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CATALOGUE 114 MISCELLANEOUS 395“Powerfully drawn.”). Fisher 1865 ,t.II,p. 23 , pl. 14 (As
186 2.). Robinson,187 0,no. 4 (“[I]ncontestably the work
of Michelangelo,” c.15 0 0. The studies of a hand probably
made from a plastic model by Michelangelo, which has
not survived; a comparable model of a left hand deriv-
ing from Michelangelo is in the Gherardini Collection of
the Victoria and Albert Museum; the seated figure “from
abronze or wax model, probably from a Renaissance
imitation of an antique statuette of Mercury or Mars.”
Reference to Louvre Inv. 717 /J R 2 /Corpus 93 whose
handling resembles “the coarser manner of Bandinelli.”).
Fisher,187 2, PII, p. 21 , pl. 14 (As186 2.). Black, 1875 ,
p. 213 ,no. 4. Philostrate,187 8,p. 215 (Verso reproduced,
as by Michael Angelo.). Fisher187 9, PIII/ 3 (Verso only:
“Studies of Hands.”). Wickhoff,18 91,p.ccviii (Passerotti,
not Michelangelo.). Berenson 1903 ,no. 1699 (Passerotti.).
Delacre, 1938 ,pp. 105 , 112 , 532 (Close links with Louvre
Inv. 717 /J R 2 /Corpus 93 , accepted by Delacre as by
Michelangelo.). Berenson, 1938 ,no. 1699 (Passerotti.).
Parker, 1956 ,no. 452 (Passerotti; reference to Albertina
2029 , inscribedIl Passarotti; “the inscription has every
appearance of being by the draughtsman’s own hand, and
its intention must therefore presumably have been fraud-
ulent.”). Dussler, 1959 ,p. 36 (Passerotti may himself have
added the inscription M.B.F.). Berenson, 1961 ,no. 1699
(Passerotti.). Barocchi, 1962 ,p. 266 , under no. 213
(Passerotti.). Van Schaak, 1962 , pp. 75 – 6 (PublishesThreeStudies of Hands[pen and ink, 417 × 198 mm] in a U.S.
private collection; suggests that this drawing like Cat. 114
“may have been intended by Passerotti to pass fraudulently
as an original by Michelangelo.”). Gregori, 1967 ,p. 48 ,
under no. 68 (Compared with Passerotti’sFemale Head,
pen and ink,37 2 × 261 mm, in the Meissner Collec-
tion.). Sutton, 1970 ,no. 35 (“The inscription...appears
to be from the draughtsman’s own hand and therefore
to have been of fraudulent intent.”). Titus, 1975 ,p. 43 ,
under no. 38 (“Passerotti seems to have attempted to pass
off the drawing as an original by Michelangelo. On the
same sheet one has evidence of Passerotti avidly copying
a small cast of a hand, traditionally known as the ‘Hand
of Michelangelo’ which is also copied on other sheets by
Passerotti. A version of this to be found in the Victoria
and Albert Museum.”). Beguin and Giampaolo, ́ 1979 ,
p. 33 (Some drawings by Passerotti, like Cat. 114 ,have
been given to Michelangelo because they bear the initials
M.B.F.). Scrase, 1981 – 2 ,p. 50 (A drawing by Passerotti
in the Fitzwilliam Museum [PD. 122 - 1961 ]related to the
wax model in Casa Buonarroti, Inv. 521 , also formerly
attributed to Michelangelo “even freer” in style.). Meijer
and Van Tuyll, 1983 ,p. 116 ,under no. 47 (Compared with
a study of four hands in the Teyler Museum, Haarlem,
A 13 recto/VT36 2; pen and ink, 251 × 215 mm). Hoper, ̈
1987 ,p. 175 (Passerotti; comparison with drawings in
other collections; summary of view.).