P 1 : KsF
0521551331 c 01 b CUNY 160 /Joannides 052155 133 1 January 11 , 2007 6 : 36
CATALOGUES 23–24 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS 143letter to Michelangelo dated 27 April 1518. The door
appears to be of the New Sacristy phase. These con-
junctions would tend to support a date for Cat. 23 of
c.15 2 0.
The British Museum drawing is a good free copy, not
areplica, and is smaller than the original. It would be
tempting, in principle, to give it to Battista Franco, but
the compiler can find nothing sufficiently close to it in
his work to sustain such an attribution.History
Revil; William Young Ottley; Sir Thomas Lawrence (the
remains of a stamp at lower left?); Samuel Woodburn.References
Lawrence Inventory, 1830 ,M.A.Buonaroti Case 3 ,
Drawer 3 [ 1830 - 51 i] (“A female probably intended for
a witch with a boy, bold pen with a copy” [probably
copy 2 ].). Williams, 1831 , II, pp. 356 – 7 (“About the year
1810 ,Mr. Ottley had picked up an old drawing that had
belonged to Sir Joshua Reynolds, who had written under
it the name of Donatello, in indication of his attributing
it to the pencil of that artist....Mr. Ottley, however, an
undisputed judge, of the finest discrimination, was inti-
mately acquainted with the style and works of Michael
Angelo, the god of Sir Joshua’s idolatry; and he wrote
under the drawing in pencil, ‘a pressoMichael Angelo.’
Being at Paris in182 0,Mr. Ottley by chance saw in a
shop the original drawing, and immediately became its
purchaser. The subject was an old Sorceress or Prophetess;
one of the finest of Michael Angelo’s productions. On his
return to England Mr. Ottley presented it to Sir Thomas
Lawrence, who wrote to him the following note, upon
the spur of the moment of its arrival:...‘My Dear Sir,
The Beauty is arrived. The copy is tolerably accurate;
butitisjust in what it differs that the superior grandeur
of the original consists.’”). Woodburn, 1836 b,no. 54
(“[F]ull of expression; it is probably from life, but has
a witch-like character.”). Woodburn,184 2,no. 39 (As
1836 .). Woodburn,184 6,no. 7 (As184 2.). Fisher, 1852 ,
p. 5 , pl. 22 (“[P]robably from life.”). Fisher, 1865 ,I,p. 18 ,
pl. 22 (As 1852 .). Woodburn, 1853 ,no. 25 (Reproduced.).
Robinson,187 0,no. 31 (Michel Angelo “in the same
powerful style as many of the pen studies for the Sis-
tine ceiling.”). Fisher,187 2,I,p. 16 , pl. 21 (As 1852 .).
Black, 1875 ,p. 214 ,no. 31. Gotti, 1875 , II, p. 239. Fisher,
187 9, XXII/ 24 (“[G]randly draped.”). Morelli,18 91– 2 ,
col.37 7,no. 36 (Lille version by Bandinelli.). Wickhoff,
18 91,p.ccviii (Passerotti.). Justi, 1900 ,p. 160 (Possibly
Ruth and Obeth.). Berenson, 1903 ,I,p. 266 ,no. 1705
(Passerotti. Forgery based on drapery of God the Father
from theCreation of Eveand theBoazon the Sistine ceil-ing.). Colvin, 1905 , III, no. 8 (Imitator of Michelangelo,
probably Bartolommeo Passerotti, author of “a number
of slashingly energetic and showy pen-drawings in which
he imitates and outdoes the looser followers of Michelan-
gelo, especially Baccio Bandinelli.”). K. Frey, 1907 ,p. 22
(Not Michelangelo; copy in Lille.). Thode, 1913 ,p. 210
(After the original in Lille.). Berenson, 1935 ,p. 264 (By
Andrea di Michelangelo who may be identical with Ste-
fano di Tommaso Lunetti.). Berenson, 1938 ,I,pp. 266 ,
36 2,no. 1705 (As 1935. Figure known to Bacchiacca
who used it in his Birth Plate [now in Coral Gables].).
Delacre, 1938 ,pp. 79 , 98 , 101 – 2 , 108 (Michelangelo:
“cette tragique sorciere.” Neither this original nor Lille`
copy are by Bandinelli or Passerotti.). Wilde, 1953 exh.,
no. 41 (Michelangelo, contemporary with Cat. 22 and
BM W 29 .). Parker, 1956 ,no. 324 (Michelangelo. Com-
pares withChrist Before Pilateof 1516 – 20. Unclear why it
should be dated c.15 2 0– 4. Similar figure in Bacchiacca’s
desco da parte[now in Coral Gables], but no conclusions
can be drawn from that as to the significance of this draw-
ing.). Dussler, 1959 ,no. 614 (Rejected. Strongly influ-
enced by Michelangelo, early15 2 0s.). Berenson, 1961 ,
no. 1705 (As 1903 / 1938 .). Weinberger, 1967 ,p. 341 (Imi-
tator of Michelangelo, but not Passerotti.). Hartt, 1971 ,
no. 155 ( 1517 – 18. Not a woman; St. Cosmas with one of
his brothers for a ground-floor niche in the left return
of the San Lorenzo fac ̧ade.). Gere and Turner, 1975 ,no.
89 (Michelangelo, c. 1515 – 17. Relation to Cat. 14 recto
and to medal of Michelangelo by Leone Leoni. Perhaps,
like that, an illustration of Psalms 51 : 15 .). Perrig, 1982 ,
pp. 14 – 20 (By Antonio Mini, reflecting Michelangelo’s
early drawing style. Mini responsible also for the hatching
on Louvre Inv. 685 recto/J 16 /Corpus 26 .). Hirst, 1988 ,
p. 11 (Michelangelo; close to caricature.). Perrig, 1991 ,
pp. 9 – 11 , 28 , fig. 54 (Mini.). Wind, 2000 ,p. 108 (Trans-
formation of the SistineBoaz“into a frightening old hag”;
anonymous, reproduced as Michelangelo?.). Perrig, 1999 ,
pp. 250 – 1 (As 1991 .).CATALOGUE 24Recto: Head of a Man
Ve r so: Two Standing Draped Figures
184 6. 73 ;R. 2 ;P.II 327 ; Corpus 8Dimensions: 270 ×18 0mm. This sheet has been divided
to separate the verso figures and then rejoined.Medium
Pen and ink; a smudge of black chalk at the upper left of
the recto.