INNOCENZO DA IMOLA
18 Studies of an Angel and
of Drapery
Black chalk, brown wash, and white gouache height-
ening on brown tinted paper, corners removed; H: 25.7
cm (ioVs in.); W: 19.5 cm (7IJ/i6 in.)
85.00.28 9
MARKS AND INSCRIPTIONS: At bottom right, collec-
tion mark of Richard Cosway (L. 628).
PROVENANCE: Jonathan Richardson, Sr., London; Rich-
ard Cosway, London; E. A. Wrangham collection, Lon-
don(sale, Sotheby's, London, July i, 1965 , lot 9); art mar-
ket, Zurich.
EXHIBITIONS: Exhibition of Old Master and English Draw-
ings, P. D. Colnaghi and Co. Ltd., London, June 1970,
no. 8.
BIBLIOGRAPHY: P. Pouncey, "Drawings by Innocenzo
da Imola," Master Drawings 7, no. 3 (1969), p. 290, no.
5; M. Cazort and C. Johnston, Bolognese Drawings in
North American Collections 1500-1800, exh. cat., National
Gallery of Canada, Ottawa, 1982, p. 45, under no. 5.As WAS FIRST PROPOSED BY POUNCEY (1969, P. 290),
this drawing is related to the angel in the upper section of
Innocenzo's altarpiece of the Annunciation in the church
of Santa Maria dei Servi, Bologna. The altarpiece,
painted for Adalberto Bolognetti, reflects Innocenzo s
rather vapid recollections of Raphael and Fra Bartolom-
meo. There are three studies by Innocenzo for this altar-
piece. A study for the Virgin is in the Museo Home, Flor-
ence (inv. 5913; Pouncey 1969, p. 289), and two for God
the Father are in the Fogg Art Museum, Harvard Uni-
versity, Cambridge (inv. 1932.380, 1958.285; Cazort and
Johnston 1982, nos. 4, 5). The Getty Museum's drawing
indicates Innocenzo's careful analysis of drapery, espe-
cially the effects of light and shadow. In principle the
sheet looks back to the famous chiaroscuro drapery stud-
ies of Leonardo and forward to those of Gatti. It appears
quite clear that Innocenzo first made the full figure and
then reconsidered the drapery at the lower right.^1i. The odd placement of the collection mark of Richard Cos-
way at the lower right indicates that the corners were cut off
before his time.56 ITALIAN SCHOOL • INNOCENZO DA IMOLA