P 1 :JZP
0521551335 apx 2 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 14 : 26
APPENDIX 2. THE LAWRENCE COLLECTION OF DRAWINGS 443- 1830 - 75 ?/ 1836 - 95 / 1838 - 56 /Weimar, Sachsen Weimar
Collection (Von Ritgen photograph 1865 ,no. 50 as
Michelangelo; Gotti, 1875 ,II, p. 210 :La Sibilla Libica,
accompagnata da due Angeli. Disegno di sorprendente belleza,
accuratamente condotto a matita nera e acquerello leggerissimo,
tratto dall’affresco della Sistine. Potrebbe essere che sotto il finito
della matita esistesse gi`aunleggiro schizzo originale del Buonar-
roti. Collezione di S. A. R. il Granduca. Dalle Collezioni
Buonarroti, Wicar, Lawrence e Re de’Paesi Bassi.Delacre, 1938 ,
p. 315 )/Phillips, London, 7 July 1999 ,lot 121 ;black chalk,
heightened with white, 398 × 261 mm, as Roman School,
sixteenth century.
114.Perhaps part of 1830 - 135 /Not exhibited in 1836 /August
1838 purchase?/Not further identified; untraced. - 1830 - 79 / 1836 - 20 (although not recorded by Wood-
burn,this sheet also bears the stamp of Sir Peter Lely on the
recto and Gibson’s inscription M. Angolo and his price code - 3 on the verso)/ 1838 - 7 .Itlater appeared in a sale,Handze-
ichnungen des XV bis XVIII Jahrhunderts, 9 – 10 May 1930 ,
C.G.Boerner, Leipzig, lot 331 ,recto illustrated pl. XXXIV,
as by Sebastiano, recto: Study for Christ in the Viterbo Pieta;`
verso: half-length figure of the Virgin. Red chalk, 192 ×
285 mm, with the provenance given as Lely, Richardson Sr.,
Reynolds, Liphart, and Hasse but omitting Lawrence; Santa
Barbara, California, Alfred Moir Collection, attributed to
Francesco Salviati by A. Moir and N. Turner, a view shared
bythe compiler. - 1830 - 16 / 1836 - 38 / 1838 - 19 /Lawrence Gallery, 1853 ,pl. 19 /
Louvre, Inv. 746 /J 38 (with incorrect reference to the 1836
exhibition).
119.Probably 1830 - 69 / 1836 - 86 / 1838 - 51 /Lawrence Gallery,
1853 ,pl. 14 /186 0- 126 /Thibaudeau/Bayonne, Musee Bon- ́
nat, Bean 67.
1 20. 1830 -Not identified / 1836 - 35 / 1838 - 16 /186 0- 142 ?/
bought by Enson/Vaughan?/BM W 102.
This sequence presents two problems. It supposes that the
drawing acquired by Brondgeest in 1850 passed to Wood-
burnbefore the latter’s death in 1853 and that the sheet now
in the BM, which does not bear the Lawrence stamp, has
been trimmed at the bottom by some 50 mm. On the other
hand, the price paid by Brondgeest implies that the drawing
wasofhigh quality, which is certainly true of W 102 .Itwas
first attributed to Francesco Salviati by M. Hirst, 1961 ,a
judgement accepted by most critics, including the compiler.
1 22. 1830 - 45 i/ 1836 - 62 / 1838 - 33 /Lawrence Gallery, 1853 ,pl.
11 /186 0- 121 /BM W 52.
123.Probably 1830 - 17 / 1836 - 100 / 1838 - 59 ,bought by Engel-
bert/Frankfurt, Staedelsches Kunstinstitut, Inv. 393 /Corpus
The high price reached by this drawing is surprising and
might throw the identification in doubt. But Engelbert
seems to have acquired exclusively for Frankfurt in this sale,
and the compiler is aware of no alternative candidate.
1 24.Moselli Collection Verona before that of Pierre
Crozat/ 1830 - 117 / 1836 - 59 / 1838 - 30 /Lawrence Gallery, 1853 ,
pl. 24 /186 0- 138 bought by Clement/Emile Galichon, his
sale, May 1875 ,lot 15 /Malcolm 79 /BM W 55.- 1830 - 8 / 1836 - 77 / 1838 - 44 /Weimar, Sachsen-Weimar Col-
lection (Gotti, 1875 ,II, p. 210 :Il Sogno della Vita umana.
Disegno maestrevolmente condotto a matita nera. La figura centrale
dormente`emolta finita. Collezione di S. A. R. la Granduchessa.
Dalle Collezione Lawrence e Re dei Paesi Bassi.)/Count
Antoine Seilern/London, Courtauld Institute of Art,
Prince’s Gate Collection. - 1830 - 76 / 1836 - 57 / 1838 - 28 /Leembrugen sale186 6,lot
920 ,asSebastiano/Malcolm 63 /BM W 15. - 1830 - 70 / 1836 - 29 / 1838 - 14 /Lawrence Gallery, 1853 ,pl. 8 /
186 0- 117 /BM W 32.
1 28. 1830 - 77 ?/ 1836 - 19 ?/ 1838 - 6 .Unidentified, untraced.
1 29. 1830 - 64 i,ii,iii/ 1836 - 88 / 1838 - 53 /Lawrence Gallery, 1853 ,
pl. 7 /186 0- 109 /BM W 76 – 78.
1 30. 1830 - 44 / 1836 - 87 / 1838 - 52 /Lawrence Gallery, 1853 ,pl. 12 /
186 0- 111 ,bought by Farrer/BM W 17. - 1830 - 36 / 1836 - 83 / 1838 - 48 /186 0- 112 /BM W 16.
1 32. 1830 - 88 / 1836 - 60 /186 0- 101 /Miss K. Radford/BM W 71. - 1830 - 89 / 1836 - 65 (the provenance is given in 1836 as
Buonarroti and Wicar, but because the drawing bears the
Bona Rotiinscription, it probably did not come from Casa
Buonarroti)/ 1838 - 36 / 1850 - 133 ,asMarcello Venusti/186 0-
102 /BM W 72. - 1814 - 259 ?/ 1830 - 27 / 1836 - 90 / 1838 - 54 /Weimar, Sach-
sen Weimar Collection/Private Collection, Switzerland/
Phillips, London, Sale 11 December 1996 ,lot 239 ,black
chalk, 192 × 147 mm, as follower of Daniele da Volterra.
See 1830 - 27 for further details. - 1830 - 4 / 1836 - 13 / 1838 - 3 /186 0- 124 /BM W 4.
141.Perhaps: Pierre Crozat?; his number? 396 at lower
left/Count Moritz Von Fries (L. 2903 )/ 1836 - 58 / 1838 -
29 /Lawrence Gallery, 1853 ,pl. 10 /186 0- 120 /BM W 69.
If the identification suggested here is correct, the drawing
would have passed from Enthoven to Woodburn between
1850 and 1853.
1 42.Probably 1830 - 37 / 1836 - 79 / 1838 - 46 /186 0- 100 bought
byTiffin/Locker[-Lampson]/BM W 11.
1 43.Probably 1830 - 10 / 1836 - 12 / 1838 - 2 /Lawrence Gallery,
1853 ,pl. 21 /186 0- 147 /Vaughan/BM W 10.
144.Perhaps 1830 - 11 ?/ 1836 - 26 / 1838 - 11 /186 0- 123 /J. C.
Robinson/Malcolm 64 /BM W 54.