P 1 : KsF
0521551331 c 01 CUNY 160 /Joannides 052155 133 1 January 10 , 2007 22 : 22
64 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUES 1–2Inv. 714 /J 4 /Corpus 19 verso, c.15 0 2. Studies of “the
back of a young male model...not actually used in
theDavid,but the wonderfully sharp definition of their
anatomical structure aims at the same tactile values that
are emphasised in the rear view.”). Wasserman, 1969 ,
pp. 122 – 31 (Datable c.15 0 5. Recto: no direct connec-
tion with Leonardo’s lost cartoon, closer in arrange-
ment to his National Gallery cartoon. But the pose of
the Virgin is most similar to Leonardo’s crouchingLeda
at Chatsworth [Inv. 717 /Jaffe, ́ 1994 ( 3 ), no. 880 ]. Per-
haps drawn in response to an unknown commission for
a painting or a sculpture. Verso: bearded heads close in
type to that ofSaint Matthew;probably of15 0 6.). Hartt,
1971 ,no. 9 (Recto: placing together of the Virgin’s
knees and the diagonal mantle strap over the left shoul-
der characteristic.); no. 16 (Verso: studied from same
model as Louvre Inv. 714 verso/J 4 /Corpus 19 ; this figure
drawn first. The bearded head a self-portrait.). Mancusi-
Ungaro 1971 (Recto: after Leonardo.). Gere and Turner,
1975 ,no. 12 (“[C]learly...inspired by Leonardo.”). Hib-
bard, 1975 ,p. 64 (Recto. “Leonardesque group...clearly
hatched, like a study for a sculpture...wholly unlike
Leonardo’s misty sfumato, which unites figures and their
surroundings.” Verso: bearded man “may be a sketch
of Leonardo himself.”). De Tolnay, 1974 ,p. 11 (Recto:
probably planned for a sculpture). Keller, 1975 ,no. 19
(Michelangelo, c.15 0 1, inspired by Leonardo.). de Tolnay,
1975 ,p. 15 (As 1951 .). De Tolnay, 1975 , Corpus I, no. 17
(Recto: second half of15 0 1; closest to Leonardo’s draw-
ing in the Louvre, Inv. RF 460 .Verso: pose of A close to
that of Leonardo’s drawing at Windsor, 12596 /CP p. 120.
Heads, especially [F] also inspired by Leonardo, to whom
leardomight refer.). Macandrew, 1980 (Inscription cor-
rected.). Lamarche-Vadel, 1981 ,p. 16 ,no. 4 (15 0 1– 2 .).
Liebert, 1983 ,pp. 94 – 5 (Verso: [F] is a self-portrait. [E]
“the model for the androgynous nude...is used for the
Madonna in...[Berlin 1363 /Corpus 27 ], one of theDoni
tondonudes, and the nude triton” [in Cat. 2 ].). Hirst,
1988 ,p. 26 (Recto: “the style...would not exclude a
dating of around15 0 4– 6 .”). Sisi, 1988 , nos. 27 , 28 (Influ-
ence of Leonardo in technique “il volume...descritto
tende a complicarsi in un amalgama di luce e ombra lon-
tano dal ‘lume universale’ concreto e definitorio della
tradizione toscana. Questo‘aer bruno’rilevato dal Vasari
nelle opere di Leonardo, si addenso sopratutto intorno
al gruppo di figure sulrecto...che ripete l’iconografia
della Sant’Anna Metterza, soggetto piuv` olti sperimen-
tato da Leonardo.”). Perrig, 1991 ,pp. 26 – 7 (Verso: by
Cellini.). Bonsanti, 1992 ,p. 345 (Verso: link between tri-
tons here and on Cat. 2 with wall drawing from Buonar-
roti Villa at Settignano.”). Nathan, 1992 ,pp. 95 – 6 (Recto:Michelangelo proceeded from left to right; “the sheet,
at some point in the drawing process, only contained
the infant and his mother...[and]...the composition
was extended to the right...through the addition of the
St. Anne. This suggests that...weare confronted with a
change in subject matter.” Notes that “the unusual man-
ner in which the Virgin holds her child...clearly cor-
responds to a follower’s version of Leonardo’s design for
a kneelingLeda” and cites example in Kassel, Staatliche
Gemaldgalerie. Concludes “that, before the St. Anne was ̈
added, the mother and her infant were really intended to
represent a nudeLedawith one of her children.”). Hirst,
1994 – 5 ,pp. 42 – 3 , fig. 32 (c.15 0 1– 5 ; “the figure of the
Virgin reflects that in theManchester Madonna.”). Bon-
santi, 1999 – 2000 ,p. 220 (Sketches of tritons on [Cats. 1
verso and 2 recto] support the authenticity of the Settig-
nanoTr iton.).CATALOGUE 2Recto: A Triton and Three Heads
Ve r so: Studies of a Back, a Left Arm, a Right Leg
184 6. 38 ;R. 21 ;P.II 292 ; Corpus 18Dimensions: 235 × 190 mmMedium
Pen and iron gall ink.Condition
There are additional narrow strips of paper at the left and
lower edges, with a number of pulp infills and repairs at
the edges, at the lower right corner, and in the image area
where the ink has fractured the paper. There is a repaired
tear with ingrained dirt and a small infilled hole in the
lower quarter, and the paper is skinned in areas. There
are scattered discoloured accretions, local staining, and a
severe show-through of the ink to the verso. The ink is
wornin places with haloing in the heavily worked areas.Inscriptions
Recto: Lower left, in pen and ink:Michel Angelo/di Buona
Roti; the words “Michel Angelo” were added above “di
Buona Roti,” which was written first.Description
Recto
A.Anude male figure seated facing left, his arms and legs
terminating in scroll-like fins, wearing a helmet decorated
with wings.