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European Drawings - 1, Catalogue of the Collections

370 Pages · 2013 · 33.32 MB · English

  • European Drawings - 1, Catalogue of the Collections

    E U R O P E AN D R A W I N GS 1


    CATALOGUE OF THE COLLECTIONS This page intentionally left blank EUROPEAN DRAWINGS 1


    CATALOGUE OF THE COLLECTION S


    George R. Goldner


    with the assistance of


    Lee Hendrix and Gloria Williams


    T HE J. P A UL G E T TY M U S E UM


    M A L I B U - C A L I F O R N IA


    1988 © 1988 TheJ. Paul Getty Museum


    17985 Pacific Coast Highway


    Malibu, California 90265


    Mailing address:


    P.O. BOX2II2


    Santa Monica, California 90406


    Christopher Hudson, Head of Publications


    Andrea P. A. Belloli, Editor-in-Chief


    Patrick Dooley, Designer


    Karen Schmidt, Production Manager


    Thea Piegdon, Production Assistant


    Elizabeth C. Burke, Photograph Coordinator


    Charles Pasella and Stephenie Blakemore, Photographers


    Typography by Wilsted & Taylor, Oakland, California


    Printed by Mondadori, Verona


    LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA


    J. Paul Getty Museum.


    European drawings.


    Includes index.


    i. Drawing, European—Catalogs. 2. Drawing—


    California—Malibu—Catalogs. 3. J. Paul Getty Museum—


    Catalogs. I. Goldner, George R., 1943- . II. Hendrix,


    Lee. III. Williams, Gloria. IV. Title.


    NC225J25 1987 74i.94'o74'oi9493 87-29346


    ISBN 0-89236-092-5 (v. l)


    Printed in Italy CONTENTS


    FOREWORD John Walsh vii


    PREFACE AND ACKNOWLEDGMENTS George R. Goldner ix


    PLATES i


    ITALIAN SCHOOL (Nos. 1-57)


    19


    FRENCH SCHOOL (Nos. 58-85) 138


    FLEMISH SCHOOL (Nos. 86-100) 192


    DUTCH SCHOOL (Nos. 101-125) 228


    GERMAN SCHOOL (Nos. 126-136) 280


    SWISS SCHOOL (Nos. 137-140) 306


    SPANISH SCHOOL (Nos. 141-145)


    3H


    BRITISH SCHOOL (Nos. 146-149)


    324


    ARTISTS' BIOGRAPHIES


    333


    LIST OF ARTISTS 357 This page intentionally left blank FOREWORD


    The Getty Museum's collection of drawings is seven years old, a small child among the mature


    museum collections of the world, but a child with promise.


    In the spring of 1981, George R. Goldner, who was then head of the Museum's photographic


    archive, proposed to the Trustees that they bid at auction for the Rembrandt chalk study of a nude, the so-


    called Cleopatra. Dr. Goldner's timing was perfect. For while J. Paul Getty had never bought drawings, and


    although since his death in 1976 the Trustees had not strayed outside the three established areas of the col-


    lection—antiquities, French furniture and decorative arts, and European paintings—Getty had left a huge


    bequest, and it was clear that the Museum's collection could now be broadened as well as strengthened. Dr.


    Goldner, a specialist in Italian art, argued that the Museum could form a collection that eventually might


    become one of the finest in the world. He reasoned that there were enough private collections to provide


    a relatively generous supply of important examples for a long time to come, and that buying the Rem-


    brandt seemed a brilliant way to start. The Trustees agreed, and their bid for the Rembrandt was successful.


    By the time I arrived at the Museum in 1983, Dr. Goldner, who was in charge of drawings part-


    time, had secured some forty of them for the collection and had demonstrated that he was obviously the


    man to head a new department of drawings. Later that same year Nancy Yocco joined the department as


    conservation assistant. In 1984 a study room was created and a gallery fitted out for rotating exhibitions


    from the collection; in 1985 Lee Hendrix became assistant curator. Since then the department has been


    working intensively at collecting, exhibiting, publishing, lending, and facilitating scholarship.


    There are now more than two hundred drawings in the Museum's collection. The reader will see


    from the proportion of examples of various schools and periods that we have been concentrating during


    this period on the rarest material, mainly from the Italian and German Renaissance; trying to find the best


    drawings of the seventeenth and eighteenth centuries; acquiring nineteenth-century drawings only when


    the greatest opportunities arose; and adding superb drawings by artists whose names will never be house-


    hold words.


    The rate at which the collection is growing ensures that this catalogue will immediately be out-


    dated, so we intend to issue a sequel in five years or so. This volume, like the collection itself, owes every-


    thing to the energy of and skill of the curator.


    John Walsh


    Director This page intentionally left blank PREFACE AND ACKNOWLEDGMENTS


    This volume represents the first in a series of catalogues of the Getty Museum's drawings collec-


    tion. It contains entries on our acquisitions from 1981 through 1985 and takes into account bibliographical


    information through 1986. It is anticipated that future volumes will appear at more or less regular intervals


    marked by additions to the collection in sufficient numbers to warrant new publications. Later catalogues


    will also contain further material on the drawings included in this one. The format of this and future vol-


    umes will be standardized, with drawings organized by national school, alphabetically by artist's name, and


    then chronologically. The physical description of each sheet will mention any noteworthy irregularities.


    The writing and production of this catalogue have involved the assistance of many individuals. I


    am grateful to Lee Hendrix, Assistant Curator, and Gloria Williams, Catalogue Assistant, for their work


    on all aspects of the project, ranging from the drafting of the introductory biographies to the contribution


    of many useful ideas about individual drawings. Their specific suggestions—like those of other scholars^


    are duly noted in the appropriate places in the text. Nancy Yocco^ Conservation Assistant, carefully


    recorded relevant information about the condition of each drawing and the inscriptions and marks that each


    one bears. The entire text was reviewed and helpful criticisms offered by three readers: Diane DeGrazia,


    for the Italian drawings; Beverly Jacoby, for the French and Spanish drawings; and Anne-Marie S. Logan,


    for all of the Northern and British drawings. Giulio Bora was kind enough to read over those entries deal-


    ing with Lombard drawings and to make several helpful suggestions.


    Andrea P. A. Belloli took over the editorship of the catalogue at an especially difficult moment and


    carried out her role with the optimum blend of editorial sternness and good cheer. Patrick Dooley pro-


    duced the design of the volume. Lastly, many scholars have offered suggestions. In every case I have


    attempted to note their contributions in the entries on individual sheets, and thank them here collectively


    for their advice. Notwithstanding my respect for their opinions and for those of other scholars, full respon-


    sibility for the attributions and views expressed in the catalogue is my own. Where they depart from the


    opinions of others they do so respectfully, but unapologetically, since I believe that each connoisseur must


    attempt to make his or her own judgments instead of reporting the results of scholarly polls.


    The publication of the first volume of our serial catalogue is an appropriate moment to thank the


    many people who have made possible the existence and development of the collection. Harold Williams


    and Otto Wittmann supported our initial purchase of the Rembrandt, and have—along with other mem-


    bers of the Board of Trustees—given great encouragement throughout the last six years. Since his appoint-


    ment in 1983 as director, John Walsh has encouraged the evolution of a broader concept for the collection


    and has given me a degree of freedom and support unusual for any curator. Within the department, Lee


    Hendrix has been of enormous assistance with all curatorial matters, while Nancy Yocco has looked after


    the physical care of the drawings with exemplary dedication. Outside the Museum, Alexander Yow


    deserves special mention for the fine restoration work he has carried out on a number of our drawings and


    for his advice. In addition other scholars and dealers too numerous to list here have been of assistance in


    myriad ways. It is my hope that all those who have contributed to the beginnings of the collection and the


    writing of this catalogue will feel at least partially compensated for their generosity by seeing the result.


    George R. Goldner


    Curator, Department of Drawings


    ix


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