P 1 : JZP
0521551335 int 1 a CUNY 160 /Joannides 052155 133 1 January 11 , 2007 9 : 33
34 THE DRAWINGS OF MICHELANGELO AND HIS FOLLOWERS IN THE ASHMOLEAN MUSEUMGoliathfragments in the Morgan Library (Inv. 132 i,ii,iii,iv, Cor-
pus37 0– 1 ; see Cat. 46 a), may have come onto the market with
the dispersal of the Cicciaporci Collection. All were made late in
Michelangelo’s career.
35. Published in instalments between 1808 and 1823.
36. Acquired by William II, it was lot 106 in his sale. It was
purchased for the ducal collection at Weimar and was described
in that collection by Gotti, 1875 , II, p. 210 .Nodoubt sold by the
Sachsen-Weimar family in the twentieth century, it is now in the
National Gallery of Canada (Franklin, 2005 ).
37. Wilde, no. 87.
38. See ns. 31 and 34.
39. Taking the 1836 exhibition as a sample, one genuine draw-
ing came from Reynolds ( 1836 - 79 ), two from Richardson ( 1836 - 36 ,
1836 - 52 ; although his ownership is listed for 1836 - 51 , this was prob-
ably an error), and one from Revil ( 1836 - 54 ). Among the drawings
wrongly given to Michelangelo two came from Reynolds ( 1836 -
44 , 1836 - 75 ), two from Richardson ( 1836 - 37 , 1836 - 46 ), one from
Hudson ( 1836 - 78 –probably but not certainly a copy), and one
from Cosway ( 1836 - 92 ).
40. Taking the 1836 catalogue as a sample, genuine drawings by
Michelangelo coming from Mariette (and, in most cases, Crozat)
were 1836 - 13 , 1836 - 31 , 1836 - 59 , 1836 - 81 , and 1836 - 89. Drawings
wrongly ascribed to Michelangelo from Mariette’s collection were
1836 - 8 , 1836 - 17 , 1836 - 41 , 1836 - 45 , and 1836 - 61.
41. For the history of the Albertina’s collection, see Dossi, 1999 –
2000.
42. ForJulien de Parme, see P. Rosenberg, 1999 .Julien also
acquired drawings for himself at the Mariette sale.
43. Birke and Kertesz, 1992 – 1997 ,I,nos. 102 /Corpus 269 ,
103 /Corpus 432 , 116 /Corpus 5 , 118 /Corpus 22 , 120 /Corpus 144 ,
123 /Corpus 53 , 132 /Corpus 14 ; III, no. 4868 /Corpus 408 ; the
sales of works of art made in the 1920 s, the 1930 s, and later by the
Archduke Frederick and his heirs included some 3 , 800 drawings,
but these seem to have been works acquired under Frederick’s own
auspices between18 95and 1919 , and not to have come from the
collection of drawings formed by Albert von Saxe-Teschen; see
Dossi, 1999 ,pp. 42 , 166 – 7.
44. J. Fisher, 1865 ,p. 9.
45. See Joannides, 1994 a.
46. Lempereur owned several drawings by Michelangelo,
including two now in the British Museum, W 1 /Corpus 6 and
W 3 /Corpus 36 , the study for theMinerva Christformerly in the
Brinsley Ford Collection, Corpus 94 , and theStoning of St. Stephen
now at the Chateau of Loppem. Only the last two now bear Mari-ˆ
ette’s mark, and only W 1 was acquired by Lawrence.
47. ForVivant Denon’s drawing collection see Bicart-See and ́
Dupuy, 1999 – 2000.
48. Williams, 1831 , II, pp. 405 – 7.
49. Williams, 1831 , II, pp. 418 – 20 , mistakenly placed by Williams
later in the year. Because Lawrence refers to the opening of the
Royal Academy exhibition in this letter, it should no doubt be
dated in the first half of May.
50. Lawrence, who was in Paris between August and October
1825 ,wrote to Woodburn on 1 September (Williams, 1831 , II,
pp. 413 – 16 ): “Of Denon’s drawings I saw a few; but the owner
is now absent and does not return till after my departure which
will take place at the end of this month.” Woodburn went to Paris
shortly after.
51. 1836 - 22 and 1836 - 64.52. The catalogue of Julien de Parme’s sale, known in a single
copy, is reproduced in P. Rosenberg et al., 1999 – 2000 ,pp. 26 – 31.
It contained four lots of drawings by Michelangelo ( 10 – 13 ).
53. For the Brunet-Denon family, see Dupuy, 1999 – 2000 ,
p. 494 ff.
54. Lawrence expressed in his will his wish that “my highly
intelligent friend William Young Ottley Esq.” (Williams, 1831 , II,
p. 568 ) should be entrusted with cataloguing Lawrence’s collection
for sale. In an undated note to Keightley (Royal Academy, Lawrence
letter-books, II/ 228 )Lawrence recommended that Ottley should
receive £ 500 for this employment.
55. Woodburn, 1836 a,p. 1.
56. For Roscoe’s first letter, see Royal Academy, Lawrence
letter-books, IV/ 253 ;fromhis letter of 5 January 1825 (ibid.,
IV/ 293 ), it is evident that Lawrence had reacted critically to the
drawing, although he did eventually buy it from Roscoe.
57. Gere and Pouncey, 1983 ,no. 95.
58. Garlick, 1989 ,no. 623.
59. Lawrence’s letter is published in Taggart et al., 1965 ,
pp. 8 – 9.
60. Williams, 1831 , II, p. 285.
61. Royal Academy, Lawrence letter-books, IV/ 84. Beaumont
seems to have purchased thetondofrom Wicar shortly before 19
May 1822 , when he wrote about it to Lawrence (Lawrence letter-
books, IV/ 20 ,reference kindly supplied by Cecilia Treves); he is
thought to have paid £ 1 , 500 ,but there seems to be no certain
record of this.
62. Woodburn, 1836 a,p. 2.
63. Royal Academy, Lawrence letter-books, IV/ 93.
64. Royal Academy, Lawrence letter-books, IV/ 86. TheLeda
cartoon was given to the Royal Academy by William Lock the
Younger in 1821.
65. Williams, 1831 , II, p. 291.
66. Michelangelo’s authorship of theLedacartoon in the Royal
Academy is now universally rejected, but there is every reason to
think that it was accepted as his in the sixteenth century. According
to Vasari in15 6 8,“aFiorenza`eritornata poi il cartone della Leda,
che l’ha Bernardo Vecchietti...condotti da Benevenuto Cellini
scultore,” and it is also mentioned by Raffaello Borghini (15 8 4,
p. 13 )asinthe Vecchietti Collection. It was still there in 1746
when Gori in his edition of Condivi wrote (p. 111 : “Il cartone
di Leda fatto di Michelagnolo, si conserva sino di presente, bello,
intatto e fresco in Firenze nela Sala della Casa de’ Vecchietti; n`e
senza stupore e gran piacere puo osservarsi”). But Charles Rogers,`
1778 ,I,p. 16 and n. 38 , quotingSerie IV,degli homine i pi`u illustri
nella pitturaetc, 1771 ,p. 48 ,writes, “The original Cartone of this
Leda with the Swan, mentioned by Vasari, Borghini, Bocchi and
others, is now at London in the valuable collection of William Lock
Esq., a great Lover of the Fine Arts and particularly of the works
of this inimitable master; by whom he has also a Hercules Killing
Cacus in terra-cotta, a basso-relievo of a Bacchanal, a Torso of a
man, and two models of an Aurora and of a St. Laurence, one of
which is in wax.” Furthermore, in Coltellini’s edition of Vasari, of
which volume 6 was published in 1772 ,itisstated on pp. 388 – 9
that the cartoon – and some sculptural models – was now owned
byWilliam Lock. The alternative, that the cartoon acquired by
Lock is that recorded in France in Le Brun’s 1683 inventory of
the French Royal Collection and referred to in an annotation to
that inventory by Houasse datable 1691 as destined to be burned
(see Brejon de Lavergnee, ́ 1987 ,no.36 9,pp.37 0– 1 ; Michelangelo’s