Brush and opaque watercolor, on linen prepared with a gray ground, mounted to cream laid paper
Inscribed upper left, in brown ink: “XII”
283 x 183 mm (primary support); 300 x 200 mm (secondary support)
The Harry B. and Bessie K. Braude Memorial Fund
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.
Possibly, Giorgio Vasari, Le Vite de più eccellenti Pittori Scultori ed Architettori (Florence: Gaetano Milanesi, 1906), 4: p. 20.
Bernard Berenson, The Drawings of the Florentine Painters (Chicago: University of Chicago Press, 1938; reprinted in Italian, 1961), vol. I: p. 62, vol. II: no. 1071D, vol. III: fig. 527 (as Leonardo).
Kenneth Clark, Leonardo da Vinci (Cambridge: Cambridge University Press, 1939), p. 12, under note 1 (as Leonardo).
A. E. Popham, The Drawings of Leonardo da Vinci (New York: Reynal & Hitchcock, 1945), pp. 11–13.
Carlo Ragghianti and Gigetta Dalli Regoli, Firenze 1470–1480, disegni dal modello (Pisa: University of Pisa, 1975), p. 31, under note 10 (as Leonardo).
Gigetta Dalli Regoli, “Il piegar de’panni,” Critica d’Arte, XXII (Nov.–Dec. 1976), p. 36, no. 150, fig. 1, pp. 47-48, under note 16 (mentions de Ganay group and attributes them to Leonardo).
Alessandro Vezzosi and Carlo Pedretti, Leonardo’s Return to Vinci, The Countess of Béhague Collection (New York: Johnson reprint corporation, 1981), p. 20, fig. 1 (as Leonardo).
Jean Cadogan, “Linen Drapery Studies by Verrocchio, Leonardo and Ghirlandaio,” Zeitschrift für Kunstgeschichte, 46 (1983), p. 59, fig. 27 (as Leonardo).
Leonardo da Vinci, exh. cat. (New Haven: Yale University Press in association with the South Bank Centre, 1989), p. 50, under cat. 3 (as Leonardo).
David Scrase, “Paris and Lille: Leonardo, Italian Drawings,” The Burlington Magazine, 132:1043 (Feb. 1990), p. 151–53 (as Leonardo).
Keith Christiansen, “Leonardo’s Drapery Studies,” The Burlington Magazine 132: 1049 (Aug. 1990), p. 572 (as Verrocchio).
David Allan Brown, Leonardo da Vinci: Origins of a Genius (New Haven: Yale University Press, 1998), pp. 76–82 (discusses the group exhibited in 1989 and attributes it to Verrocchio and his workshop).
Pietro Marani, Leonardo una carriera di pittore (Milano: Federico Motta, 1999), pp. 14–18 (as Verrocchio and his workshop).
Bernadette Py, Everhard Jabach, collectionneur (1618–1695) (Paris: Réunion des musées nationaux, 2001), pp. 20, 274.
Leonardo da Vinci, Master Draftsman, exh. cat. (New York: Metropolitan Museum of Art, 2003), pp. 116, 119, under note 18, p. 285, under no. 15.
Leonardo de Vinci. Dessins et manuscrits, exh. cat. (Paris: Musée du Louvre, 2003), p. 56, under note 7, p. 64 under no. 7, p. 57 and note 18 (as Leonardo).
Bernadette Py, “Everhard Jabach: Supplement of Identifiable Drawings from the 1695 Estate Inventory,” Master Drawings, XLV: 1 (Spring 2007), pp. 6, 36, note 15.
Gauthier Aubert, “From Crozat to The Musée des Beaux-Arts, Rennes: The Origins of the Drawings Collection of the Marquis De Robien,” Master Drawings, XLV: 1 (Spring 2007), p. 95.
Lise Bicart-Sée, “Some Archival References for Jean-Baptiste- François Nourri,” Master Drawings, XLV: 1 (Spring 2007), p. 88.
Carmen Bambach, Leonardo da Vinci Rediscovered (New Haven/London: Yale University Press, 2019), vol. 4: 105, note 410 (as anonymous artist in Verrocchio’s workshop).
Louis Franck, et al., Léonardo de Vinci, exh. cat. (Paris: Musée du Louvre, 2019), p. 38 (as part of a group of works by either Leonardo da Vinci or Verrocchio).
Florence, Biblioteca medicea laurenziana, Leonardo da Vinci, Mostra di disegni, manoscritti e documenti, Apr. 15–Oct. 31, 1952, cat. 10 (as Leonardo).
Vinci, Castello dei Conti, La Raccolta Leonardesca della Contessa de Béhague, Apr.–July 1980, p. 18, fig. 1 (as Leonardo).
Paris, Louvre, Leonardo de Vinci: les études de draperies, Dec. 5, 1989–Feb. 26, 1990, cat. 11 (as Leonardo).
Warsaw, The Royal Castle, Mistrzowie rysunku: dziela z kolekcji Barbary Piaseckiej-Johnson, Dec. 4, 2010–Feb. 6, 2011, pp. 100–01 (ill.) (as Leonardo).
Florence, Palazzo Strozzi, Verrocchio, Master of Leonardo, Mar. 9–July 14, 2019, cat. 9.6 (as Verrocchio).
Everhard Jabach (1618–1695), Paris [his posthumous inventory of 1695 (as Dürer)]; by descent to his widow Anna Maria de Groote, then probably to their elder son, Everhard Jabach (1658–1721), Paris. Pierre Crozat (1665–1740), Paris, from between 1695 and 1721; sold, Paris, Apr. 10, 1741, part of lot 5 (as Leonardo), to Jean-Baptiste-François Nourri (1697–1784), Paris. Pierre Defer (1798–1870), Paris; by descent to his son-in-law, Henri Dumesnil (1823–1898), Paris [stamps (Lugt 739), recto, lower left and lower right, in black]; sold, Paris, May 10–12, 1900, lot 251 (as Leonardo), to Martine-Marie-Pol de Béhague, Comtesse de Béarn (1870–1939), Paris [according to Lugt 739]; by descent to her nephew, Marquis Hubert de Ganay (1888–1974), Paris; by descent to his son, Marquis Jean Louis de Ganay (1922–2013), Paris; sold, Sotheby’s, Monaco, Dec. 1, 1989, lot 74 (as Leonardo), to Barbara Piasecka Johnson (1937–2013), Princeton, NJ; Piasecka Johnson estate; sold through Sotheby’s, London, to the Art Institute of Chicago, 2020.
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