Vivante Drawings

The leading lot at Sotheby’s, in their 25 January 2012 sale, was a drawing attributed to Piero del Pollaiuolo. California’s Getty Museum bought the drawing. The beautiful portrait drawing of a young man has been variously given to the Paduan school, Marco Zoppo, and to the Mantegna circle. The Sotheby’s entry on the drawing is very detailed and can be found here.

Attributed to Piero del Pollaiuolo | Portrait of a Young Man | Black chalk, pen and brown ink on paper | 360 x 228 mm | Sotheby's Sale 25 Jan. 2012, lot 27

One of the works they compare lot 27 to is a drawing here in Rome at the Istituto Nazionale della Grafica. The Rome drawing is now assigned by the Istituto to Maso Finiguerra (a collaborator of the Pollaiuolo’s) although in the past it has been attributed to Francesco Pesellino, Antonio Pollaiuolo, and just simply 15th century Florentine school.  The Sotheby’s cataloguers refer to the Rome drawing as by the Circle of Pollaiuolo. Just below is the Rome drawing and, at least to me, it looks as though it could be the very same sitter. Here is a link to the Istituto’s Maso Finiguerra drawing, where the image is of a better quality.

Maso Finiguerra | Profile of a Young Man | Pen and bistre ink, brush and brown watercolor, on ivory paper | 225 x 193 mm | Istituto Nazionale della Grafica, Rome

All best wishes for the holidays and 2012

A couple of drawings to talk about here. The first, in the Uffizi, is a drawing of a standing male nude. It has been variously attributed to Stefano da Verona or his circle. While we’re no closer to a firm attribution, there has been some convincing work, showing the subject to be JFK. The search for a fragment with Ms. Monroe is currently underway.

Stefano da Verona Circle | Standing Male Nude | Early 15th century | Pen and brown ink on laid paper | 187 x 129 mm | Uffizi | Florence

The other, a much later drawing, shows Thomas Bewick at work on his banged up MacBook Pro. His pet duck is playing possum.

Johnny Millais | Portrait of Thomas Berwick | 1891 | Photo of book plate showing brown ink repro of 250 x 178 mm drawing

I’ve been writing about olive oil, and especially the business of olive oil, for an online publication called the Olive Oil Times, and I thought I’d try a post here about olives and drawings. The image just below is of a vase in the British Museum. The olive oil amphora is from around 520 BC and shows men harvesting olives from very stylized trees (the branches look almost like monkey puzzle branches). It is attributed to the Antimenes Painter (fl. 530-510 BC). Since it’s incised, and since it is very linear, it comes close to drawing, even if most people would see it as painted.

Attr. Antimenes Painter | Black Figure Amphora with Heracles Scene and Olive Gathering | 520 BC | 40.6 cm. high | British Museum | London

Images of olives are not as common as you would think. It could be that they were so present, and common, that it wouldn’t have made sense to depict them. At least, for Mediterranean artists. Van Gogh, who grew up in the Netherlands, was fascinated by olives. At the Saint-Rémy asylum, he painted them in oils and drew them in ink. Here is a drawing in reed pen and brown ink, with the lines so fluid, they look as if they could be done with a brush.

Vincent Van Gogh | Saint-Rémy Olives | 1889 | Reed pen and brown ink | Van Gogh Museum | Amsterdam

Olive oil is slow drying, and easily becomes rancid, making it a poor choice for a medium in oil painting. Cennino Cennini in his Libro dell’Arte recipes mentions linseed oil (writing olio di semenza di lino or olio di lin seme) most frequently. In Chapter 25, the only time Cennini uses the word olive (ulivo), he uses olive oil to grease a stone slab in the preparation of tracing paper. In Chapter 187, he calls it edible oil (olio da mangiare) and uses it to grease a wax figure before covering it in gesso, giving the reader the choice of using lampante oil (olio da bruciare). He sometimes tells his readers to use the oil of their choice, and sometimes does not specify what kind of oil should be used.

One thing that olive oil and drawings share, is that they should not be kept in the light. I’ve heard experts in olive oil say that a bottle kept in the light for a week is unfit to eat. So–storage in boxes, drawers, and cupboards for both drawings and olive oil–just miles apart.

Penna is the Latin word for feather. The ancient Romans used reed pens and brushes in applying ink to papyrus, but probably not feather pens. By the Middle Ages, bird quills, especially goose quills, were the favored writing implement and the word penna in Italian means both a bird’s feather and a pen. The longest feathers of any number of large flight birds work for feather pens, including swans and crow family birds, but the feathers of the goose were most commonly used–they seem the easiest to collect.  The transition from reed to quill pens probably has to do with the movement from writing on papyrus to writing on parchment. Quill pens have more flexibility, more “give” than reed pens and allow for greater detail. By applying pressure, the draftsman can widen and vary a line.  Cennino Cennini, the early 15th century artist,  gives instructions in cutting a goose quill pen in his Libro dell’Arte (chapter xiv, available in Italian as pdf here and in English here) a kind of manual for young artists. He doesn’t make any mention of reed pens.

Jan van Bijlert | Detail – Saint Luke the Evangelist | Oil on Canvas | 93.6 x 77.4 cm. | Christie's Amsterdam 13 April 2010, lot 103

This detail from Jan van Bijlert (Utrecht 1597/8-1671) painting of St. Luke the Evangelist shows the saint using a large knife to make the first cut in making a pen. Penknives, and they are named for cutting quill pens, are now generally known as small folding knives that fit in the pocket, like pocketknives. What’s interesting to me is that the feathers have been cut off, the most decorative part has been removed, for a wholly utilitarian pen. Jacques de Gheyn’s drawing in Berlin, just below, shows both a quill and the knife, crossed on the table. The implication is that one needed the pen to trim the tip on a regular basis.

Jacob de Gheyn II | Woman and Child Looking at a Sketchbook | Pen and brown ink, brush and wash on laid paper| c.1600 | Staatliche Museen | Berlin

Thomas Jefferson, who was carried on a vast correspondence (est. of 20,000 letters) complained of the time involved in readying and repairing his quill pens and was happy when metal pens became available–until he wasn’t because of their rusting. Here is a drawing of Jefferson’s for a machine to make pasta. His handwriting is wonderfully legible, this coming from someone who types everything, even grocery lists since I cannot read my own writing.

Thomas Jefferson | Maccaroni Recipe and Press Design | No date | Library of Congress | Washington, DC

The table below lists drawings collections that can be searched online. By clicking on the collection name, you will be brought to their search forms. The most useful of the sites are of the Louvre, Joconde (French state museums), and the British Museum. This table will be updated, not in this post, but at a page dedicated to web resources (left side of home page and called Resources and Links). The Tate has a number of interesting pages about the intricacies of putting their collection online and the initial page can be found here.

Collection marks, whether of an individual collector or an organization such as a museum, library, or those tasked with the dispersal an artist’s estate, show ownership. A drawing’s provenance, or ownership history, is traced through these marks. Frits Lugt in 1921 published the standard reference Les marques de collections de dessins et d’estampes (a supplement was published in 1956, and an expanded online version is due in 2010). The marks that he cataloged are arranged alphabetically (most marks involve initials); by symbol type, for example geometric figures; animals; those that are difficult to understand; idiosyncratic mounts and mats; and by examples of handwriting with emphasis on inventory systems. Entries for important collectors and their marks are fairly detailed, listing the choicest prints and drawings and sale dates (Lugt’s other great contribution to art history was his Répertoire des Catalogues de Ventes Publiques).  Lugt assigned a number to each mark, and catalog or auction entries on drawings with a collector’s mark,  will give the collector’s name and a Lugt number, say Pierre-Jean Mariette (Lugt 1852 or more simply L. 1852) and will note in what color ink the mark is stamped and where the mark is located.

I made the holiday card above in about 2000 with the assistance of clever friends who were able to scan the collection marks I’d chosen from Lugt and I then arranged the letters to read “Season’s Greetings.” I remember being very pleased with myself (seems pitiable now) going to the photocopy shop and printing from a disk rather than with bits of paper pasted down with a glue stick and whiteout covered seams. I don’t have a copy of Lugt with me, but the marks I recognize as being by important collectors are the apostrophe, made with a star, of Nicholas Lanier (1588 – 1666) ; and the palette with the letter “R” which is of the painter Jonathan Richardson Senior (1665 – 1745). Both of these collectors are associated with more than one mark.

Marks appear both on the recto and verso, or front and back, of drawing sheets. Marks are the least disfiguring if they are on the back or on the edges away from the drawn images. Some stamps are embossed and are known as “blind stamps” and are more unobtrusive than the more usual inked stamps. Occasionally marks are in the central part of the sheet, within the lines of the drawing, and are applied like the stamps of vengeful bureaucrats. Presumably the owners feared theft and that a stamp in the middle would discourage thieves, not giving them the opportunity of trimming off a mark on the edge. Nowadays most collectors do not mark their drawings because marks are distracting and disfiguring and one can document one’s collection with photographs.

A mark of an important collector adds value to a drawing. Of course, collection marks are easily faked, and have been. The falsifier Hebborn would draw them freehand, but for the unscrupulous dealer, getting an artisan to duplicate a stamp is not difficult–far, far easier than finding someone to counterfeit banknotes, for example. The marks that are most faked are those of the greatest collectors. With ever more precise measuring instruments, and if there were time and interest, marks could be evaluated for authenticity.

26 March 2010 – Lugt is now online and what a wonderful tool. Here is the Lugt start page.