P 1 : KsF
0521551331 c 01 -p 3 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 14
244 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUES 50–51Michelangelo owned by Daniele da Volterra. In Ottley’s
sale of 1804 , this drawing seems to have been mounted
on the same sheet as Cat. 45 , for which a Daniele da
Volterra–Cicciaporci provenance is very likely, in which
case this mounting would certainly antedate Ottley. In
1814 ,ithad been remounted with Cat. 36 , which prob-
ably came from Casa Buonarroti, and this remounting
must have been Ottley’s responsibility.History
Daniele da Volterra?; Giacomo Rocca?; Il Cava-
liere d’Arpino?; the Cicciaporci family and Filippo
Cicciaporci?; Bartolommeo Cavaceppi?; William Young
Ottley (his sale, 11 April 1804 , part of lot 274 , “One
ditto [i.e., One leaf ] containing several studies of atti-
tudes for the Last Judgment [i.e., Cat. 45 ], and a study
for the Annunciation, all in black chalk, from ditto [i.e.,
Casa Buonarroti]; his sale, 6 June 1814 , etc.; part of lot
15 8 7,“Twoblack chalk studies on one leaf – the Annun-
ciation, with a specimen of his writing, from the Ciccia-
porci collection, and a dog lying in the midst of flames
[i.e., Cat. 36 ], an emblematic design. From the Buonarroti
collection at Florence”; £ 10. 10. 0 ); Sir Thomas Lawrence
(L. 2445 ); Samuel Woodburn.References
Ottley sale, 11 April 1804 , part of lot 274 (“One ditto
[i.e., One leaf] containing several studies of attitudes for
the Last Judgment [i.e., Cat. 45 ], and a study for the
Annunciation, all in black chalk, from ditto [i.e., Casa
Buonarroti].”). Ottley sale, 6 June 1814 , etc., part of
lot15 8 7 (“Two black chalk studies on one leaf – the
Annunciation, with a specimen of his writing, from
the Cicciaporci collection” and [Cat. 36 ].). Lawrence
Inventory, 1830 ,M.A.Buonaroti Case 3 , Drawer 3
[ 1830 - 113 ] (“Study in black chalk for the Annunciation”
and [Cat. 36 ].). Woodburn,184 2,no. 28 (“The first
idea for the subject of the Salutation – black chalk, with
the autograph of Michael Angelo.”). Woodburn,184 6,
no. 32 (As184 2.). Robinson,187 0,no. 74 (Connection
with two other drawings of the Annunciation [BM
W 72 /Corpus 395 and Morgan Library VIIr/Corpus
399 ]; the present drawing may have been a first idea
for one of the twoAnnunciationsexecuted by Marcello
Ve n usti to Michelangelo’s design.). Black, 1875 ,p. 215 ,
no. 63. Gotti, 1875 , II, p. 222. Berenson, 1903 ,I,
p. 229 ,no.15 7 5 (“[P]robably the very last drawing from
Michelangelo’s hand that we possess.” c.155 6– 7 .). Thode,
1908 , II, p. 461 (155 6 at earliest; no direct connection
with Venusti’s Lateran and PaceAnnunciations.). K. Frey,
1909 – 11 ,no. 140 (Last period,155 7– 60. Unconnectedwith Venusti’sAnnunciations.). Thode, 1913 ,no. 448 (As
1908 .). Panofsky, 1922 ,p. 12 (c.15 6 0butcertainly no
earlier than155 6– 7 .). Brinckmann, 1925 ,no. 79 (c.15 6 0.).
Popham, 1930 a,no. 519 .Popham, 1931 ,no. 227 (Proba-
bly15 6 0.). Berenson, 1938 ,I,p. 237 ,no.15 7 5(As 1903 .).
Goldscheider, 1951 ,no. 127 (“The visionary spirit of this
drawing and the complete dissolution of the forms are
reminiscent of theRondanini Pieta`,onwhich Michelan-
gelo was working at the same time.”). De Tolnay, 1951 ,
pp.15 4, 293 (155 6– 60 ). Wilde, 1953 a,pp. 113 (c.15 6 0.
“[A] kind of synthesis of his earlier conceptions...shows
the aged artist’s increasing sympathy with the trecento.”).
Wilde, 1953 exh., no. 108 .Parker, 1956 ,no. 345 (Annun-
ciation,155 9– 60 .). Dussler, 1959 ,no. 205 (Michelangelo,
155 6– 61. Links withCrucifixiondrawings and the standing
Madonna,BMW 83 .). De Tolnay, 1960 ,p. 228 ,no. 264
(155 6– 61 .). Berenson, 1961 ,no.15 7 5 (As 1903 / 1938 .).
Barocchi, 1964 c,no. 67 (“una sottile e instancabile
rarefazione, che volge verso forme sempre piucorr` ose e
larvali.”). Berti, 1965 ,pp. 489 , 493 (c.155 9– 60 .). Gold-
scheider, 1965 ,no. 124 (As 1951 .). Pfeiffer, 1966 ,p. 227 ff.
(Not anAnnunciationbutChrist Appearing to the Virgin on
Easter Morning after His Resurrection.). Hartt, 1971 ,no. 435
(15 6 0?.). Gere and Turner, 1975 ,no. 174 (The Risen Christ
Appearing to His Mother; “the right-hand figure is clearly a
man, naked but for the loose garment thrown around the
shoulders; the style is that of the late drawings.”). Keller,
1975 ,no. 62 (Annunciation, 1555 – 61 .). De Tolnay, 1975 ,
p. 117 (Accepts Pfeiffer’s interpretation; composition
elaborated by Michelangelo over a representation of the
Annunciation.). De Tolnay, 1978 , Corpus III, no. 400 (As
1975 .). Hirst, 1988 ,p. 53 (Christ Appearing to His Mother.).
Joannides, 1992 a,p. 250 (Subject more common in the
north than in Italy. Perhaps planned as a pendant toChrist
Taking Leave of the Virgin.). Hirst, 1988 – 9 a, no. 61 (c.
15 6 0). Perrig, 1991 ,pp. 72 , 114 – 15 , fig. 37 (Michelangelo;
thericordopresupposes late155 7 or early155 8.). Perrig,
1999 ,pp. 240 – 1 (As 1991 ;from Farnese Collection.).CATALOGUE 51A Nude Male Figure
184 6– 81 ;R. 60 ( 2 ); P.II 335 ;Corpus 428Dimensions: 181 × 87 mmMedium
Black chalk.