Drapery Study of a Standing Figure Facing Right, in Profile

• 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.