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0521551331 apx 1 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 13 : 45
402 APPENDIX 1. DRAWINGS IN WILLIAM YOUNG OTTLEY’S SALES268 i,ii,iii,iv,v,vi,vii,viii,ix,x.The “monstrous animal” is
probably BM W 50 , whose earliest provenance is given by
Wilde as H. Wellesley; a less likely alternative is184 2-
75 /184 6- 52 /R. 53 a/P. II 320 /Cat. 36. The “leg and thigh,
in black chalk” probably refers to the sheet of which it is
noted “on the back of one are some verses autograph of this
great artist” because the description fits very neatly a sheet
now in the British Library (Department of Manuscripts Add.
Ms. 21907 , fol. 1 /Corpus 217 ;black chalk and pen and ink,
15 0× 185 mm), which has a study of a leg and thigh for the
New SacristyDayon the verso and a sonnet by Michelan-
gelo on the recto. This sheet (which Hugo Chapman kindly
drew to the compiler’s attention) is on an Ottley mount
and it was acquired by the British Museum from the sale
of the poet Samuel Rogers, Christie’s, London, 28 April
1856 , etc., as part of lot 1212 ,agroup of eight drawings
listed under the name of Fuseli (this information comes
from an annotated copy of the Samuel Rogers sale cata-
logue, preserved in the Department of Prints and Draw-
ings of the British Museum). The sheet may have been
bought by Fuseli in 1804 and subsequently acquired by
Samuel Rogers, who would obviously have been interested
in owning a poem by Michelangelo. The poem on the sheet
was thought to be more significant than the drawing, so it
was allocated to the Department of Manuscripts and is now
part of the collections of the British Library rather than the
British Museum; it was not included in Wilde’s catalogue
of 1953.
If the other drawings in lot 268 came from the Martelli
Collection rather than Casa Buonarroti, then two auto-
graph black chalk sketches by Michelangelo that entered
the Prado in 1930 may have formed part of it. One of these
(FD 2515 /Inv. 1732 )isaloose study of a right arm; the other
(FD 2464 /Inv. 1733 )prepares the right shoulder, upper arm
and part of the torso of the devil carrying a woman from
theLast Judgement.They bear respectively the “Martelli”
numbers 2 and 28.
269 i,ii,iii,iv.The “three profile heads... in red chalk”
may be identical with a sheet in the Prado by an associate
of Michelangelo (FD 53 /Inv. D- 1737 ); it bears the “Martelli”
number 3 .Afurther drawing of a profile, the now unlocated
drawing 1836 - 18 ,reproduced by Woodburn, 1853 ,no. 27 ,
may have been made by the same hand; however, it did not
bear a Martelli number and had a provenance from the Duke
of Modena, so it must have been separated from the others
at least by the mid-seventeenth century.
270 i,ii,iii,iv,v.Unidentified. It may be that four of the
five drawings in this lot re-appeared as 1814 - 256.
271.Unidentified.
272.This drawing reappeared as 1814 - 15 8 8.Itisprobably
identical with a drawing by Michelangelo, now in Hamburg
(Inv. 21094 /Corpus 35 ), bearing Sir Peter Lely’s stamp andwith a provenance from William Esdaile, who no doubt
acquired it at the 1814 sale.
273 i,ii,iii. 1814 - 823 i,ii,iii, but it must be assumed that the
change of provenance between the two sales was the result
of an error either in 1804 or in 1814. The probability that
Cat. 51 was copied by Andrea Commodi would support
aprovenance for that drawing, and presumably the other
two on the same mounting, from Casa Buonarroti, as stated
in 1804. 1814 - 823 was acquired by William Roscoe; it reap-
peared at his sale of September 1816 as lot 59 : “Three, Studies
of a Figure, in black chalk; another figure on the reverse of
one of them. From the same Collection” (as the previous lot,
i.e., Mr. Ottley’s). It was acquired by Watson, a pseudonym of
the London bookseller William Carey, for 15 s. and presum-
ably later entered Lawrence’s collection, 1830 -Unidentified.
By184 2, these three fragments had been combined with
two others (P.II 36 8, 37 7/Cats. 101 , 73 )tomake a
mounting of five sheets:184 2- 35 /184 6- 40 /R. 60 ( 1 , 2 , 3 )/
P.II 334 , 335 , 336 (all these catalogues give the provenance as
Buonarroti, Wicar and Lawrence)/Cats. 53 , 51 , 52.
274.No single drawing answers this description, nor any
mounting that can now confidently be reconstructed. But
it seems probable that this lot was a mounting of two black
chalk drawings subsequently disassembled and re-mounted
byOttley. If this is correct then:
i.The “studies of attitudes” may be184 2- 54 /R. 67 /P.II
329 (all of which omit Cicciaporci)/Cat. 41.
ii.TheAnnunciationprobably reappeared as one of the
two sheets in 1814 - 15 8 7.Inthe entry for 1814 - 15 8 7, the
provenance of theAnnunciation is given as Cicciaporci
whereas its new companion is given as Buonarroti/184 2-
28 /184 6- 32 /R. 74 /P.II 345 (all of which give the provenance
as Buonarroti, Wicar, and Lawrence, omitting Cicciaporci
and Ottley)/Cat. 50.
275 i,ii.This mounting of two drawings reappeared as 1814 -
15 0 4.
i. 1814 - 15 0 4ii (as from the Cicciaporci Collection)/Part
of 1831 - 81 i,ii,iii/ 1836 - 82 i,ii,iii/184 2- 64 i,ii,iii/184 6- 65
i,ii,iii/R. 70 ( 3 )/P.II 338 (Cicciaporci omitted from the prove-
nance)/Cat. 45.
ii. 1814 - 15 0 4i (as from the Cicciaporci Collection)/Part
of 1831 - 81 i,ii,iii/ 1836 - 82 i,ii,iii/184 2- 64 i,ii,iii/184 6- 65
i,ii,iii/R. 70 ( 1 )/P.II 339 (Cicciaporci omitted from the prove-
nance)/Cat. 48. See 1814 - 825 for further details.
276.Given the provenance, it would be natural to suppose
that this sheet reappeared as 1807 - 375 (and subsequently),
but the description of that lot is so different as to undermine
this supposition.
277.18 03- 22? Not further identified.- 1814 - 826 .Probably not part of 1830 - 5. Not otherwise
identified.