P 1 : JZP
0521551335 apx 2 a CUNY 160 /Joannides 052155 133 1 January 11 , 2007 14 : 21
432 APPENDIX 2. THE LAWRENCE COLLECTION OF DRAWINGS
- 1836 - 69 / 1838 - 38 / 1850 - 104 /186 0- 127 /J.P.Heseltine/
BM W 63. - 1836 - 36 / 1838 - 17 / 1850 - 102 /Lawrence Gallery, 1853 , pl.
16 /186 0- 132 /Malcolm 58 /BM W 2. - 1836 - 24 ?/ 1838 - 9 / 1850 -Not securely identifiable/186 0-
122 /Vaughan/BM W 53.
i.This is probably identical with the drawing in the Julien
de Parme Sale, Paris, 21 – 22 February 1794 , lot 11 :
michel-ange buonarotti
Un Christ en Croix: deux anges sont aux deux cotˆ ́es, &
au bas une tete de mort, dessinˆ e comme le pr ́ ́ecedent, ie
precieusement`alapierre noire.
Julien de Parme is not listed in the provenance for this draw-
ing in the 1836 catalogue, which is given as the King of
Naples and Brunet. Even though it is uncertain how this
information should be interpreted, in the compiler’s view the
most likely scenario is that the drawing had been acquired by
Julien de Parme directly or indirectly from the Royal House
of Naples, drawings from whose collection were evidently
being dispersed before 1770 .Itwas presumably acquired
either directly or indirectly at his sale by Louis-Charles
Brunet ( 1746 – 1825 ), the brother-in-law of Dominique-
Vivant Denon, by whom he was presumably advised on his
purchases. Brunet died in the same year as Vivant Denon,
and his collection seems to have been acquired by Wood-
burn in Paris at around the same time as Woodburn acquired
drawings from the collection of Vivant Denon himself,
shortly after the latter’s death, on 28 April 1825 .Woodburn
probably acquired it from one of Brunet’s two sons, Baron
Dominique-Vivant Denon’s nephews, occasional purchas-
ing agents and final beneficiaries, as well as – presumably –
of their own father’s estate. These brothers were Vivant-
Jean Brunet ( 1778 – 186 6), a General of the Empire, and
Dominique-Vivant Brunet ( 1779 – 184 6), who later took the
name Brunet-Denon in honour of his uncle. 1836 - 22 / 1838 -
8 / 1850 - 145 /186 0- 113 /BM W 67.
ii. 1814 - 15 9 1/184 2- 24 /JCR 73 /P.II 352 /Cat. 67.
- 1836 - 17 /184 2- 14 /R. 52 /P.II 410 /Cat. 66.
i.184 2- 50 /JCR 65 /P.II36 2/Cat. 93.
ii.Not exhibited in 1836 /part of August 1838 purchase?/
1850 - 108 /186 0-15 2/Chantilly, Musee Cond ́ ́e; Lanfranc de
Panthou, 1995 ,no. 39.
- 1836 - 11 /J. Paul Getty Museum, Los Angeles.
- 1836 - 41 /184 2- 15 /R. 43 /P.II 406 /Cat. 76.
i.184 2- 31 /R. 55 /P.II31 9/Cat. 35.
ii.186 0- 1084 /BM W 90.
27. 1814 - 259 ?/ 1836 - 90 / 1838 - 54 / 1850 - 134 bought Roos/
Weimar, Sachsen Weimar Collection (Gotti, 1875 ,II,p. 209 ,
Testa di Vecchio con barba, voltadiprofilo a destra. Weimar, Collezione di S. A. R. il Granduca. Dalle Collezioni Buonar- roti, Wicar, Lawrence e Re dei Paesi Bassi.)/Private Collection, Switzerland/Phillips, London, Sale 11 December 1996 , lot 239 ,black chalk, 192 × 147 mm, as follower of Daniele da Volterra. 28. 1836 - 39 / 1838 - 20 / 1850 - 164 /Weimar, Sachsen Weimar Collection (Von Ritgen photograph, 1865 ,no. 26 as Michelangelo; Gotti, 1875 , II, p. 209 : Testa virile con barba appuntata, volta di profile a sinistra. Creduto il Ritratto
dell’Ariosto. Bel disegno a matita rosso, dintornato in ovale
e incorniciato da un disegno con due figure, fatto da Giorgio
Vasari, al quale apparteneva. Collezione di S. A. R. la Gran-
duchessa. Dalle Collezioni Vasari, d’Argenville, Lawrence e Re
dei Paesi Bassi.)/Koenigs Collection/Rotterdam, Boymans
van Beuningen Museum, I. 392 as Parmigianino.
Case 5, Drawer 2
29.184 2- 80 /R. 57 /P.II 407 /Cat. 109.
- 1836 - 92 /184 2- 65 /R. 33 /P.II 236 ;asbyBattista Franco
after Rosso. Not included in the present catalogue. - Michael Angelo Buonaroti
Case 1, Drawer 1
Case 2, Drawer 4 - 1807 - 374 ?/ 1836 - 10 /184 2- 85 /R. 4 /P.II 452 /Cat. 114.
32 i,ii,iii,iv,v.Unidentified.
Case 3, Drawer 3
33.Cavaliere Genovesino (L. 545 )/186 0- 268 , bought by
Ensen, £ 1. 11 s. 6 d/Malcolm 213 /BM GP 70.
- 1836 - 72 / 1838 - 40 / 1850 - 169 /Lawrence Gallery, 1853 , pl. 3 /
186 0- 105 /Duke of Portland Collection.
In 1836 it was stated that this drawing came from the
Buonarroti and Wicar Collections, and it was presum-
ably among those acquired by Woodburn from Wicar in
It is worth noting that what must be an otherwise
unrecorded copy of this drawing appeared in William
Roscoe’s sale of 1816 as lot 64 : “One, the Holy Family
with St. John. The Child asleep on the knee of the Vir-
gin, St. John with his finger on his lips. Red chalk, highly
finished. Size, 11 h. 91 / 2 w.This design of Michlangeli is
well known both from the pictures and prints of it, in which
there are several slight variations. The subject is the same as
that of the celebrated Picture belonging to Mr. Dawson, of
Manchester.” It was bought by a Mr. Du? Piet for £ 1. 7. 0 ., a