trajan's Column Pen and brown ink with brown wash, 208 × 297 mm Basel, Kunstmuseum, T1 Fol. 3r. The drawing depicts the dragon’s head and [In red chalk in upper right: 3; in lower left in brown Kupferstichkabinett, [U.IV.29] helmet from the west side and a sword and griffon ink: C; inscribed in the middle in brown ink COLLONE from the east side of the base of Trajan's Column. HISTOIae] 2 Torso of Athena in Chiton, Female Pen and brown ink with brown wash, 207 × 294 mm Basel, Kunstmuseum, T2 Fol. 4r. At right are two Amazons from a sarcophagus Torso, Erinys [In pen at top center: ANTICA op strat; inscribed in red Kupferstichkabinett, [U.IV.21] in the Palazzo Rospigliosi at Rome. chalk at upper right 4 and below at right D] 3 Fragments of a Sarcophagus Depicting Pen and brown ink with brown wash, 211 × 297 mm [At Basel, Kunstmuseum, T3 Fol. 5r. At left two sleeping Furies from the left end Orestes, Furies, and Details from the left in brown ink: anticka sint marck; at upper right in red Kupferstichkabinett, [U.IV.14] of a sarcophagus depicting Orestes. Base of Trajan’s Column chalk: 5; at lower right in brown ink: E] 4 Antique Triphies from the Reliefs on Pen and brown ink with brown wash, 225 × 303 mm [In Basel, Kunstmuseum, T4 Fig. 3.16 Fol. 8r. Studies after the south side of the base of the Base of Trajan's Column red chalk: 8; in brown ink: H] Kupferstichkabinett, [U.IV.27] Trajan's Column drawn from up close. 5 Study After the South Side of the Base Pen and brown ink with brown wash, 210 × 300 mm [In Basel, Kunstmuseum, T5 Fol. 9r. This drawing continues that on the previous of the Trajan’s Column, right half red chalk: 9; in brown ink: I] Kupferstichkabinett, [U.IV.28] folio, showing the right half of the same relief on the south side of the base of Trajan's Column. 6 Studies after a Relief Depicting an Pen and brown ink with brown wash, 207 × 299 mm [In Basel, Kunstmuseum, T6 Fol. 10r. Study of a relief then in Piazza Sciarra, Imperial Victory red chalk: 10; in pen K; inscribed: ANTICK op Straet] Kupferstichkabinett, [U.IV.9] now in the Palazzo dei Conservatori, representing a victorious Emperor. The head and foot at right are details extracted from the frieze at left. The flying genius at right comes from the south side of the base of Trajan's column. 7 Studies of a Neo-Attic Round Base in Pen and brown ink with brown wash, 222 × 297 mm [In Basel, Kunstmuseum, T7 Fol. 14r. The drawing depicts dancing Hours from Casa Cesi red chalk: 14; inscribed in brown ink: N; inscribed: antiCA Kupferstichkabinett, [U.IV.15] an antique puteal formerly in Casa Cesi, now in Villa in casa de seze] Albani. The woman at left, Autumn Carrying Game, had to have been drawn separately. The figure at right is Hecate and should be shown carrying torches, but because the base was placed against a wall they may not have been fully visible. 8 Study of Figures on the Base of the Pen and brown ink with brown wash, 210 × 296 mm Basel, Kunstmuseum, T8 Fol. 15r. The Altar of the Twelve Gods, also known as Twelve Gods [In red chalk: 15; inscribed in brown in: O; inscribed in Kupferstichkabinett, [U.IV.17] the Ara Borghese, is now in Paris, Musée du Louvre, brown ink: INCASAPTLDOE] inv. MA 672. Rather than copy the base precisely Floris freely combined the figures to create his own composition.
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Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
9 Frieze on the Medea Sarcophagus Pen and brown ink with brown wash, 221 × 296 mm Basel, Kunstmuseum, T9 Fig. 3.22 Fol. 18v. The sarcophagus depicting Jason and [In pencil: 8; in red chalk: 18; in brown ink r; in brown Kupferstichkabinett, [U.IV.8] Medea is now in Ancona. The frieze represents ink: ANTICK by templum pacis an dat cleijn kercke dat gy Medea's children offering poisonous wedding gifts gescuetsert hebt] to Creusa. At the time Floris drew this sarcophagus it was outside the Church of Saints Cosmas and Damian next to the Basilica of Constantine and Maxentius, the “Temple of Peace” that he names on the drawing. 10 Victoria with a Laurel Branch and Pen and brown ink with brown wash, 215 × 296 mm [In Basel, Kunstmuseum, T10 Fol. 19v. The woman and two children at right are Study after Michelangelo red chalk: 19; in pencil 23] Kupferstichkabinett, [U.IV.23] after a group in the lunettes of the Sistine Chapel. 11 Polyphemus and a Greek in the Pen and brown ink with brown wash; drawing traced Basel, Kunstmuseum, T11 Fig. 3.12 Fol. 23v. First Floris drew the unidentified figures Palazzo Barbaro, Dying Amazon at through on the recto in pen at a later date, 216 × 292 mm Kupferstichkabinett, [U.IV.19] at left, then the man dragging the boy, known as Palazzo Medici, and Unidentified [In upper right 23 in red chalk, in lower left W with in Polyphemus and a Greek, now in the Capitoline Antique and Non-Antique Figures pen. Inscribed Antick, ANtik, and antick. ] Museums. Below this, the Dying Amazon, then in Palazzo Madama. Above this is Sylvanus with his goat skin and an unidentified female figure at far right. The figure at lower right appears to be post-Antique. 12 Four Standing Gods from the Altar Pen and brown ink with brown wash, 210 × 297 mm [At Basel, Kunstmuseum, T12 Fig. 3.13 Fol. 24v. Four gods on the Base of the Twelve Gods Base of the Twelve Gods upper right in red chalk: 24; in brown ink: X] Kupferstichkabinett, [U.IV.12] or Ara Borghese, now in Paris, Mouvre, inv. MA 672. The gods depcited are Apollo, Artemis, Hephaestus, and Athena, although Floris misinterprets the rightmost as a male. 13 Roma Victrix, Dacia, and a Frieze from Pen and brown ink with brown wash, 204 × 298 mm [At Basel, Kunstmuseum, T13 Fig. 3.21 Fol. 25v. All sculptures were in the Cesi gardens the Villa Torlonia Marble Crater bottom center: antick noVA Anet TroVATE IN CASA de Kupferstichkabinett, [U.IV.7] when Floris drew them: at right, a Herculean SEZE Bi Dat FonTEYNKEN] frieze on the marble crater now in Villa Torlonia, apparently used as a fountain; at center, Roma Victrix, now in the Palazzo dei Conservatori; at left a mourning female figure from the base of the Roma. 14 Studies of two Antique Statues Pen and brown ink with brown wash, 210 × 298 mm [In Basel, Kunstmuseum, T14 Fol. 28v. The figures are unidentified. red chalk: 28; in pencil: 24] Kupferstichkabinett, [U.IV.24] 15 Studies of Phaedra, a Hermaphrodite, Pen and brown ink with brown wash, 213 × 296 mm [At Basel, Kunstmuseum, T15 Fig. 3.17 Fol. 29v. Phaedra is from a fragment of a and Unidentified Antiquities left in brown ink: antick bi dieen back meten Luen and at Kupferstichkabinett, [U.IV.16] sarcophagus. Floris drew the Hermaphrodite in middle: anticka by sint marck] Palazzo Doria twice, once frontally and once from the left. 16 Studies after Antique Sculpture with a Pen and brown ink with brown wash, 206 × 295 mm [In Basel, Kunstmuseum, T16 Fol. 30v. The Nereid was located near Santa Maria in Nereid on a Seahorse, a Sandal, and a red chalk: 30; in pencil: 30] Kupferstichkabinett, [U.IV.25] Via, the column at Santa Catarina in via Giulia. Column Base
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(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
9 Frieze on the Medea Sarcophagus Pen and brown ink with brown wash, 221 × 296 mm Basel, Kunstmuseum, T9 Fig. 3.22 Fol. 18v. The sarcophagus depicting Jason and [In pencil: 8; in red chalk: 18; in brown ink r; in brown Kupferstichkabinett, [U.IV.8] Medea is now in Ancona. The frieze represents ink: ANTICK by templum pacis an dat cleijn kercke dat gy Medea's children offering poisonous wedding gifts gescuetsert hebt] to Creusa. At the time Floris drew this sarcophagus it was outside the Church of Saints Cosmas and Damian next to the Basilica of Constantine and Maxentius, the “Temple of Peace” that he names on the drawing. 10 Victoria with a Laurel Branch and Pen and brown ink with brown wash, 215 × 296 mm [In Basel, Kunstmuseum, T10 Fol. 19v. The woman and two children at right are Study after Michelangelo red chalk: 19; in pencil 23] Kupferstichkabinett, [U.IV.23] after a group in the lunettes of the Sistine Chapel. 11 Polyphemus and a Greek in the Pen and brown ink with brown wash; drawing traced Basel, Kunstmuseum, T11 Fig. 3.12 Fol. 23v. First Floris drew the unidentified figures Palazzo Barbaro, Dying Amazon at through on the recto in pen at a later date, 216 × 292 mm Kupferstichkabinett, [U.IV.19] at left, then the man dragging the boy, known as Palazzo Medici, and Unidentified [In upper right 23 in red chalk, in lower left W with in Polyphemus and a Greek, now in the Capitoline Antique and Non-Antique Figures pen. Inscribed Antick, ANtik, and antick. ] Museums. Below this, the Dying Amazon, then in Palazzo Madama. Above this is Sylvanus with his goat skin and an unidentified female figure at far right. The figure at lower right appears to be post-Antique. 12 Four Standing Gods from the Altar Pen and brown ink with brown wash, 210 × 297 mm [At Basel, Kunstmuseum, T12 Fig. 3.13 Fol. 24v. Four gods on the Base of the Twelve Gods Base of the Twelve Gods upper right in red chalk: 24; in brown ink: X] Kupferstichkabinett, [U.IV.12] or Ara Borghese, now in Paris, Mouvre, inv. MA 672. The gods depcited are Apollo, Artemis, Hephaestus, and Athena, although Floris misinterprets the rightmost as a male. 13 Roma Victrix, Dacia, and a Frieze from Pen and brown ink with brown wash, 204 × 298 mm [At Basel, Kunstmuseum, T13 Fig. 3.21 Fol. 25v. All sculptures were in the Cesi gardens the Villa Torlonia Marble Crater bottom center: antick noVA Anet TroVATE IN CASA de Kupferstichkabinett, [U.IV.7] when Floris drew them: at right, a Herculean SEZE Bi Dat FonTEYNKEN] frieze on the marble crater now in Villa Torlonia, apparently used as a fountain; at center, Roma Victrix, now in the Palazzo dei Conservatori; at left a mourning female figure from the base of the Roma. 14 Studies of two Antique Statues Pen and brown ink with brown wash, 210 × 298 mm [In Basel, Kunstmuseum, T14 Fol. 28v. The figures are unidentified. red chalk: 28; in pencil: 24] Kupferstichkabinett, [U.IV.24] 15 Studies of Phaedra, a Hermaphrodite, Pen and brown ink with brown wash, 213 × 296 mm [At Basel, Kunstmuseum, T15 Fig. 3.17 Fol. 29v. Phaedra is from a fragment of a and Unidentified Antiquities left in brown ink: antick bi dieen back meten Luen and at Kupferstichkabinett, [U.IV.16] sarcophagus. Floris drew the Hermaphrodite in middle: anticka by sint marck] Palazzo Doria twice, once frontally and once from the left. 16 Studies after Antique Sculpture with a Pen and brown ink with brown wash, 206 × 295 mm [In Basel, Kunstmuseum, T16 Fol. 30v. The Nereid was located near Santa Maria in Nereid on a Seahorse, a Sandal, and a red chalk: 30; in pencil: 30] Kupferstichkabinett, [U.IV.25] Via, the column at Santa Catarina in via Giulia. Column Base
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(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
17 Study of Ceres and Proserpina from a Pen and brown ink with brown wash, 192 × 262 mm [At Brussels, Bibliothèque royale de T17 Fig. 3.6 Removed from the other drawings in the Roman Puteal in the Albani Collection, with bottom in brown ink: antick op een burput by dat fonn… Belgique, Cabinet des Estampes, Sketchbook and replaced by a copy, in Basel Fortuna and a Barbarian's Sandal from dat achter de rebecca ghemackt staet, antica and antica by [F 11791] (Kunstmuseum, Kupferstichkabinett, inv. U.IV.10, the Cesi or De Nigris Collection sint mar…] 197 × 301 mm). At the time, the puteal was then in the Cesi coll. 18 Copy after Floris: Two Studies after Pen and brown ink over a preliminary drawing in red Basel, Kunstmuseum, T18 Fig. 3.9 Fol. 7r. Lost but recorded in a copy, possibly a Michelangelo’s Sistine Ceiling: Abiud chalk, copy measures 220 × 295 mm [In pen: MICHIL Kupferstichkabinett, [U.IV.26] counter-proof, in Basel (inv. I.IV.26), in pen and and Eliachim and the Ignudo to the ANCIUS] brown ink over red chalk, inscribed MICHIL right of the Sibyl of Cumae ANCIUS, depicting the figures of Abiud and Eliachim and the ignudo to the right of the Cumaean Sibyl. 19 Copy after Floris: Figures from A Pen and brown ink over red chalk, copy measures 213 × Basel, Kunstmuseum, T19 Fol. 7v. Copied in a drawing now in Basel; the Dionysian Sarcophagus 242 mm Kupferstichkabinett, [U.IV.26] sarcophagus is now in London, British Museum. 20 Copy after Floris: Juno Pronuba and Pen and brown ink over a preliminary drawing in red Basel, Kunstmuseum, T20 Fol. 12v. Floris has invented the heads which which two Putto from a Sarcophagus in chalk, copy measures 210 × 297 mm Kupferstichkabinett, [U.IV.11] were broken off and had not yet been restored. The Palazzo Giustiniani and Two Women two standing women have not been identified. 21 Copy after Floris (?): Figure of a Red chalk overworked with pen and brown ink and Basel, Kunstmuseum, T21 Fol. 12r. Copied in a drawing now in Basel and later Hunting Man and Woman as Venus brown wash, copy measures 210 × 297 mm [In pen: Kupferstichkabinett, [U.IV.11] added to the sketchbook. The Hunting Man is now from the Villa Torlonia in Rome antich by campedolie] in the Medici Collection in Florence. The woman with the veil has not been identified. 22 Copy after Floris: Three Dancing Pen and brown ink with brown wash, copy measures Basel, Kunstmuseum, T22 Fig. 3.19 Fol. 13v. Three figures, probably Horae, from a Nymphs or Horae from the Puteal in 238 × 221 mm Kupferstichkabinett, [U.IV.13] marble puteal that belonged to the Cesi collection Casa Cesi The order of figures here does not correspond to that on the well, reflecting Floris's imaginative approach to studying the antique. 23 Copy after Floris: Apollo and Five Pen and brown ink with brown wash over red chalk, Basel, Kunstmuseum, T23 Fol. 20v. The copy on the verso appears to be later. Women, One Possibly Cybelle / verso: Copy measures 253 × 239 mm [In pen: FF, though not in Kupferstichkabinett, [U.IV.20] Copy of fol. 4 with Victoria and Two Floris's hand.] Amazons 24 Copy after Floris: Study of Antique Pen and brown ink and brown wash, copy measures 207 Basel, Kunstmuseum, T24 Fol. 21v. Floris drew the same relief in his Studies Sculpture Including a Torso of × 294 mm Kupferstichkabinett, [U.IV.22] after Antique Sculpture including the Head of Marcus Dionysus, Statue of Melpomene Aurelius (cat. D.6). and at Left a Sandal after a Relief Depicting “Rome Welcomes the Emperor,” Formerly in the Palazzo dei Conservatori
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(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
17 Study of Ceres and Proserpina from a Pen and brown ink with brown wash, 192 × 262 mm [At Brussels, Bibliothèque royale de T17 Fig. 3.6 Removed from the other drawings in the Roman Puteal in the Albani Collection, with bottom in brown ink: antick op een burput by dat fonn… Belgique, Cabinet des Estampes, Sketchbook and replaced by a copy, in Basel Fortuna and a Barbarian's Sandal from dat achter de rebecca ghemackt staet, antica and antica by [F 11791] (Kunstmuseum, Kupferstichkabinett, inv. U.IV.10, the Cesi or De Nigris Collection sint mar…] 197 × 301 mm). At the time, the puteal was then in the Cesi coll. 18 Copy after Floris: Two Studies after Pen and brown ink over a preliminary drawing in red Basel, Kunstmuseum, T18 Fig. 3.9 Fol. 7r. Lost but recorded in a copy, possibly a Michelangelo’s Sistine Ceiling: Abiud chalk, copy measures 220 × 295 mm [In pen: MICHIL Kupferstichkabinett, [U.IV.26] counter-proof, in Basel (inv. I.IV.26), in pen and and Eliachim and the Ignudo to the ANCIUS] brown ink over red chalk, inscribed MICHIL right of the Sibyl of Cumae ANCIUS, depicting the figures of Abiud and Eliachim and the ignudo to the right of the Cumaean Sibyl. 19 Copy after Floris: Figures from A Pen and brown ink over red chalk, copy measures 213 × Basel, Kunstmuseum, T19 Fol. 7v. Copied in a drawing now in Basel; the Dionysian Sarcophagus 242 mm Kupferstichkabinett, [U.IV.26] sarcophagus is now in London, British Museum. 20 Copy after Floris: Juno Pronuba and Pen and brown ink over a preliminary drawing in red Basel, Kunstmuseum, T20 Fol. 12v. Floris has invented the heads which which two Putto from a Sarcophagus in chalk, copy measures 210 × 297 mm Kupferstichkabinett, [U.IV.11] were broken off and had not yet been restored. The Palazzo Giustiniani and Two Women two standing women have not been identified. 21 Copy after Floris (?): Figure of a Red chalk overworked with pen and brown ink and Basel, Kunstmuseum, T21 Fol. 12r. Copied in a drawing now in Basel and later Hunting Man and Woman as Venus brown wash, copy measures 210 × 297 mm [In pen: Kupferstichkabinett, [U.IV.11] added to the sketchbook. The Hunting Man is now from the Villa Torlonia in Rome antich by campedolie] in the Medici Collection in Florence. The woman with the veil has not been identified. 22 Copy after Floris: Three Dancing Pen and brown ink with brown wash, copy measures Basel, Kunstmuseum, T22 Fig. 3.19 Fol. 13v. Three figures, probably Horae, from a Nymphs or Horae from the Puteal in 238 × 221 mm Kupferstichkabinett, [U.IV.13] marble puteal that belonged to the Cesi collection Casa Cesi The order of figures here does not correspond to that on the well, reflecting Floris's imaginative approach to studying the antique. 23 Copy after Floris: Apollo and Five Pen and brown ink with brown wash over red chalk, Basel, Kunstmuseum, T23 Fol. 20v. The copy on the verso appears to be later. Women, One Possibly Cybelle / verso: Copy measures 253 × 239 mm [In pen: FF, though not in Kupferstichkabinett, [U.IV.20] Copy of fol. 4 with Victoria and Two Floris's hand.] Amazons 24 Copy after Floris: Study of Antique Pen and brown ink and brown wash, copy measures 207 Basel, Kunstmuseum, T24 Fol. 21v. Floris drew the same relief in his Studies Sculpture Including a Torso of × 294 mm Kupferstichkabinett, [U.IV.22] after Antique Sculpture including the Head of Marcus Dionysus, Statue of Melpomene Aurelius (cat. D.6). and at Left a Sandal after a Relief Depicting “Rome Welcomes the Emperor,” Formerly in the Palazzo dei Conservatori
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Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
25 Copy after Floris: Torso of a Draped Pen and brown ink with brown wash, copy Measures 202 Basel, Kunstmuseum, T25 This copy not part of the foliated drawings album, Statue (Demeter?), Torso of the × 301 mm Kupferstichkabinett, [U.IV.18] although on the same paper. The Venus Genetrix so-called Venus Genetrix with a Fruit is copied after a triangular base in the Medici Platter, Torso of a Female Statue Collection, now in the Uffizi. (Athena?) 26 Cybele from the Palazzo di Venezia Pen and brown ink with brown wash, 191 × 235 mm Bruges, Steinmetzkabinet, T26 Fig. 3.5 The statue is now outside the Casino of Pius IV, the and a Sarcophagus with Pentheus and [Inscribed by J. Steinmetz: Une feuille du livre de croquis [O.1778.II] sarcophagus at Hever Castle. the Maenads de Franc Flore donné par le Notaire Van de Steene - 8 Dec. 1834] 27 Studies after Giulio Romano and Pen and brown ink , 220 × 318 mm [In pen: Infl. Paris, École nationale supérieure des T27 Fig. 3.27/3.28 Recto: Triumph of Aemilius Paulus and Lycurgus Polidoro da Caravaggio Française d'après bas-relief de Rome; Polidore; FFLORES] Beaux-Arts, [M. 2171] Giving the Law to the Spartans after Roman frescos by Polidoro da Caravaggio, and a Castaway from Giulio Romano's fresco in the Camerino dei Falconi in the Appartamento di Troia in the Palazzo Ducale, Mantua; verso: Sacrifice of a Bull from the Sala dei Venti of the Palazzo del Tè and after lost Roman frescoes by Polidoro da Caravaggio Other Roman drawings 28 Moses Receiving the Law after the c. 1544 Pen and brown ink with brown wash, 255 × 220 mm Haarlem, Teylers Museum, Fig. 3.23 After the fresco in the ninth vault of the Vatican Fresco in the Loggia of Raphael [KT 2008 018] Loggia, or a drawing for it. Dacos attributes the painting itself to Perino del Vaga, based on a preparatory drawing by Raphael that survives; see Dacos, Le Logge di Raffaello, 186-87. Dacos elsewhere suggests Floris may have made his drawing after another drawing and not the fresco, although this seems unlikely; see Veldman, The Netherlandish Drawings..., 55, no. 38. 29 Rape of the Sabine Women after a c. 1544 Pen and brown ink with brown wash over black chalk, St. Petersburg, State Hermitage Fig. 3.26 For other drawings recording the fresco, see fresco by Polidoro da Caravaggio on 117 × 210 mm Museum, [OP 4220] Marabottini, Polidoro da Caravaggio, 1: 362-65, no. Palazzo Ricci F 13, II, fig. CXLI, no. 2 and CXLIII, no. 1; Ravelli, Polidoro da Caravaggio, 279-82, no. 445 and 321-22, nos. 546-49. 30 Cleobis and Biton after The Grimani Pen and brown ink, , 155 × 410 mm, vertical fold at Unknown Sold Paris, Piasa, 10 April 2008, no. 33. The Sarcophagus center [At lower right: 38; on verso: Pollodoro] sarcophagus was drawn by many artists including Maarten van Heemskerck; see Hülsen and Egger, Die römischen Skizzenbücher, 2: 23
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(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
25 Copy after Floris: Torso of a Draped Pen and brown ink with brown wash, copy Measures 202 Basel, Kunstmuseum, T25 This copy not part of the foliated drawings album, Statue (Demeter?), Torso of the × 301 mm Kupferstichkabinett, [U.IV.18] although on the same paper. The Venus Genetrix so-called Venus Genetrix with a Fruit is copied after a triangular base in the Medici Platter, Torso of a Female Statue Collection, now in the Uffizi. (Athena?) 26 Cybele from the Palazzo di Venezia Pen and brown ink with brown wash, 191 × 235 mm Bruges, Steinmetzkabinet, T26 Fig. 3.5 The statue is now outside the Casino of Pius IV, the and a Sarcophagus with Pentheus and [Inscribed by J. Steinmetz: Une feuille du livre de croquis [O.1778.II] sarcophagus at Hever Castle. the Maenads de Franc Flore donné par le Notaire Van de Steene - 8 Dec. 1834] 27 Studies after Giulio Romano and Pen and brown ink , 220 × 318 mm [In pen: Infl. Paris, École nationale supérieure des T27 Fig. 3.27/3.28 Recto: Triumph of Aemilius Paulus and Lycurgus Polidoro da Caravaggio Française d'après bas-relief de Rome; Polidore; FFLORES] Beaux-Arts, [M. 2171] Giving the Law to the Spartans after Roman frescos by Polidoro da Caravaggio, and a Castaway from Giulio Romano's fresco in the Camerino dei Falconi in the Appartamento di Troia in the Palazzo Ducale, Mantua; verso: Sacrifice of a Bull from the Sala dei Venti of the Palazzo del Tè and after lost Roman frescoes by Polidoro da Caravaggio Other Roman drawings 28 Moses Receiving the Law after the c. 1544 Pen and brown ink with brown wash, 255 × 220 mm Haarlem, Teylers Museum, Fig. 3.23 After the fresco in the ninth vault of the Vatican Fresco in the Loggia of Raphael [KT 2008 018] Loggia, or a drawing for it. Dacos attributes the painting itself to Perino del Vaga, based on a preparatory drawing by Raphael that survives; see Dacos, Le Logge di Raffaello, 186-87. Dacos elsewhere suggests Floris may have made his drawing after another drawing and not the fresco, although this seems unlikely; see Veldman, The Netherlandish Drawings..., 55, no. 38. 29 Rape of the Sabine Women after a c. 1544 Pen and brown ink with brown wash over black chalk, St. Petersburg, State Hermitage Fig. 3.26 For other drawings recording the fresco, see fresco by Polidoro da Caravaggio on 117 × 210 mm Museum, [OP 4220] Marabottini, Polidoro da Caravaggio, 1: 362-65, no. Palazzo Ricci F 13, II, fig. CXLI, no. 2 and CXLIII, no. 1; Ravelli, Polidoro da Caravaggio, 279-82, no. 445 and 321-22, nos. 546-49. 30 Cleobis and Biton after The Grimani Pen and brown ink, , 155 × 410 mm, vertical fold at Unknown Sold Paris, Piasa, 10 April 2008, no. 33. The Sarcophagus center [At lower right: 38; on verso: Pollodoro] sarcophagus was drawn by many artists including Maarten van Heemskerck; see Hülsen and Egger, Die römischen Skizzenbücher, 2: 23
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(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
31 Procession of Animals and Figures Pen and brown ink with bown wash, 141 × 203 mm Unknown Sold London, Phillip's, 3 December 1997, lot 9. with Baskets after Polidoro da Caravaggio's Façade on Plazzo Gaddi 32 Recto: Offering to an Emperor Seated Pen and brown ink, red-brown wash, 128 × 147 mm [In Loppem, Coll. Jean van Caloen Possibly after Polidoro da Caravaggio. The on a Throne / verso: The Calumny of pen Lombard; on verso: Lambertus Lombard fecit] composition on the recto is copied on the recto Apelles (or Apollo and Campaspe?) of a drawing in Paris, Musée du Louvre, inv. 6210. and Fragment of a Draped Statue See Kruyfhooft, Keuze uit de Vlaamse en Hollandse tekeningen, 6-7. 33 Recto: Five Caesars after Baldassare c. 1544 Pen and brown ink with brown wash, 173 × 319 mm [In Oxford , Christ Church College Fig. 3.31 Byam Shaw, Drawings … at Christ Church, no. 1322. Peruzzi / verso: Fragment of a Scene pen: CAES, AUG, -, VITEL, VESP] Picture Gallery, [1536] Copy sold Paris, Hôtel Marcel Dassault, 13 Nov. of Ancient Sacrifice 2008, no. 48, illus. (pen and brown ink with brown wash, 185 × 225 mm, inscribed on plinths beneath Ceasars: TIBE, CALIG, CLAUD.) 34 Rape of the Sabine Women Pen and brown ink with brown wash, 116 × 228 mm Oxford, Christ Church Picture Byam Shaw, Drawings … at Christ Church, no. 1321. Gallery, [O133] 35 Frieze on the West Side of the Arch of c. 1544 Pen and brown ink with gray wash over black chalk, 267 Paris, Musée du Louvre, [20.618] Fig. 3.24 Although rejected by Van de Velde, this drawing has Constantine × 391 mm [At upper left: francis (cus?) floris] long been given to Floris. Figures from it may be seen in his early oeuvre. 36 Design for a Decorative Frieze Pen and brown ink over black chalk, 149 × 393 mm [In Basel, Kunstmuseum, T28 Despite the inscription the subject is probably not the middle in brown: putallia Antica] Kupferstichkabinett, [U.IV.6] antique but rather a pastiche. 37 Design for a plate Pen and brown ink with blue and brown washes, 176 × Paris, Musée du Louvre, [20.622] T29 The attribution is uncertain. 176 mm [In the middle: Frans. Floris] Set of drawings after the Antique 38 Recto: Mucius Scaevola Crossing the c. 1545 Pen and brown ink with brown wash, 138 × 204 mm Paris, Musée du Louvre, [6250] Fig. 3.32 Recto after Polidoro da Caravaggio's fresco on the Tiber / verso: Scene from Roman façade of Palazzo Ricci; verso after Polidoro da History Caravaggio (?); Starcky, Inventaire général, no. 78 39 Recto: Scene of Sacrifice all'antica / Pen and brown ink with brown-gray wash, 152 × 188 mm Paris, Musée du Louvre, [6201] The scene of sacrifice reappears on a drawing in the verso: Faustulus and the Capitoline van Caloen collection (cat. D.32) ; Starcky, Inventaire Wolf with Romulus and Remus général, no. 79. 40 Recto: Copy of an ancient Bas-relief of Pen and brown ink with gray wash, 147 × 207 mm Paris, Musée du Louvre, [6202] Recto: after a Roman sarcophagus in the Grimani Cleobis and Biton / verso: Copy after collection / verso: after a fresco by Polidoro da Polidoro da Caravaggio Caravaggio on Palazzo Gaddi; Starcky, Inventaire général, no. 80 41 Recto: Antique Frieze on Two Pen and brown ink with brown-gray wash, 162 × Paris, Musée du Louvre, [35780] After frescoes by Polidoro da Caravaggio, although Registers / verso: Trophies, Columns, 218 mm the columns appear to be those of Constantine in St and Figures Peter's; Starcky, Inventaire général, no. 81.
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(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
31 Procession of Animals and Figures Pen and brown ink with bown wash, 141 × 203 mm Unknown Sold London, Phillip's, 3 December 1997, lot 9. with Baskets after Polidoro da Caravaggio's Façade on Plazzo Gaddi 32 Recto: Offering to an Emperor Seated Pen and brown ink, red-brown wash, 128 × 147 mm [In Loppem, Coll. Jean van Caloen Possibly after Polidoro da Caravaggio. The on a Throne / verso: The Calumny of pen Lombard; on verso: Lambertus Lombard fecit] composition on the recto is copied on the recto Apelles (or Apollo and Campaspe?) of a drawing in Paris, Musée du Louvre, inv. 6210. and Fragment of a Draped Statue See Kruyfhooft, Keuze uit de Vlaamse en Hollandse tekeningen, 6-7. 33 Recto: Five Caesars after Baldassare c. 1544 Pen and brown ink with brown wash, 173 × 319 mm [In Oxford , Christ Church College Fig. 3.31 Byam Shaw, Drawings … at Christ Church, no. 1322. Peruzzi / verso: Fragment of a Scene pen: CAES, AUG, -, VITEL, VESP] Picture Gallery, [1536] Copy sold Paris, Hôtel Marcel Dassault, 13 Nov. of Ancient Sacrifice 2008, no. 48, illus. (pen and brown ink with brown wash, 185 × 225 mm, inscribed on plinths beneath Ceasars: TIBE, CALIG, CLAUD.) 34 Rape of the Sabine Women Pen and brown ink with brown wash, 116 × 228 mm Oxford, Christ Church Picture Byam Shaw, Drawings … at Christ Church, no. 1321. Gallery, [O133] 35 Frieze on the West Side of the Arch of c. 1544 Pen and brown ink with gray wash over black chalk, 267 Paris, Musée du Louvre, [20.618] Fig. 3.24 Although rejected by Van de Velde, this drawing has Constantine × 391 mm [At upper left: francis (cus?) floris] long been given to Floris. Figures from it may be seen in his early oeuvre. 36 Design for a Decorative Frieze Pen and brown ink over black chalk, 149 × 393 mm [In Basel, Kunstmuseum, T28 Despite the inscription the subject is probably not the middle in brown: putallia Antica] Kupferstichkabinett, [U.IV.6] antique but rather a pastiche. 37 Design for a plate Pen and brown ink with blue and brown washes, 176 × Paris, Musée du Louvre, [20.622] T29 The attribution is uncertain. 176 mm [In the middle: Frans. Floris] Set of drawings after the Antique 38 Recto: Mucius Scaevola Crossing the c. 1545 Pen and brown ink with brown wash, 138 × 204 mm Paris, Musée du Louvre, [6250] Fig. 3.32 Recto after Polidoro da Caravaggio's fresco on the Tiber / verso: Scene from Roman façade of Palazzo Ricci; verso after Polidoro da History Caravaggio (?); Starcky, Inventaire général, no. 78 39 Recto: Scene of Sacrifice all'antica / Pen and brown ink with brown-gray wash, 152 × 188 mm Paris, Musée du Louvre, [6201] The scene of sacrifice reappears on a drawing in the verso: Faustulus and the Capitoline van Caloen collection (cat. D.32) ; Starcky, Inventaire Wolf with Romulus and Remus général, no. 79. 40 Recto: Copy of an ancient Bas-relief of Pen and brown ink with gray wash, 147 × 207 mm Paris, Musée du Louvre, [6202] Recto: after a Roman sarcophagus in the Grimani Cleobis and Biton / verso: Copy after collection / verso: after a fresco by Polidoro da Polidoro da Caravaggio Caravaggio on Palazzo Gaddi; Starcky, Inventaire général, no. 80 41 Recto: Antique Frieze on Two Pen and brown ink with brown-gray wash, 162 × Paris, Musée du Louvre, [35780] After frescoes by Polidoro da Caravaggio, although Registers / verso: Trophies, Columns, 218 mm the columns appear to be those of Constantine in St and Figures Peter's; Starcky, Inventaire général, no. 81.
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(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
42 Recto: Antique Foot / verso: Fragment Pen and brown ink with brown wash, 56 × 108 mm [Next Paris, Musée du Louvre, [11007] See Starcky, Inventaire général, no. 82. of an Antique Throne to foot: antica] 43 Recto: Satyr or Pan and Priapus / Pen and brown ink with gray wash, 61 × 10 mm Paris, Musée du Louvre, [10438] The same figure of Pan was studied by Lombard; verso: Statue on a Chariot Denhaene, Lambert Lombard, 69, fig. 78; See Starcky, Inventaire général, no. 83. 44 Recto: Antique frieze with the Hunt Pen and brown ink, 98 × 208 mm [At upper right: ant] Paris, Musée du Louvre, [10492] The Meleager Sarcophagus is now at Woburn of Meleager / verso: ceremony around Abbey, Bober and Rubenstein, Renaissance Artists, bust of Dianne of Ephasus no. 113; the mythological scene is after Polidoro da Caravaggio's façade on Casa Gaddi; see Starcky, Inventaire général, no. 84. 45 Recto: Study After Polidoro da c. 1545 Pen and brown ink with gray and brown wash, 163 × 206 Paris, Musée du Louvre, [10517] Fig. 3.35, The Scene of Sacrifice and the Victory are based on Caravaggio (Scene of Sacrifice and mm 3.36 Polidoro da Caravaggio's façade on Villa Gaddi; the Study of a Statue) / verso: Study after statue with a foot on a pedistal was also copied by Polidoro da Caravaggio’s Facade on Lombard and forms part of the same group as the Palazzo Gaddi figure of Pan; Denhaene, Lambert Lombard, 69, fig. 78, The verso, showing Victory and a Soldier’s foot, is copied in a drawing in the lost Album Dansaert; see Van de Velde, “Frans Floris en de italiaanse schilderkunst,” 158-59, fig. 7; see Starcky, Inventaire général, no. 85. 46 The History of Niobe after Polidoro da Pen and brown ink with brown wash, 210 × 350 mm Unknown Sold Paris, Drouot Richelieu, 12 March 1999, lot 38. Caravaggio's fresco on Palazzo Milesi 47 Martyrdom of Saint John the c. 1547 Pen and brown ink with red-brown wash, 233 × 305 mm Brussels, Musées royaux des Beaux- T30 Fig. 5.21 Possibly part of a series with the Martyrdom of Saint Evangelist [Signed in pen at lower left: FF; inscribed: mo francisco Arts, collection de Grez, [3940] John The Baptist floris d'Anversa] 48 Martyrdom of Saint John the Baptist c. 1547 Pen and brown ink with gray wash, 237 × 259 mm Dresden, Kupferstichkabinett, T33 Fig. 5.22 Possibly part of a series with the Martyrdom of Saint [Signed at lower right: Ffloris] [C 842] John the Evangelist 49 The Procession of Haman Pen and brown ink, St. Petersburg, Hermitage, [OP 8080] Copied in a drawing in Göttingen, Kunstsammlung der Universität, inv. no. H 282; see Renger, “Review.” 50 Shooting at Father's Corpse c. 1558 Black chalk, 311 × 415 mm, reduced and reattached at Munich, Graphische Sammlung, Fig. 5.32 Print by Balthasar Bos (cat. H.15). Van de Velde, center. [At bottom center: FF INV] [990] Frans Floris, 1: 390, rejected the drawing. 51 The Blessing of Jacob c. 1552 Pen and brown ink with blue wash on prepared paper, Dresden, Kupferstichkabinett, T34 Fig. 5.23 Copied in a painting, oil on panel, 25.2 × 41.0 cm, 185 × 280 mm [At lower right: Franc Floris] [C 845] sold Hildrizhausen, Siglas Auctioneers, 3 February 2009, lot 314; sold, Vienna, Dorotheum, 6 October 2009, lot 157. The door with Esau is replaced by a landscape.
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(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
42 Recto: Antique Foot / verso: Fragment Pen and brown ink with brown wash, 56 × 108 mm [Next Paris, Musée du Louvre, [11007] See Starcky, Inventaire général, no. 82. of an Antique Throne to foot: antica] 43 Recto: Satyr or Pan and Priapus / Pen and brown ink with gray wash, 61 × 10 mm Paris, Musée du Louvre, [10438] The same figure of Pan was studied by Lombard; verso: Statue on a Chariot Denhaene, Lambert Lombard, 69, fig. 78; See Starcky, Inventaire général, no. 83. 44 Recto: Antique frieze with the Hunt Pen and brown ink, 98 × 208 mm [At upper right: ant] Paris, Musée du Louvre, [10492] The Meleager Sarcophagus is now at Woburn of Meleager / verso: ceremony around Abbey, Bober and Rubenstein, Renaissance Artists, bust of Dianne of Ephasus no. 113; the mythological scene is after Polidoro da Caravaggio's façade on Casa Gaddi; see Starcky, Inventaire général, no. 84. 45 Recto: Study After Polidoro da c. 1545 Pen and brown ink with gray and brown wash, 163 × 206 Paris, Musée du Louvre, [10517] Fig. 3.35, The Scene of Sacrifice and the Victory are based on Caravaggio (Scene of Sacrifice and mm 3.36 Polidoro da Caravaggio's façade on Villa Gaddi; the Study of a Statue) / verso: Study after statue with a foot on a pedistal was also copied by Polidoro da Caravaggio’s Facade on Lombard and forms part of the same group as the Palazzo Gaddi figure of Pan; Denhaene, Lambert Lombard, 69, fig. 78, The verso, showing Victory and a Soldier’s foot, is copied in a drawing in the lost Album Dansaert; see Van de Velde, “Frans Floris en de italiaanse schilderkunst,” 158-59, fig. 7; see Starcky, Inventaire général, no. 85. 46 The History of Niobe after Polidoro da Pen and brown ink with brown wash, 210 × 350 mm Unknown Sold Paris, Drouot Richelieu, 12 March 1999, lot 38. Caravaggio's fresco on Palazzo Milesi 47 Martyrdom of Saint John the c. 1547 Pen and brown ink with red-brown wash, 233 × 305 mm Brussels, Musées royaux des Beaux- T30 Fig. 5.21 Possibly part of a series with the Martyrdom of Saint Evangelist [Signed in pen at lower left: FF; inscribed: mo francisco Arts, collection de Grez, [3940] John The Baptist floris d'Anversa] 48 Martyrdom of Saint John the Baptist c. 1547 Pen and brown ink with gray wash, 237 × 259 mm Dresden, Kupferstichkabinett, T33 Fig. 5.22 Possibly part of a series with the Martyrdom of Saint [Signed at lower right: Ffloris] [C 842] John the Evangelist 49 The Procession of Haman Pen and brown ink, St. Petersburg, Hermitage, [OP 8080] Copied in a drawing in Göttingen, Kunstsammlung der Universität, inv. no. H 282; see Renger, “Review.” 50 Shooting at Father's Corpse c. 1558 Black chalk, 311 × 415 mm, reduced and reattached at Munich, Graphische Sammlung, Fig. 5.32 Print by Balthasar Bos (cat. H.15). Van de Velde, center. [At bottom center: FF INV] [990] Frans Floris, 1: 390, rejected the drawing. 51 The Blessing of Jacob c. 1552 Pen and brown ink with blue wash on prepared paper, Dresden, Kupferstichkabinett, T34 Fig. 5.23 Copied in a painting, oil on panel, 25.2 × 41.0 cm, 185 × 280 mm [At lower right: Franc Floris] [C 845] sold Hildrizhausen, Siglas Auctioneers, 3 February 2009, lot 314; sold, Vienna, Dorotheum, 6 October 2009, lot 157. The door with Esau is replaced by a landscape.
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(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
52 Suffer the Little Children to Come Pen and brown ink over red chalk with brown wash, 120 Brussels, Bibliothèque royale de T35 The attribution is uncertain. Unto Me × 209 mm [In black chalk: frans floris] Belgique, Cabinet des Estampes, [F 18230] 53 Crucifixion 1553 Pen and brown ink with brown wash; squared for Prague, Národní Galerie, [K 31816] T36 Fig. 5.25 Prepared as a modello for Floris's altarpiece for the transfer, 463 × 341 mm [At lower right in pen: Fre Floris Nieuwe Kerk in Delft (cat. P.67-69). and a-R-]
Series: The Story of Phaeton c. 1555
54 Phaeton Receiving the Chariot from Pen and brush with brown ink, brown wash, and white Brussels, Bibliothèque royale de T37 Fig. 5.38 his Father Apollo (The Departure of heightening, 190 × 312 mm Belgique, Cabinet des Estampes, Phaeton) [F 3094] 55 The Fall of Phaeton Pen and brown ink over red chalk with blue wash, 206 × Dresden, Kupferstichkabinett, T38 Fig. 5.36 306 mm [Inscribed at lower right: Jean Cousin and FF F] [C 587] 56 The Fall of Phaeton Pen and brown ink with brown wash, 236 × 222 mm Paris, Musée du Louvre, [21.075] Fig. 5.35 The relationship to Michaelangelo’s drawing of the subject is discussed in the text. 57 The Fall of Phaeton Pen and brush with brown ink over black chalk, 130 × Bowdoin, Bowdoin College Art Fig. 5.37 Becker, Old Master Drawings, 11, no. 4, suggests this 108 mm, oval Museum , [1811.108] may have been for a ceiling. 58 The Fall of Phaeton Pen and brown ink with blue wash and white Unknown Sold Long Island, Copake Auctioneers. Unrecorded heightening, Unknown since. I am grateful to Monroe Warshaw for this information. 59 Number not used. Series: Design for a plate with Scenes 1552 (?) Recorded in the sale of Charles Rogers (L. 624) as from the Aeneid one of "nine histories, divided by Termini." 60 The Rape of Helen Pen and brown ink with brown wash, 80 × 150 mm, Unknown Ex coll. E. Schapiro, London; sold, Amsterdam, curved [Herms inscribed with the number 2. With the Sotheby's, 11 November 1997, lot 113. Scenes from mark of Charles Rogers, and, in red chalk, 6.] the Aeneid, bordered by herms. 61 Mercury Ascending With Phaeton and Pen and brown ink with brown wash, 80 × 230 mm, Pittsburgh, Carnegie Museum of Art, Scenes from the Aeneid. Separated by a herm with Phaeton Falling / Aeneas Departing curved [Herm inscribed with the date 15-2.] Gift of Herbert DuPuy, [23.12.21] the date 15X2. See Meijer, "Frans Floris." 62 Battle Scene / Battle Scene with Pen and brown ink with brown wash, 180 × 230 mm, Italy, Private coll. Scenes from the Aeneid. The numbering on the Jupiter Arising from his Eagle curved [Herms inscriped with the numbers 8, 9, and 1.] sheet confirms that it is the last in the cycle of nine.
63 Christ Driving the Money Changers Pen and brown ink with brown wash over traces of red New York, Metropolitan Museum of The attribution is tentative. No Floris painting of the from the Temple and black chalk, with touches of red ink, 157 × 199 cm Art, [50.605.4] subject is known.
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(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
52 Suffer the Little Children to Come Pen and brown ink over red chalk with brown wash, 120 Brussels, Bibliothèque royale de T35 The attribution is uncertain. Unto Me × 209 mm [In black chalk: frans floris] Belgique, Cabinet des Estampes, [F 18230] 53 Crucifixion 1553 Pen and brown ink with brown wash; squared for Prague, Národní Galerie, [K 31816] T36 Fig. 5.25 Prepared as a modello for Floris's altarpiece for the transfer, 463 × 341 mm [At lower right in pen: Fre Floris Nieuwe Kerk in Delft (cat. P.67-69). and a-R-]
Series: The Story of Phaeton c. 1555
54 Phaeton Receiving the Chariot from Pen and brush with brown ink, brown wash, and white Brussels, Bibliothèque royale de T37 Fig. 5.38 his Father Apollo (The Departure of heightening, 190 × 312 mm Belgique, Cabinet des Estampes, Phaeton) [F 3094] 55 The Fall of Phaeton Pen and brown ink over red chalk with blue wash, 206 × Dresden, Kupferstichkabinett, T38 Fig. 5.36 306 mm [Inscribed at lower right: Jean Cousin and FF F] [C 587] 56 The Fall of Phaeton Pen and brown ink with brown wash, 236 × 222 mm Paris, Musée du Louvre, [21.075] Fig. 5.35 The relationship to Michaelangelo’s drawing of the subject is discussed in the text. 57 The Fall of Phaeton Pen and brush with brown ink over black chalk, 130 × Bowdoin, Bowdoin College Art Fig. 5.37 Becker, Old Master Drawings, 11, no. 4, suggests this 108 mm, oval Museum , [1811.108] may have been for a ceiling. 58 The Fall of Phaeton Pen and brown ink with blue wash and white Unknown Sold Long Island, Copake Auctioneers. Unrecorded heightening, Unknown since. I am grateful to Monroe Warshaw for this information. 59 Number not used. Series: Design for a plate with Scenes 1552 (?) Recorded in the sale of Charles Rogers (L. 624) as from the Aeneid one of "nine histories, divided by Termini." 60 The Rape of Helen Pen and brown ink with brown wash, 80 × 150 mm, Unknown Ex coll. E. Schapiro, London; sold, Amsterdam, curved [Herms inscribed with the number 2. With the Sotheby's, 11 November 1997, lot 113. Scenes from mark of Charles Rogers, and, in red chalk, 6.] the Aeneid, bordered by herms. 61 Mercury Ascending With Phaeton and Pen and brown ink with brown wash, 80 × 230 mm, Pittsburgh, Carnegie Museum of Art, Scenes from the Aeneid. Separated by a herm with Phaeton Falling / Aeneas Departing curved [Herm inscribed with the date 15-2.] Gift of Herbert DuPuy, [23.12.21] the date 15X2. See Meijer, "Frans Floris." 62 Battle Scene / Battle Scene with Pen and brown ink with brown wash, 180 × 230 mm, Italy, Private coll. Scenes from the Aeneid. The numbering on the Jupiter Arising from his Eagle curved [Herms inscriped with the numbers 8, 9, and 1.] sheet confirms that it is the last in the cycle of nine.
63 Christ Driving the Money Changers Pen and brown ink with brown wash over traces of red New York, Metropolitan Museum of The attribution is tentative. No Floris painting of the from the Temple and black chalk, with touches of red ink, 157 × 199 cm Art, [50.605.4] subject is known.
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(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
64 Saint Luke Painting the Virgin c. 1556 Pen and brown ink with brown wash over black chalk, Göttingen, Kunstsammlung der T41 Fig. 5.13 191 × 232 mm Georg-August-Universität, [H 254]
Series: The History of Joseph Possibly for an unexecuted cycle of prints. 65 Joseph and his Brothers c. 1555 Pen and brown ink, brush and blue wash with white Munich, Staatlische Graphische T42 Fig. 5.27 heightening over gray-brown prepared paper., 293 × 280 Sammlung, [7008] mm [At lower edge: FF IV] 66 Joseph in Prison c. 1555 Pen and brown ink, brush and blue wash with white Brussels, Musées royaux des Beaux- T43 Fig. 5.28 heightening over blue-green prepared paper, with Arts, collection de Grez, [3699] subsequent drawing in pen and ink by another hand, 272 × 277 cm [At lower edge: FF IV] 67 Hercules Strangling the Serpents c. 1553 Brush and brown wash over pen and black ink with white Milan, Biblioteca Ambrosiana, [407] Fig. 10.4 From the collection of Padre Sebastiano Resta, F heightening on blue paper, 174 × 331 cm 261, inv. N. 68, p. 66. 68 Awakening of the Arts 1559 Pen and brown ink with brown wash, 239 × 324 mm Stockholm, Nationalmusem, T44 Fig. 5.24 Preparatory to the painting for Niclaes Jonghelinck [1789/1863] (cat. P.139). Folded in middle and parallel to the top, 30 mm added at right. 69 Lot and his Daughters c. 1560 Pen and brown ink with brown wash and white Vienna, Albertina, [7860] T45 Fig. 7.30 Print by Balthasar Bos (cat. H.15). heightening, 185 × 282 mm 70 Touch c. 1561 Pen and brown ink with brown wash and white Budapest, Szépmüvészeti Múzeum, T46 Fig. 10.39 Print by Cornelis Cort (cat. H.117). heigtening on blue paper; incised , 204 × 268 mm [1333] 71 Shooting at Father's Corpse c. 1560 Pen and brown ink with brown wash over black chalk, Berlin, Kupferstichkabinett der T47 Fig. 5.34 Print by Balthasar Bos (cat. H.160). 285 × 415 mm [In the hand of Matthäus Merian the Staatlichen Museen, [13204] Younger (1621–87): Franco Floris and in the same hand Francesco Floris] 72 Visiting the Sick (?) Pen and brown ink with brown wash over black chalk, Cologne, Wallraf-Richartz Museum, T48 This may be an episode from the life of a saint. 188 × 255 mm [1936/38] 73 Mucius Scaevola Before Porsenna c. 1560 Red chalk, 442 × 556 mm Vienna, Albertina, [15.121] T50 Fig. 5.31 Print by Philips Galle (cat. H.159). 74 Diana and her Nymphs Surprised by c. 1565 Pen and brush with brown with white heightening on Oxford, Christ Church Picture T51 Fig. 10.24 Related to the painting by Floris (cat. P.191) and the Actaeon parchment on panel, 415 × 585 mm Gallery, [JBS 238] print by François Menton (cat. H.65). 75 Bacchus and Ariadne c. 1565 Pen and brown ink on blue paper with brown wash, 280 London, Courtauld Institute of Art, Fig. 10.5 Squared for transfer. No Floris painting or print of × 150 mm [At upper left: F Floris] [D.1952.RW.3912] the subject is known. 76 Venus and Cupid Red chalk (?), 226 × 170 mm (?) [At top: F Floris] Unknown Depicted in an album of drawings in the so-called Art Gallery of Frans Francken the Younger (fig. 10.1).
Edward H. Wouk - 9789004343252 Downloaded from Brill.com09/24/2021 04:36:47AM via free access Checklist of Drawings 643
(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
64 Saint Luke Painting the Virgin c. 1556 Pen and brown ink with brown wash over black chalk, Göttingen, Kunstsammlung der T41 Fig. 5.13 191 × 232 mm Georg-August-Universität, [H 254]
Series: The History of Joseph Possibly for an unexecuted cycle of prints. 65 Joseph and his Brothers c. 1555 Pen and brown ink, brush and blue wash with white Munich, Staatlische Graphische T42 Fig. 5.27 heightening over gray-brown prepared paper., 293 × 280 Sammlung, [7008] mm [At lower edge: FF IV] 66 Joseph in Prison c. 1555 Pen and brown ink, brush and blue wash with white Brussels, Musées royaux des Beaux- T43 Fig. 5.28 heightening over blue-green prepared paper, with Arts, collection de Grez, [3699] subsequent drawing in pen and ink by another hand, 272 × 277 cm [At lower edge: FF IV] 67 Hercules Strangling the Serpents c. 1553 Brush and brown wash over pen and black ink with white Milan, Biblioteca Ambrosiana, [407] Fig. 10.4 From the collection of Padre Sebastiano Resta, F heightening on blue paper, 174 × 331 cm 261, inv. N. 68, p. 66. 68 Awakening of the Arts 1559 Pen and brown ink with brown wash, 239 × 324 mm Stockholm, Nationalmusem, T44 Fig. 5.24 Preparatory to the painting for Niclaes Jonghelinck [1789/1863] (cat. P.139). Folded in middle and parallel to the top, 30 mm added at right. 69 Lot and his Daughters c. 1560 Pen and brown ink with brown wash and white Vienna, Albertina, [7860] T45 Fig. 7.30 Print by Balthasar Bos (cat. H.15). heightening, 185 × 282 mm 70 Touch c. 1561 Pen and brown ink with brown wash and white Budapest, Szépmüvészeti Múzeum, T46 Fig. 10.39 Print by Cornelis Cort (cat. H.117). heigtening on blue paper; incised , 204 × 268 mm [1333] 71 Shooting at Father's Corpse c. 1560 Pen and brown ink with brown wash over black chalk, Berlin, Kupferstichkabinett der T47 Fig. 5.34 Print by Balthasar Bos (cat. H.160). 285 × 415 mm [In the hand of Matthäus Merian the Staatlichen Museen, [13204] Younger (1621–87): Franco Floris and in the same hand Francesco Floris] 72 Visiting the Sick (?) Pen and brown ink with brown wash over black chalk, Cologne, Wallraf-Richartz Museum, T48 This may be an episode from the life of a saint. 188 × 255 mm [1936/38] 73 Mucius Scaevola Before Porsenna c. 1560 Red chalk, 442 × 556 mm Vienna, Albertina, [15.121] T50 Fig. 5.31 Print by Philips Galle (cat. H.159). 74 Diana and her Nymphs Surprised by c. 1565 Pen and brush with brown with white heightening on Oxford, Christ Church Picture T51 Fig. 10.24 Related to the painting by Floris (cat. P.191) and the Actaeon parchment on panel, 415 × 585 mm Gallery, [JBS 238] print by François Menton (cat. H.65). 75 Bacchus and Ariadne c. 1565 Pen and brown ink on blue paper with brown wash, 280 London, Courtauld Institute of Art, Fig. 10.5 Squared for transfer. No Floris painting or print of × 150 mm [At upper left: F Floris] [D.1952.RW.3912] the subject is known. 76 Venus and Cupid Red chalk (?), 226 × 170 mm (?) [At top: F Floris] Unknown Depicted in an album of drawings in the so-called Art Gallery of Frans Francken the Younger (fig. 10.1).
Edward H. Wouk - 9789004343252 Downloaded from Brill.com09/24/2021 04:36:47AM via free access 644 Checklist of Drawings
(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
77 The Abduction of Proserpina c. 1564 Pen and brown ink with blue wash and white heightening London, British Museum, T52 Fig. 5.26 Possibly an earlier concept for the print by Cornelis on gray-brown paper, 284 × 195 mm Department of Drawings and Prints, Cort (cat. P.80). [1922.0627.1] 78 The Metamorphosis of Cyane 1565 Pen and brown ink with blue wash and white Liverpool, Walker Art Gallery, Fig. 10.50 Related to the print by Cornelis Cort (cat. H.81). heightening, varnished, 278 × 190 mm [WAG-1995.283] 79 Recto: Envy / verso: Suicide of c. 1565 Recto: pen and brush in brown with white heightening Paris, Musée du Louvre, [20626] T53 Fig. 5.29 / Related to the print by Frans Menton (cat. H.60). Lucretia on prepared blue paper / verso: black chalk, 225 × 160 5.30 mm 80 Head of a Woman c. 1560 Oil on paper, 172 × 153 mm Dresden, Kupferstichkabinett, Fig. 6.18 The drawing has been cut down. The head appears [1967-52 ] in The Judgment of Paris (cat. P.138). It is possible that it was made after a Floris head study or larger painting. Another head study on paper affixed to canvas support is listed under paintings (cat. P.188). 81 Holy Kinship c. 1560 Pen, black ink, black wash, white heightening on brown New York, Morgan Library, [III,190] Fig. 7.39 Probably dates to the early 1560s. prepared paper , 252 × 317 mm
Attributed
A1 The Libyan Sibyl Pen and brown ink with brown wash, 225 × 150 mm Unknown The drawing may be based on a lost original by Floris after Michelangelo's Sistine Ceiling. A2 Justice Pen and brown ink, brown wash, and white heightening Cambridge, Fogg Art Museum, Presumably for a series of Virtues. on brown paper, 282 × 156 mm At upper right: 6 Harvard University, [1994.142] A3 Charity Pen and brown ink, brown wash, and white heightening Brussels, Musées royaux des Beaux- Presumably for a series of Virtues. Sold Amsterdam, on brown paper, approx. 282 × 156 mm Arts de Belgique Sotheby Mak van Waay, 2 November 1987, lot 13. A4 Faith Pen and brown ink, brown wash, and white heightening Unknown Presumably for a series of Virtues. Ex coll. A. on brown paper, approx. 282 × 156 mm Châtelet.
For a list of drawings accepted by Van de Velde in his 1975 monograph but rejected in the current study, see Chapter Five, note 166.
Edward H. Wouk - 9789004343252 Downloaded from Brill.com09/24/2021 04:36:47AM via free access Checklist of Drawings 645
(cont.)
Number Title Date Medium and support, dimension, inscription City, repository, inventory number Van de velde Illustration Comment number
77 The Abduction of Proserpina c. 1564 Pen and brown ink with blue wash and white heightening London, British Museum, T52 Fig. 5.26 Possibly an earlier concept for the print by Cornelis on gray-brown paper, 284 × 195 mm Department of Drawings and Prints, Cort (cat. P.80). [1922.0627.1] 78 The Metamorphosis of Cyane 1565 Pen and brown ink with blue wash and white Liverpool, Walker Art Gallery, Fig. 10.50 Related to the print by Cornelis Cort (cat. H.81). heightening, varnished, 278 × 190 mm [WAG-1995.283] 79 Recto: Envy / verso: Suicide of c. 1565 Recto: pen and brush in brown with white heightening Paris, Musée du Louvre, [20626] T53 Fig. 5.29 / Related to the print by Frans Menton (cat. H.60). Lucretia on prepared blue paper / verso: black chalk, 225 × 160 5.30 mm 80 Head of a Woman c. 1560 Oil on paper, 172 × 153 mm Dresden, Kupferstichkabinett, Fig. 6.18 The drawing has been cut down. The head appears [1967-52 ] in The Judgment of Paris (cat. P.138). It is possible that it was made after a Floris head study or larger painting. Another head study on paper affixed to canvas support is listed under paintings (cat. P.188). 81 Holy Kinship c. 1560 Pen, black ink, black wash, white heightening on brown New York, Morgan Library, [III,190] Fig. 7.39 Probably dates to the early 1560s. prepared paper , 252 × 317 mm
Attributed
A1 The Libyan Sibyl Pen and brown ink with brown wash, 225 × 150 mm Unknown The drawing may be based on a lost original by Floris after Michelangelo's Sistine Ceiling. A2 Justice Pen and brown ink, brown wash, and white heightening Cambridge, Fogg Art Museum, Presumably for a series of Virtues. on brown paper, 282 × 156 mm At upper right: 6 Harvard University, [1994.142] A3 Charity Pen and brown ink, brown wash, and white heightening Brussels, Musées royaux des Beaux- Presumably for a series of Virtues. Sold Amsterdam, on brown paper, approx. 282 × 156 mm Arts de Belgique Sotheby Mak van Waay, 2 November 1987, lot 13. A4 Faith Pen and brown ink, brown wash, and white heightening Unknown Presumably for a series of Virtues. Ex coll. A. on brown paper, approx. 282 × 156 mm Châtelet.
Edward H. Wouk - 9789004343252 Downloaded from Brill.com09/24/2021 04:36:47AM via free access