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0521551331 apx 1 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 13 : 45
APPENDIX 1. DRAWINGS IN WILLIAM YOUNG OTTLEY’S SALES 405described in 1836 - 82 would appear to total only three,
and this figure is confirmed by184 2- 64 and all subse-
quent catalogues. The difficulty therefore is to explain
how four drawings in Ottley’s collection ( 1814 - 824 , 1814 -
825 , 1814 - 15 0 4 i, ii) could have become three drawings
by 1830. This might be resolved by the conjecture that
the two drawings connected with aPiet`a( 1814 - 825 , 1814 -
15 0 4i) were in fact fragments of the same sheet (Cat. 48 ),
and that this was appreciated by Lawrence who rejoined
them.
826.18 03- 278 .Probably not part of 1830 - 5. Not otherwise
identified.
827.Perhaps identical with 1807 - 37 6ii. Bought by William
Roscoe, it was in his September 1816 sale as lot 68 : “One, a
Sketch for the upper part of the Picture of the Holy Family,
in the Palazzo Buonarotti at Florence, one of his last works.
Free pen and wash. Size 41 / 2 h. 6 w.The whole com-
position is engraved in the Etruria Pittrice, and the Print
accompanies the Drawing. From Mr. Ottley’s Collection.”
Bought by Watson (i.e., the London bookseller William
Carey) £ 1. 6. 0 ....Not subsequently identified.
828.Probably 1830 - 71 / 1836 - 51 (with the provenance given
as Richardson)/ 1838 - 26 / 1850 - 179 bought Roos/ Leembru-
gen Sale, Amsterdam,186 6, lot 894 /Malcolm36 6/BMPG
276.- 1830 - 57 / 1836 - 68 /184 2- 34 /184 6- 43 /R. 28 /P.II 361 /
Cat. 91.
Thirteenth Day (pp. 129–30)
1500 i,ii.Unidentified. Presumably both were copied after
theLast Judgement.
1501.Unidentified. It can be no more than conjectural
butfromthe description this might have been a red chalk
copy after Michelangelo’s pen drawing Louvre 689 /J 12
verso.
1502.Conjecturally part of 1830 - 139 / 1836 - 98 (with the
provenance given incorrectly as Buonarroti and Wicar,
that from Gori omitted)/ 1838 - 57 / 1850 - 148 bought
Brondgeest/Weimar, Sachsen-Weimar Collection/Phillips,
London, 7 July 1999 , lot 119 ,black chalk, 393 × 229 mm,
as circle of Daniele da Volterra. See 1850 - 148 for further
details.
1503.Probably 1830 - 123 ,asBattista Franco.
The price realised indicates the high quality of the
drawing; nonetheless, it is probable that it was not an auto-
graph Michelangelo, but the highly Michelangelesque draw-
ing by Battista Franco, now in the British Museum (18 95-
9 - 15 - 855 /GP 133 ; 241 × 205 mm, pen and ink heightened
with white body-colour; the provenance given solely as
Lawrence), in which staging and technique correspond.1504 i,ii.
i. 1804 - 275 ii (where said to be from the Buonarroti
Collection)/Part of 1831 - 81 i,ii,iii/ 1836 - 82 i,ii,iii/184 2- 64 /
184 6- 35 i,ii,iii/R. 70 ( 3 )/P.II 338 (all of which give the prove-
nance as Ottley and Lawrence, that from Cicciaporci being
omitted)/Cat. 45.
ii. 1804 - 275 i (where said to be from the Buonarroti
Collection)/ 1836 - 82 i,ii,iii/184 2- 64 i,ii,iii/184 6- 35 i,ii,iii/
R. 70 ( 2 )/P.II 339 (all of which give the provenance as
Ottley and Lawrence, that from Cicciaporci being omitted)/
Cat. 48.
For discussion of the complex issue raised by this lot and
its probable combination with 1814 - 824 and 1814 - 825 see
1814 - 825.
It is quite understandable that P.II 338 /Cat. 45 was thought
byOttley to be a sketch for theLast Judgement, since the
figure is close in pose to one in that fresco, but it is in fact
asketch for Daniele da Volterra’sSt. John the Baptist in the
Wilderness.Fourteenth Day (p. 137)
1586.Unidentified. The low price suggests that this was not
an autograph drawing.
1587 i,ii.
i.Probably identical with 1804 - 274 ii/then 1830 - 108 i/
184 2- 28 /184 6- 32 /R. 74 /P.II 345 (all of which give the
provenance as Buonarroti, Wicar, and Lawrence, Cicciaporci
and Ottley omitted)/Cat. 50.
ii. 1830 - 108 ii/184 2- 75 /184 6- 52 /R. 53 ( 1 )/P.II 320 (all of
which give the provenance solely as Ottley and Lawrence,
Buonarroti and Ottley omitted)/Cat. 36.
1588.Probably identical with 1804 - 272 ; and with
Michelangelo’s drawing in Hamburg (Inv. 21094 /Corpus
35 ), which bears Sir Peter Lely’s stamp and has a provenance
from William Esdaile, who probably acquired this lot.
1589.Bought by William Roscoe, in his sale September
1816 , lot 69 : “One, Design of a Draped figure of a Prophet
sitting and turning over the Leaves of a Book, which was
afterwards adapted to a female character in the Sybilla
Erythraea in the Capella Sistina; a sketch with a free pen,
remarkable for its simplicity and grandeur.Size,11 1/ 2 h. 9
w. reverse,twoSitting Figures finely draped. Pen and
washed. From the same Collection” (i.e., Mr. Ottley’s). Not
traced subsequently.
1590.The identification of this drawing is uncertain. If a
good copy (as the price realised would suggest), it might be
the – misidentified – drawing184 2- 1 /184 6- 46 /R. 63 /P.II
36 7(in all these catalogues the provenance is given solely as
Ottley, with no mention of Gori)/Cat. 100.