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E U R O P E A N D R A W I N G S . 2 CATALOGUE OF THE COLLECTIONS This page intentionally left blank E U R O P E A N D R A W I N G S . 2 CATALOGUE OF THE COLLECTIONS George R. Goldner and Lee Hendrix with the assistance of Kelly Pask 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 1992 © I992 The J. Paul Getty Museum 17985 Pacific Coast Highway Malibu, California 90265-5799 Mailing address: P.O. BOX2II2 Santa Monica, California 90407-2112 Christopher Hudson, Head of Publications Andrea P. A. Belloli, Consulting Editor Cynthia Newman Helms, Managing Editor Karen Schmidt, Production Manager Deenie Yudell, Design Manager Project staff: Andrea P. A. Belloli, Editor Jeffrey Mueller, Designer Charles V. Passela, Photographer Amy Armstrong, Production Coordinator Typography by Wilsted & Taylor, Oakland Printed by L.E.G.O., SpA, Vicenza, Italy LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA (Revised for vol. 2) J. Paul Getty Museum. European drawings. Volume 2 by George R. Goldner and Lee Hendrix with the assistance of Kelly Pask. Includes bibliographies and 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. NC225.J25 1988 74i.94'o7479493 87-29346 ISBN 0-89236-092-5 (v. i) ISBN 0-89236-219-7 (v. 2) Cover: Pordenone, Martyrdom of Saint Peter Martyr (no. 36) CONTENTS FOREWORD John Walsh vii PREFACE AND ACKNOWLEDGMENTS GeorgeR. GoIdner ix PLATES i ITALIAN SCHOOL (Nos. 1-51) 19 FRENCH SCHOOL (Nos. 52-80) 132 FLEMISH SCHOOL (Nos. 81-89) 192 DUTCH SCHOOL (Nos. 90-112) 214 CENTRAL EUROPEAN SCHOOL (Nos. 113-42) 262 BRITISH SCHOOL (Nos. 143-44) 318 ARTISTS' BIOGRAPHIES 325 ADDENDA TO European Drawings i (1988) 351 LIST OF ARTISTS 361 This page intentionally left blank FOREWORD Here, as promised, is the second catalogue in a series devoted to the Getty Museum's collection of drawings. The first, covering acquisitions from 1981 through 1985, appeared in 1988. This one contains the 144 drawings we purchased during our second four years of activity in this field, 1986-89. We hope that readers will forgive the inconvenience of having to consult separate volumes and will feel compensated by the relatively prompt publication of this material, much of which is unfamiliar and some of which is entirely new to the literature. Despite scarcity, competition, and inflation, we have been able to make the drawings collection far stronger and more broadly based in the past four years. As a result, the four exhibitions we mount each year have become more and more diverse in subject. The curator, George Goldner, has nevertheless con- tinued to concentrate on Italian Renaissance drawings, believing them to be the foundation of any impor- tant collection. The results are striking: a great double-sided sheet by Leonardo and fine examples by the leading artists of successive generations in Florence, Rome, and Venice—Carpaccio, Pontormo, Sarto, Titian, Parmigianino, and dozens of others. We have sometimes been able to buy drawings in groups, add- ing sudden strength to whole areas of our holdings, as with the half-dozen new Poussin sheets and the eigh- teen German and Swiss Renaissance examples that now make our collection in this field one of the strongest in America. Major draughtsmen are still the curator's main target, but he has found dozens of very fine drawings by lesser-known figures as well. The objective is to have perhaps five or six hundred drawings by the time the Museum moves to new quarters in 1996—enough for a lively, varied program of exhibi- tions that will be somewhat bigger than those we hold at present. Since volume i appeared in 1988, Lee Hendrix, whose work on both catalogues was invaluable, has become associate curator, Nancy E. Yocco has become assistant conservator, and Kelly Pask has become curatorial assistant. George Goldner has been put in charge of the Museum's paintings as well as drawings, a further tribute to the versatility and discernment of this remarkable curator. John Walsh Director Vll This page intentionally left blank PREFACE AND ACKNOWLEDGMENTS This volume represents the work of a number of individuals. Foremost among them is my co- author Lee Hendrix, who wrote all of the entries on the drawings of the Northern and British schools. It should be added that she has been a valuable collaborator in the development of the collection. Kelly Pask, Curatorial Assistant, has made a major contribution in a variety of ways. She has served as general coor- dinator of this project and has also worked on many of the artists' biographies with Lee Hendrix. Lastly, she has made many useful art historical observations that are noted in individual entries. Nancy E. Yocco, Assistant Conservator, has again checked the condition of all drawings and noted inscriptions and other marks on them. Kathy Kibler, Senior Secretary, took on the onerous task of preparing the manuscript and did so with admirable competence. Once again we have had the good fortune to have Andrea P. A. Belloli as editor; she has improved the manuscript in many respects and given it greater clarity and consistency. Finally, our two outside readers, Ann-Marie S. Logan and Graham Smith, reviewed the text and made a number of helpful criticisms and suggestions. I am grateful to all of the above, without whom this volume would not have appeared. As with the first volume, all judgments concerning attribution and other issues are those of the compilers, notwithstanding their respect for the opinions of the many scholars from whose expertise they have greatly benefited. This is also a suitable occasion to thank those many individuals at the Getty Museum and elsewhere for their support in the development of the drawings collection. It has prospered with the encouragement of the Museum's director, John Walsh, and chief curator, Deborah Gribbon, as well as that of Harold Wil- liams and other members of the Board of Trustees. All have shared our belief in the importance of the col- lection and its active development. We are also grateful to the many scholars, dealers, and auctioneers who have been helpful to the department in innumerable ways. The publication of this volume encourages a review of the last four years of collecting. We have been pleased by the many fine opportunities that have come our way, ranging from a new Altdorfer to three Watteaus of real quality. There has been a continuing emphasis on old master over nineteenth-century material, in large part due to the relative scarcity of the former. In time we expect to achieve a more bal- anced representation as we gradually move from being a new collection to becoming one of greater depth and variety. George R. Goldner Curator, Department of Drawings IX

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