P 1 : KsF
0521551331 c 01 -p 2 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 10 : 5
176 WHOLLY OR PARTIALLY AUTOGRAPH SHEETS CATALOGUES 31–32heads known as theMarchesa di Pescaraand theConte di
Canossa” and, like those “probably done in emulation
of Leonardo da Vinci.” Datable “shortly before15 0 0.”
Copies in Oxford [Cat. 62 ] and Uffizi [ 602 E], both by
Battista Franco.). Fisher,187 2, II, p. 21 , pl. 13 (As186 2.).
Ruskin,187 2,p. 99 (“Passing, for the moment, by No.
10 .”). Black, 1875 ,p. 213 ,no. 10 (Reproduced in a photo-
graph f.p. 214 .). Gotti, 1875 , II, p. 239. Blanc,187 6,f.p. 26
(Reproduction.). Philostrate,187 8,p. 215 (“[A] sketch of
awoman’s head by Michael Angelo. It might be called a
study of refinement. Nothing can be imagined more gen-
tle than that mouth; the lips seem to tremble as we look
at them; nothing could be sweeter than those clear-cut,
down-cast eyes, every line round which seems to speak a
subtle language of its own.”). Fisher,187 9,V/ 5 (“Head
or Bust, in profile, of a Woman.”). Springer, 1883 ,I,
p.31 0(Influence of Leonardo.). Wolfflin, ̈ 18 91,pp. 64 – 6
(“[W]undervolle Rothelzeichnung, darstellend ein Weib ̈
mit fremdartiger Kopfbedeckung”; not early, reminiscent
ofNight.). Berenson, 1903 ,I,p. 182 ,no.155 2(“Bust of
aYoungish Woman.” Datable15 0 8.). Colvin, 1904 , II,
no. 10 (“It belongs to the earlier period of the artist’s
employment on the Sistine ceiling and represents a type
of intellectual beauty which recurs often.”). Steinmann,
1905 , II, p. 603 ,no. 55 (Study of a female head, employed
for the youth to the right of theEleazar-Mathanlunette.).
Jacobsen, 1907 ,pp. 493 – 4 (Contests Steinmann’s view;
if connected with Sistine more likely related to woman
inEzechiaslunette.). Mackowsky, 1908 (and subsequent
editions), p. 250 (“Frauenkopf.” Influence of Leonardo’s
technique and fantasy.). Borough Johnson, 1908 ,p. 10 ,
pl. III (Early; “majestic expression.”). Thode, 1908 ,I,
p. 257 ; II, p. 337 (“Wundervolle Zeichnung”; for a Sibyl.).
K. Frey, 1909 – 11 ,no. 172 b (Head of a woman. Influ-
ence of Leonardo. Painterly technique and type suggest
Sistine period: datable 1511 – 12 .Norelation to Venice
sheet, which is not by Michelangelo. Copies in the Uffizi
[ 602 E] and Oxford [Cat. 62 ].). Thode, 1913 ,no. 394 (All
agree this head of a woman to be contemporary with
the Sistine ceiling; direct relation to Sibyline Woman in
Michelangelo’s drawing in Venice, Inv. 199 /Corpus 244 .).
Zoff, 1923 , pl. 31 .Brinckmann, 1925 ,no. 30 (Head of
a Sibyl, c. 1511 .). Popp, 1925 ,p. 21 (By “Carlo” who
is also the author of the LondonEntombment; the type
is close to head ofignudoleft aboveJoel.). Popp, 1925 b,
p. 74 (Not by Michelangelo.). Hekler, 1930 ,p. 216 (Com-
pared with a head in a Roman fresco from the Franc ̧ois
tomb at Volci.). Popham, 1930 a,no. 503 .Popham, 1931 ,
no. 214 (Head of a Young Woman; c.15 0 8.). Berenson,
1938 ,I,p. 197 ,no.155 2 (“[T]en or more years later”
than15 0 8.). Delacre, 1938 ,pp. 87 , 173 – 6 , 373 (Michelan-gelo not “Carlo” “Tˆete de femme avec Turban.” Rela-
tion to CB 7 F. Uffizi 602 perhaps also autograph.). De
Tolnay, 1945 ,pp. 209 – 10 ,no. 15 a (By Bacchiaca.). Gold-
scheider, 1951 ,no. 65 (Michelangelo, but “manner more
mechanical” than in drawings for Perini; “model was a
young man.” c.15 2 8– 30 .). Wilde, 1953 exh., no. 34 (Ideal
head of a woman, c. 1516 .). Parker, 1956 ,no. 315 (“The
features are young and somewhat epicene in character”;
that it could connect with and follow drawings made
for Gherardo Perini is at least stylistically admissible.).
Dussler, 1959 ,no.34 2(Autograph, c.15 2 0.). De Tolnay,
1960 ,p. 170 ,no.15 2 (Head of a young woman; now
regards as genuine, c.15 2 0– 5 .). Berenson, 1961 ,no.155 2
(As 1903 / 1938 .). Barocchi, 1962 ,p. 278 (Copied by
Bacchiacca on Uffizi 602 E.). Brugnoli, 1964 ,no. 27
(Female head; perhaps a Presentation Drawing. c.15 2 0.).
Berti, 1965 ,pp. 456 – 7 , 466 (Authentic, not Bacchi-
acca.). Goldscheider, 1965 ,no. 49 (Redated to c.
1522 .). Hartt, 1971 ,no. 363 ( 1533 – 4 .“The features
are clearly those of a youth, seized by some haunt-
ing and nameless melancholy. The female dress, proba-
bly added from imagination, gives the work a strange,
transvestite appearance...elusive delicacy of the surface
is...closely allied to the style of the presentation draw-
ings.”). Gere and Turner, 1975 ,no. 112 (Datable151 2–
25 ; sex of head unclear; perhaps made for presenta-
tion.). Hibbard, 1975 ,p.18 9.Keller, 1975 (Ideal female
head, in spirit of younger Sibyls of the Sistine; c.15 2 0.).
Keller, 1976 , fig. 164 (Ideal Headof an ancient heroine;
aPresentation Drawing.). De Tolnay, 1976 ,Corpus II,
no. 323 (Head of a woman,15 2 5– 30 .). Pignatti, 1977 ,
no. 20 (Head of a woman; survey of opinion on purpose
and dating.). Murray, 1980 ,p.15 4( 1532 – 4 ?.). Lamarche-
Vadel, 1981 ,p. 136 ,no.15 7 ( 1522 – 34 .). Pignatti, 1981 ,
p. 110 (“[L]inked with the group of so-called ‘finished
drawings’, datable to around15 2 2.”). Hirst, 1988 ,p. 108
(Earlier than the drawings made for Perini.). Hirst, 1988 –
9 a, no. 23 ( 1518 – 20 ;represents a young man.). Perrig,
1991 ,pp. 77 – 8 , 139 – 40 , fig. 65 (By Cavalieri.).CATALOGUE 32Recto: Head of a Bearded Man in Left Profile
Ve r so: Various Studies
184 6. 68 ;R. 11 ;P.II 322 ; Corpus31 0
Dimensions: 155 × 125 mm. Severely cut down.Watermark: An orb, with a crescent-shaped insert at the
top, with a line proceeding out of it; the lower part of the