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0521551335 c 02 -p 4 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 54
308 COPIES OF SURVIVING DRAWINGS CATALOGUE 67the Mond-Brackley copy last appeared at a sale at Chris-
tie’s, London, 12 April 1983 , lot 209.
7. Paris, Louvre, Inv. 732 /J 121 ;black chalk, 381 × 262
mm. The attribution of this copy to Giulio Clovio, first
suggested by Philip Pouncey, is widely accepted. How-
ever, in the compiler’s opinion, the drawing is by a
hand distinct from Clovio’s, one responsible for several
other highly finished copies after highly finished origi-
nals by Michelangelo, made in an individual chalk tech-
nique that closely resembles silverpoint. This hand would
be responsible for the following copies of drawings by
Michelangelo:
a. After Michelangelo’sMale Anatomyin the Royal
Collection at Windsor Castle (RL 12765 /PW 421 ;
red chalk, 289 ×18 0mm); in the E. J. Poynter sale,
London, 24 April 1918 , lot 82 (red chalk, 394 × 146
mm) as School of Michelangelo; present where-
abouts unknown. This copy is known to the com-
piler only from a photograph in the Witt Library; it
was assigned to Clovio by Wilde in his entry on the
original in the Windsor catalogue.
b. After Michelangelo’sThree Female Heads in the
Uffizi ( 599 E/B 186 /Corpus 308 ;black chalk,
341 × 235 mm), in the Teyler Museum, Haarlem,
Inv. A 13 /VT 76 ;black chalk, 236 × 219 mm. This
copy was given to Clovio by C. Monbeig Goguel
in an annotation on the mount.
c. After Michelangelo’sBacchanal of Infantsin the Royal
Collection at Windsor Castle (RL 12777 /PW 431 ;
red chalk, 274 × 388 mm) in Christie’s sale, London,
2 July 1996 , lot 88 ;red chalk, 281 × 405 mm, as
attributed to Giulio Clovio.That all four drawings are by the same hand seems
likely, but the compiler sees no clear link between this
group and drawings certainly by Clovio and is inclined to
think that it is by a different, as yet unidentified, draughts-
man.
A further copy of theChrist on the Crossdrawn for
Vittoria Colonna, which shows the expanded design pre-
pared by Michelangelo at the request of his servant and
friend Urbino, is in Liverpool, The Walker Art Gallery
(from the Ince-Blundell collection, WAG 1993. 307 ;black
chalk, 455 × 303 mm). This drawing probably copies one
byMarcello Venusti, made in preparation for his paint-
ing. Like copy 2 , this drawing was owned by William
Roscoe, appearing in his sale of 1816 as lot 76 : “Christ on
the Cross, the same subject as the preceding [i.e., no. 2
above], but with the addition of the Virgin and Mary
Magdalen [sic] standing at the foot of the Cross in lamen-
tation. The Figures in the Clouds are in this drawing butverylightly sketched in black chalk; very fine. 18 h. 12
w.From the collection of Mons. Marchetti, Bishop of
Arezzo, afterwards of Lord Somers and since of Jonathan
Richardson; with remarks on the back in the hand
writing of Jon. Richardson the son. This drawing also
belonged to Mr. Barnard.” Bought Slater for Blundell,
£ 3. 15. 0.History
Jean-Baptiste Wicar?; William Young Ottley, his sale, 6
June 1814 , lot15 9 1? (“One – Christ on the cross, two
angels lamenting on each side of him in the clouds – a
highly finished design – black chalk.capital. Made by
him for the Marchesa di Pescara (See Vasari) formerly
in the King of Naples’ collection at Capo di Monti.”
£ 6. 16. 6 ); Sir Thomas Lawrence (L. 2445 ); Samuel Wood-
burn.References
Ottley sale, 6 June 1814 , lot15 9 1? (“One – Christ on the
cross, two angels lamenting on each side of him in the
clouds–ahighly finished design – black chalk.capital.
Made by him for the Marchesa di Pescara (see Vasari)
formerly in the King of Naples’ collection at Capo di
Monti.”). Lawrence Inventory, 1830 ,M.A.Buonaroti
Case 3 , Drawer 3 ,no. 18 [ 1830 - 21 ii] (BM W 67 “together
with a copy by Julio Clovio.”). Woodburn,184 2,no. 24
(“A Careful drawing of our saviour on the Cross – as
presented by Marcello Venusti....From the Collection
of the Chevalier Wicar.”). Woodburn,184 6,no. 33 (As
184 2.). Fisher,186 2,p. 4 , pl. 7 (As Woodburn,184 2.).
Fisher, 1865 ,I,p. 22 , pl. 7 (As186 2.). Robinson,187 0,
no. 73 (Copy after Michelangelo.). Fisher,187 2, II, p. 20 ,
pl. 7 (As186 2.). Gotti, 1875 , II, p. 224. Springer,187 8,
pp. 452 – 3 (Drawing reproduced; the best copy.). Fisher,
187 9, XLVI/ 48 (Copy.). Springer, 1883 ,II,pp. 307 –
9 (As 187 8.). Springer, 18 95, II, pp. 308 – 11 (Copy;
illustrated.). Berenson, 1903 ,I,p. 223 (“[W]retched”
copy.). Steinmann, II, 1905 ,p. 502 (Copy, like BM
W 67 /Corpus 411 .). Thode, 1908 , II, p. 467 (Copy.). K.
Frey, 1909 – 11 ,no. 160 (Copy, like BM W 67 ,oflost orig-
inal made for Vittoria Colonna.). Thode, 1913 ,no. 447
(Copy after Michelangelo’s original, BM W 67 /Corpus
411 .). Berenson, 1938 ,no. 1724 A (Copy.). Delacre, 1938 ,
p.31 4(Copy. BM W 67 /Corpus 411 , which is probably
the original.). De Tolnay, 1951 ,p. 144 (Copy, like BM
W 67 /Corpus 411 .). Wilde, 1953 a,p. 107 (Copy.). Parker,
1956 ,no. 352 (After BM W 67 /Corpus 411 .). Dussler,
1959 , under no. 329 (Copy.). Berenson, 1961 ,no. 1724 A
(As 1938 .). Perrig, 1991 ,p. 47 (Copy, like BM W 67 /
Corpus 411 .).