Catalogue-2014-Jean-Luc-Baroni

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Collection, vol I, Paris, 1983, cat.17 and vol. II, pl.17. And for Fra Bartolommeo’s painted portrait of Savanarola, circa 1498, see the
Museo di San Marco, Florence. www.wga.hu/html/b/bartolom/fra/savonaro.htm
See Chris Fischer, Fra Bartolommeo Master Draughtsman of the High Renaissance, A Selection from the Rotterdam Albums and
Landscape Drawings from various collections, Rotterdam 1990, p.9.
See Jean-Luc Baroni Ltd., Master Drawings, London 2011, cat.1.
See Chris Fischer, op. cit., cat. 64.
See Chris Fischer, op. cit., cats. 88 and 89.
See Chris Fischer, op. cit., cat.78.
See Chris Fischer, op. cit. cats. 40,42. 43.
See Giorgio Vasari, Lives of the Painters, Sculptors and Architects, translated by Gaston de Vere, Everyman Library, 1996, pp.674 and 716.
See Carol Plazzotta and Hugo Chapman, in Raphael from Urbino to Rome, London 2004, pp.231 and 240 and 242. And for a
demonstration of the close artistic links between Leonardo, Fra Bartolommeo and Raphael, see the Frate’s studies for the St. George
and the Dragon (Chris Fischer, op. cit., cats. 45-48), for which he took inspiration from Leonardo’s Adoration of the Magi and other
studies of horseman as indeed did Raphael for his own version of St. George which is now in the National Gallery of Washington.
It has not been possible to trace the earlier provenance but from Passavant’s reports we know that Lawrence bought the drawing
from the Woodburns “aus den Sammlungen Woodburn, Lawrence” (in other cases, he gives pre-Lawrence provenances such as
Logoy, Dimsdale, Wicar, or Ottley).
No. 30 Italian School, 16 Th Century
Inv.1860-6-16-111, pen and brown ink on paper, 278 x412mm.
Inv.12815, pen and brown ink on paper, 292 x 423mm., inscribed: Manca u corda di gobba.
See exhibition catalogue, Pisanello, Le Peintre aux sept vertus, Paris, Musée du Louvre 1996, cat.218.
While a horse seen from the back in the same fresco has also been said to be taken from a drawing by Pisanello there are some
differences in the pose and therefore the source may not in fact be that.
Other camels appear in Pinturicchio’s work, such as the pair in the background of one of the Sistine Chapel frescoes illustrating the Journey
of Moses. In contrast, those are distinctly inaccurate as zoological examples having straight foreheads, pointed noses and deer-like ears.
See Caroline Campbell and Alan Chong, Bellini and the East, London and Boston 2005, cat.23 and cats.24-30.
See exhibition catalogue, loc. cit., cat.2.
In another case of borrowing, Durer took three figures from the oriental section of the Procession in a drawing now in the British
Museum dated 1514 (see Julian Raby, Picturing the Levant, 1991, p.79).
Email correspondence dated 7 th December 2012, “Our expert has offered the following information “The penis of a camel is
covered by a triangular sheath, from which it emerges. This could be an enlarged sheath depicted here (or it may not) and it may in
fact be the reason the camel was thought notable for illustration. There are several changes that happen to male camels during the
rut, though I am not saying that an enlargement of the sheath is one of them. That’s as much as I can offer I’m afraid. It may be worth
the enquirer contacting a zoo or even going as far as making enquiries of camel dealers in those countries where they are traded.”
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No. 31 Aurelio Luini
See sale, New York, Sotheby’s, 23 th January 2008, lot 3 and a Standing Figure of a Saint, in the Ambrosiana, inscribed: Aurelio
Luvino pi.re. (see G. Bora, Disegni de Manieristi Lombardi, Vicenza 1971, p.57, no.94, reproduced fig.94).
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No. 32 Alessandro Allori
See Simona Lecchini, Alessandro Allori, Turin 1991, fig.216, cat.97.
See A. Venturi, “Storia dell’Arte Italiana” vol.IX, “La Pittura del Cinquecento”, part IX, Milan 1933, p.111, fig.70.
See Simona Lecchini, op. cit., 1991, cat.152, figs. 357 and 356 respectively.
See Nicholas Turner, Florentine Drawings of the sixteenth century, London 1986, cat.155, illustrated p.207.
See Lecchini, op. cit., 1991, fig.140, fig. 254, fig.317, figs.284 and 281, figs. 346-350 and fig.381
See Lecchini, op. cit., cat.171, fig.402.
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No. 33 Jacob Matham
Inventaire des dessins et aquarelles donnés à l’état Belge par Madame la douairière de Grez, Brussels, 1913, no.2428; Brussels, Palais
des Beaux-Arts and Rome, Palazzo delle Esposizioni, Fiamminghi a Roma 1508-1608: Artistes de Pays-Bas et de la principauté
de Liège à Rome à la Renaissance, exhibition catalogue, 1995, pp.251-252, no.134. The drawing measures 195 x 150 mm., and
is signed and dated Matham F / Roma / 95.
Anonymous sale, Amsterdam, Sotheby Mak van Waay, 2 nd November 1987, lot 24; Anonymous sale, Amsterdam, Sotheby’s, 13 th
November 1991, lot 333; Léna Widerkehr, “Jacob Matham Goltzij Privignus: Jacob Matham graveur et ses rapports avec Hendrick
Goltzius”, Nederlands Kunsthistorisch Jaarboek, 1991-1992, p.245, fig.158, where dated c.1603.
Marijn Schapelhouman, Nederlandse tekeningen omstreeks 1600 / Netherlandish Drawings circa 1600, ‘s-Gravenhage, 1987,
pp.90-91, no.55, illustrated in colour p. xviii.
A useful summary of Matham’s activity in Italy is found in Léna Widerkehr, “Jacob Matham and the Diffusion of Recent Developments
in Roman Art in Northern Europe”, in Eiche, van der Sman and van Waadenoijen, eds., op.cit., pp.93-109.
See Literature, Röttgen, pp.41-42. In publishing the present sheet, Röttgen attributed it to Joseph Heintz the Elder (1564-1609), an
attribution that has since been rejected by Jürgen Zimmer.
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No. 34 Roelandt Savery
J. Spicer “The naer het leven Peasant Studies, by Pieter Bruegel or Roelandt Savery?”, Master Drawings, 1970, Vol. I, pp.3-30.
Hollstein, Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700, vol. XXIII, p.222, no.3.
Photo Witt Library.
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