P 1 :JZP
0521551335 apx 2 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 14 : 26
444 APPENDIX 2. THE LAWRENCE COLLECTION OF DRAWINGS1 45. 1830 - 21 (with further details)/ 1836 - 22 / 1838 - 8 /186 0-
113 /Malcolm 67 /BM W 67.
1 46.Perhaps 1830 - 118 / 1836 - 34 / 1838 - 15 /186 0- 131 ?. Not
further identified; untraced. See186 0- 131 for further details.- 1830 - 56 ?/ 1836 - 70 / 1838 - 39 /Weimar, Sachsen-Weimar
Collection (Von Ritgen photograph, 1865 ,no. 6 as
Michelangelo; Brinckmann, 1925 ,no. 97 )/Present where-
abouts unknown.
1 48. 1814 - 15 0 2,asfrom the collection of Lamberto
Gori/part of 1830 - 139 ?/ 1836 - 98 (with the provenance given
incorrectly as Buonarroti and Wicar, that from Gori omit-
ted.)/Weimar, Sachsen-Weimar Collection (Gotti, 1875 ,
II, p. 210 : Schizzo, a matita nera, della figura della
Vergine nell’affresco del Giudizio finale. Attribuito a Michelan-
gelo.)/Phillips, London, 7 July 1999 ,lot 119 ,black chalk,
393 × 229 mm, as circle of Daniele da Volterra. - 1830 - 73 / 1836 - 66 / 1838 - 37 /186 0- 107 /Clarke Collection/
Cambridge, Fitzwilliam Museum.
1 50.Probably 1807 - 375 / 1814 - 1764 /bought by Dimsdale?/
1830 -Not identified /Not exhibited in 1836 /August 1838
purchase?/186 0- 118 ;untraced.
If this drawing is identical with186 0- 118 as seems likely, it
would have to be assumed that it passed from Brondgeest to
Woodburn between 1850 and 1853 .See186 0- 118 for further
datails. - 1836 - 43 / 1838 - 23 /Frankfurt, St ̈adelsches Kunstinstitut,
Inv. 399 ,bySebastiano del Piombo. Malke, 1980 ,no. 87 ,
established the pre-Richardson provenance of this sheet as
Padre Resta whose number k 67 it bears.
1 52. 1830 - 49 / 1836 - 28 / 1838 - 13 /Lawrence Gallery, 1853 ,pl. 9 /
186 0- 114 /Count Antoine Seilern/London, Courtauld Insti-
tute of Art, Prince’s Gate Collection. - 1830 -Not identified/not exhibited in 1836 /August
1838 purchase?/186 0- 137 /J. C. Robinson/Cambridge, Mas-
sachusetts, Fogg Museum of Art, Inv. 1955 - 75.
It is surprising that this drawing should not be found
in the 1830 inventory and was not exhibited in 1836 :
As a Presentation Drawing of a famous design, it should
in principle have been among Woodburn’s more valu-
able drawings. Since Rubens’ copy of theGanymedewas
shown as no. 27 of the Rubens series in 1835 , the
putative original can hardly have been concealed from
prudery.
The FoggGanymede(black chalk, 361 × 275 mm) was
attributed to Michelangelo by M. Hirst, 1975 ,aview
accepted by many scholars; after much uncertainty, the com-
piler is inclined to think it a copy – a thought comforted by
the prices it realised in 1850 (15 0 guilders, 30 guilders less
than theCleopatracopy, no. 168 )and186 0( 8 guineas, half
that of theCleopatracopy).
AnotherGanymede and the Eaglein black chalk was no.
1780 in Woodburn’s posthumous sale of non-Lawrence
drawings in June 16 and following days in 1854.
1 54.Reproduced by Ottley,Italian School,f.p. 32 / 1814 - 262 ,
bought by Roscoe/ 1830 - 52 / 1836 - 63 / 1838 - 34 /186 0- 136 /
Vaughan/BM W 29 .See 1814 - 262 for further details.
Although the subject is misidentified as the Virgin and
Child in the 1850 sale, there can be no doubt that it is the
Isaiah,the only pen drawing in the sale sufficiently dramatic
and famous to have attained so high a price.
155.Perhaps 1830 - 7 / 1836 - 3 / 1838 - 1 /186 0- 145 /Malcolm 61 /
BM W 1.
Although this drawing is not clearly described, it may
be the study of a draped man, BM W 1 ,obviouslysuperbe
and likely to realise a high price. This drawing was certainly
acquired by William II, and because it cannot be found else-
where in the 1850 sale catalogue, lot 155 is the best can-
didate for it. The fact that it was bought by Brondgeest
in principle counts against it being the same drawing that
appeared in Woodburn’s posthumous sale of186 0,butsev-
eral other drawings in the 1850 sale that were acquired
byBrondgeest seem to reappear in Woodburn’s posses-
sion, and some transaction may have occurred between
them following the sale. Perhaps Woodburn exchanged the
Dream(lot 125 )against several lesser drawings acquired by
Brondgeest.
1 56. 1830 - 119 ?/ 1836 - 99 / 1838 - 58 .Not further identified;
untraced. The price asked in 1836 and that realised in this
sale indicate a copy.
157.Probably 1830 - 116 / 1836 - 42 / 1838 - 22 /Lawrence Gallery,
1853 ,pl. 18 /186 0- 139 /Vaughan/BM W 6.
1 58. 1830 - 41 / 1838 - 41 /Lawrence Gallery, 1853 ,pl. 4 /186 0-
104 /BM W 58.
This lot fetched by far the highest price among the
Michelangelo drawings in this sale.
1 59.Probably 1836 - 40 / 1838 - 21 /186 0-13 0/BM W 61.
160.Unidentified in the 1830 inventory/Not exhibited
in 1836 /August 1838 purchase?/Not further identified;
untraced.
161.Unidentified in the 1830 inventory/Not exhibited
in 1836 /August 1838 purchase?/Not further identified;
untraced.
1 62. 1836 - 37 / 1838 - 18 /186 0- 146 /Robinson/ Malcolm 60 /
BM W 13.- 1830 - 83 / 1836 - 18 / 1838 - 5 /Lawrence Gallery, 1853 ,pl. 27 /
186 0- 144 /Untraced. - 1830 - 28 / 1836 - 39 / 1838 - 20 /Weimar, Sachsen Weimar
Collection/Koenigs Collection/Rotterdam, Boymans-van
Beuningen Museum, I. 392 as Parmigianino. See 1830 - 28
for further details.