Table Of Content

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 collection—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 collection. 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 volumes 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