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European Drawings · 3 European Drawings 3 C A T A L O G UE OF T HE C O L L E C T I O NS Nicholas Turner Lee Hendrix Carol Plazzotta The J. Paul Getty Museum LOS ANGELES ©1997 The J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Los Angeles, California 90049-1681 LIBRARY OF CONGRESS CATALOGING-IN-PUB LI CATION DATA J. Paul Getty Museum. European drawings. Includes index. 1. 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. NC225.J25 1987 741.94'074'019493 87-29346 ISBN 0-89236-092-5 (v. 1) ISBN 0-89236-219-7 (v. 2) ISBN 0-89236-480-7 (v. 3) Printed in the United States of America FRONT AND BACK COVER: Martin Schongauer, Studies of Peonies (detail), (cat. no. 73) FRONTISPIECE: Giovanni Bellini, Fortitude (cat. no. 5) TITLE PAGE: Domenichino, Head of Saint Cecilia (detail), (cat. no. 14) PAGE vi: Jacopo Ligozzi, An Azappo Archer with a Cheetah (detail), (cat. no. 23) PAGE viii: Giulio Romano, Janus, Chronos, Gaea, and a Victory (detail), (cat. no. 20) C O N T E N TS F O R E W O RD John Walsh vii P R E F A CE A ND A C K N O W L E D G M E N TS Nicholas Turner ix P L A T ES xi C A T A L O G UE Italian School (Nos. 1-59) ι German and Swiss Schools (Nos. 60-75) 151 Dutch and Flemish Schools (Nos. 76-91) 189 French School (Nos. 92-101) 225 Spanish School (Nos. 102-19) 249 B I B L I O G R A P HY 289 I N D E X ES 305 C O N C O R D A N CE 317 F O R E W O RD T he third catalogue of the Getty Museums draw uscripts, it occupies new quarters that include a spacious day-lit ings appears at a great moment in our history: the study room (with a view of the nearby hills and Los Angeles in opening, after fourteen years of planning and the distance), storage rooms, and offices; next door there is an building, of a new museum. The creation of the drawings collec ample laboratory for paper conservation. A gallery for drawings tion, like that of the new museum, was made possible by J. Paul exhibitions, larger than the one in Malibu but designed to have Getty's vastly generous bequest of 1976. Although Getty's nar a similar intimacy and comfort, will continue the tradition of row range of interests did not include drawings, his will allowed displaying works from the permanent collection, interspersed the Museum to acquire them, and since the 1980s a collection of from time to time with loan shows. real distinction has been formed. Now comprising 506 drawings, Since the drawings catalogued in this volume were the last it has been the subject of two previous volumes in this series, the group acquired under the remarkable curatorship of George first appearing in 1988, the second in 1992. Goldner, who began the Museum's collection and spent a dozen When I wrote a foreword to the first volume, the Depart years building it, I want to pay tribute to him once more. And to ment of Drawings shared space with the Department of Manu Nicholas Turner, whose impressive purchases since he took over scripts—also a new creation—in a room in the basement of the the department in 1993 will be the subject of a fourth volume, Museum in Malibu which had previously housed the photo now in preparation—as well as to his coauthors, Lee Hendrix archive. Upstairs the department had a small gallery, where, in and Carol Plazzotta—I offer thanks and admiration for having the course of a dozen years, it put on more than fifty exhibi produced this catalogue. tions drawn from its ever-growing holdings. In March of this year the Department of Drawings moved to the Getty Museum John Walsh at the Getty Center, where, once more sharing space with Man Director vii P R E F A CE A ND A C K N O W L E D G M E N TS T he third volume of the catalogue of drawings in Stephanie Schrader, who served as special assistant in the the J. Paul Getty Museum describes works chosen department in 1996. for the collection between 1990 and 1993 by my I am especially indebted to the intern for 1996-97, Taco predecessor, George Goldner, who left the Museum in the sum Dibbits of the Dutch Institute for the History of Art (Neder- mer of 1993 to take up the Drue Heinz Curatorship of Drawings lands Interuniversitair Kunsthistorisch Instituut) in Florence, and Prints at the Metropolitan Museum of Art, New York. who undertook the arduous tasks of checking outstanding refer They include works of the Italian, Dutch, Flemish, Swiss, Ger ences, compiling the indexes and concordance, and checking the man, French, and Spanish schools. A handful of the drawings final typescript. His work was an invaluable and very timely acquired during this period have been held over for further contribution to the catalogue. research and will be described in future catalogues. In the course of writing the catalogue, the compilers Among the notable highlights are The Holy Family with the incurred numerous debts of gratitude. We should like to thank Infant Saint John the Baptist by Michelangelo (cat. no. 28), a Marta Ajmar, Lizzie Boubli, Xavier Bray, Barbara Brejon de work of extraordinary intensity and without doubt the finest Lavergnee, Duncan Bull, Alexandra Chaldecott, Hugo Chap drawing by the artist to have appeared on the market since the man, Clario Di Fabio, Mario Di Giampaolo, David Ekserdjian, Second World War, and Studies of Peonies by the German Caroline Elam, Laurie Fusco, Antony Griffiths, Marguerite Renaissance master Martin Schongauer (cat. no. 73). Among the Guillaume, Michael Hirst, Peter Humfrey, Mauro Lucco, Fran rarities are the eighteen Spanish drawings (cat. nos. 102-19), çois Quiviger, Ruth Rubinstein, Arlette Sérullaz, Jane Shoaf purchased en bloc early in 1994. Represented are artists such as Turner, Emmanuel Starcky, Luke Syson, Françoise Viatte, and Pedro Atanasio Bocanegra, Eugenio Cajés, Vicente Carducho, Hans van der Windt. and Juan Carrefio de Miranda. With this purchase, the Getty Within the Museum, thanks are due to Maite Alvarez of acquired one of the largest and most comprehensive holdings of the Department of Education; Denise Allen of the Department Spanish drawings in the United States. of Paintings; Mark Greenberg of the Department of Publica Visitors to the study room sometimes inquire about the tions; Charles Passela, head of Photographic Services, and his purpose of the code consisting of two capital letters which con staff; and, finally, to Krista Brugnara and Kathleen Kibler, cura stitutes the middle part of the inventory number (for example, torial assistant and staff assistant, respectively, in the Depart 91.GG.35, the number for cat. no. 4). Before joining the Getty, I ment of Drawings. was myself curious on the point. This seemed therefore a good Karen Jacobson copyedited the text of the catalogue at great opportunity to explain that they are in fact the codes devised by speed and with exemplary thoroughness, and the compilers are the Registrar to indicate the different techniques used for works most grateful for her help. We should also like to thank designer on paper: GA, pen and ink; GB, chalk (either red or black); GC, Sandy Bell, whose sensitivity to the subject matter and close watercolor; GD, pencil or graphite; GE, crayon; GF, charcoal; GG, attention to detail are reflected in this handsome volume. Stacy miscellaneous drawings (that is, drawings done in a combination Miyagawa of Getty Trust Publication Services ably coordinated of mediums); GH, etchings; GI, engravings; GJ, woodcuts; GK, the production of the catalogue, ensuring the timely completion lithographs; GL, miscellaneous prints. of the project. The entries on the Italian and Spanish drawings were writ ten jointly by myself and Carol Plazzotta, assistant curator at the Nicholas Turner National Gallery, London, who, before assuming that position, Curator, Department of Drawings worked for the Museum for a short time. We made use of unpublished research by George Goldner on some of the Italian drawings. The Dutch, Flemish, Swiss, German, and French CONTRIBUTORS TO THE CATALOGUE entries are the work of my colleague Lee Hendrix, associate Cat. nos. 1-59 Nicholas Turner and Carol Plazzotta curator in the Department of Drawings. Preliminary research on Cat. nos. 60-91 Lee Hendrix the French and Spanish drawings was undertaken by Heinz Cat. nos. 92-101 Lee Hendrix, with drafts by Heinz Widauer Widauer of the Albertina, Vienna, intern at the Museum in Cat. nos. 102-19 Nicholas Turner and Carol Plazzotta, with 1995-96. Many of the biographical entries were drafted by drafts by Heinz Widauer ix