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Four drawings of faces and bodies are affixed onto a larger vertical album page, on which architectural decorations have been drawn on to act as frames. Three vertical drawings are spaced along the top half of the ivory-colored album page, and one larger horizontal drawing fills the bottom half. Drawn with brown ink and gray washes, the frames resemble moldings and scrolls around each drawing, with garlands flanking the bottom sketch. The three drawings in the top zone are done with metalpoint on gray or mauve paper and are highlighted with touches of white. The metalpoint technique creates faint silvery-gray lines. In the top left drawing, a nude man stands facing us. In the center, the face of a cleanshaven young man with curling hair beneath a cap looks down and to our left. Below the face, a forearm and hand clutching a rock appears next to another study of a hand. In the drawing to our right, a man wearing a toga-like robe leans on a walking stick, facing our left in profile. The drawing at the bottom is done with gray metalpoint lines and white strokes against golden yellow paper. A person sits and twists up in a spiral to our left. In the center of this drawing are three studies of muscular legs. Then, to our right, a man sits on a throne holding a spear or scepter and globe, facing our right in profile. An inscription in the frame below the bottom drawing reads, “Filippo Lippi Pitt: Fior:”

Giorgio Vasari with drawings by Filippino Lippi, Botticelli, and Raffaellino del Garbo

Page from "Libro de' Disegni", Sheets probably 1480-1504; mounting & framework c. 1575/1590

Not on View

Medium

album page with ten drawings on recto and verso in various media with decoration in pen and brown ink, brown and gray wash, on light buff paper

Dimensions

overall: 56.7 x 45.7 cm (22 5/16 x 18 in.)

Credit Line

Woodner Collection, Patrons' Permanent Fund

Accession Number

1991.190.1

Artists / Makers

Giorgio Vasari (artist) Florentine, 1511 - 1574

Raffaellino del Garbo (artist) Florentine, 1466 - 1524

Sandro Botticelli (artist) Florentine, 1446 - 1510

Filippino Lippi (artist) Florentine, 1457 - 1504

Image Use

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Inscription

in cartouche at lower center of both recto and verso in brown ink: Filippo Lippi Pitt: Fior:.

Provenance

Giorgio Vasari [1511-1574]; Niccolò Gaddi [d. 1591]; possibly Thomas Howard, Earl of Arundel; probably William Cavendish, 2nd Duke of Devonshire [1672-1729]; by descent, Chatsworth (inv.no.960) (sale, London, Christie's, 3 July 1984, lot 46); purchased by Ian Woodner, New York; by inheritance to his daughters, Andrea and Dian Woodner, New York, 1990; purchased by NGA, 1991.

Associated Names

Chatsworth House Trust
Christie, Manson & Woods, Ltd.
Devonshire, William Cavendish, 2nd Duke of
Gaddi, Niccolò
Howard, 2nd earl of Arundel, Thomas
Vasari, Giorgio
Woodner Family Collection, Inc., Ian, The
Woodner, Ian

Exhibition History

1930: Italian Drawings Exhibited at the Royal Academy, Royal Academy of Arts, London, 1930, no. 50 (recto only).

1949: Old Master Drawings from Chatsworth, Arts Council of Great Britain, London, 1949, no. 10.

1962: Old Master Drawings from Chatsworth: A Loan Exhibition from the Devonshire Collection, National Gallery of Art, Washington, D.C. and elsewhere, 1962-63, no. 36.

1969: Old Master Drawings from Chatsworth: A Loan Exhibition from the Devonshire Collection, Royal Academy of Arts, London, 1969, no. 36.

1973: Old Master Drawings from Chatsworth: A Loan Exhibition from the Devonshire Collection, Victoria and Albert Museum, London, 1973-74, no. 36.

1985: Master Drawings from the Woodner Collection, Fogg Art Museum, Harvard University, Cambridge, 1985, no. 76 (checklist only).

1986: Dibujos de los siglos XIV al XX: Colección Woodner, Museo del Prado, Madrid, 1986-87, no. 29.

1986: Meisterzeichnungen aus Sechs Jahrhunderten: Die Sammlung Ian Woodner, Haus der Kunst, Munich and Vienna, 1986, no. 24.

1987: Master Drawings from the Woodner Collection, Royal Academy of Arts, London, 1987, no. 22.

1990: Master Drawings from the Woodner Collection, Metropolitan Museum of Art, New York, 1990, no. 29.

1995: The Touch of the Artist: Master Drawings from the Woodner Collections, National Gallery of Art, Washington, 1995-1996, no. 9.

1997: The Drawings of Filippino Lippi and his Circle, The Metropolitan Museum of Art, New York, 1997-1998, nos. 6, 51, 64, 66, 79, 80, 84, 107, 108, 117.

2000: Art for the Nation: Collecting for a New Century, National Gallery of Art, Washington, 2000-2001, 132-135.

2000: Sandro Botticelli, Der Bilderzyklus zu Dantes Göttlicher Komödie. Kulturforum, Berlin; Scuderie Papali al Quirinale, Rome; Royal Academy, London, 2000-2001, 364, 365 (.1.a only, as Botticelli) (shown only in Berlin).

2006: Master Drawings from the Woodner Collections, National Gallery of Art, Washington, D.C., 2006 - 2007.

2015: Drawing in Silver and Gold: Leonardo to Jasper Johns, National Gallery of Art, Washington, and The British Museum, London, 2015, no. 43.

2017: The Woodner Collections: Master Drawings from Seven Centuries, NGA, 2017.

Bibliography

1902: Strong, Sanford Arthur. Reproductions of Drawings by Old Masters in the Collection of the Duke of Devonshire at Chatsworth. London, 1902: no. 14 (1991.190.1.a), 34 (1991.190.1.b, 1991.190.1.c).

1903: Berenson, Bernard. The Drawings of the Florentine Painters. II, London, 1903: nos. 571 (1991.190.1.h as School of Botticelli), 760 (1991.190.1.a as Raffaellino del Garbo), 1275 (1991.190.1.i as Filippino Lippi), 1276 (1991.190.1.d as Filippino).

1905: The Vasari Society for the Reproduction of Drawings by Old Masters. Oxford, 1920-1935: 2nd series, VI, no. 4 (1991.190.1.a).

1923: Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 12(1931):274 (1991.190.1.h as anonymous follower of Botticelli).

1935: Scharf, Alfred. Filippino Lippi. Vienna, 1935: 122, no. 207 (1991.190.1.d as Filippino), 129, no. 292 (Cat. 1991.190.1.a as Filippino).

1937: Kurz, Otto. "Giorgio Vasari's Libro de' Disegni," Old Master Drawings XII (1937): 14 (1991.190.1.a-d, 1991.190.1h as Filippino).

1938: Berenson, Bernard. The Drawings of the Florentine Painters. Amplified edition, II, Chicago, 1938, nos. 571 (1991.190.1.h as probably Raffaellino de Garbo), 760 (1991.190.1.a as Raffaellino), 1275, 1276A and 1276B.

1961: Berenson, Bernard. I disegni dei pittori fiorentini. Revised and amplified edition, 3 vols, Milan, 1961 (same as Berenson 1938).

1968: Fahy, Everett. 'The Master of Apollo and Daphne.' Museum Studies III (1968): 32, (1991.190.1.h as conceivably by Botticelli), 37-38.

1974: Collobi, Licia Ragghianti. Il Libro de' Disegni del Vasari. Florence, 1974: I: 85, II: pl. 233-234 (all as Filippino except 1991.190.1.a and 1991.190.1.h as Raffaellino del Garbo).

1975: Shoemaker, Innes H. "Filippino Lippi as Draughtsman." 2 vols. Ph.D. diss., Columbia University, New York, 1975: 2:370-374, no. 113 (1991.190.1.b, c, as Follower of Filippino; a, e, h, as Raffaellino del Garbo; d, f, g, as Filippino; i, j, as Anonymous Florentine).

1976: Fahy, Everett. Some Followers of Domenico Ghirlandaio. New York, 1976: 20, 78, and 107 (1991.190.1.h as conceivably by Botticelli); no. 24 verso D (1991.190.1.h; no 29E (1991.190.1.e).

1984: de Bayser, Bruno. "Rêves de collectionneur," Connaissance des arts, (December 1984): 73-76 (all as Filippino except for 1991.190.1.e, h).

1987: Melikian, Souren. "A Master Collector, Ian Woodner: An Eye for the Future." Art & Auction. (November 1987): 86, repro. p. 86 (1991.190.1.a-d as Filippino).

1988: Cummings, Paul. "Interview: Ian Woodner Talks with Paul Cummings." Drawing. IX, 5 (1988): 109 (1991.190.1.h as Botticelli, 1991.190.1.e-j as Florentine and possibly by Raffaellino del Garbo).

1992: Gregori, M., A Paolucci and C.A. Luchinat. Maestri e Botteghe: Pittura a Firenze alla fine del Quattrocento. Exh. cat. Palazzo Strozzi, Florence, 1992-1993, under no. 4.3.

1992: National Gallery of Art, Washington. Washington, D.C., 1992: 312, 314, repro.

1993: Fahy, Everett. "Florence, Palazzo Strozzi Review." The Burlington Magazine 135(February 1993): 170, no. 4.3 (1991.190.1.h as Botticelli).

1994: Gahtan, Maia W. and Philip J. Jacks. Vasari's Florence: Artists and Literati at the Medicaen Court. Exh. cat. Yale University Art Gallery, New Haven, 1994, fig. 52 (facsimile exhibited).

1994: Jaffé, Michael. The Devonshire Collection of Italian Drawings. 4 Vols. London, 1994: I: Tuscan and Umbrian Schools, no. 36 (1991.190.1.a-j as Filippino except h as Botticelli).

1995: Annesley, Noël. "Ian Woodner." Drawing 17 (September-October 1995): 54.

1995: Chapman, Hugo. "Old Master Drawings from Chatsworth at the National gallery of Art." Drawing 17 (September-October 1995): 55.

1995: Grasselli, Margaret Morgan. "The Touch of the Artist: Master Drawings from the Woodner Collections." Exh. brochure, unpaginated (repr.)

1995: Jones, Jennifer. "The Woodner Collections at the National Gallery." Drawing 17 (September-October 1995): 49-53 (repr. recto fig. 1; verso fig. 6).

1995: The Touch of the Artist: Master Drawings from the Woodner Collections. Exh. cat. National Gallery of Art, Washington, 1995-1996: no. 9.

1998: Zambrano, Patrizia. "Filippino Lippi Drawings. New York." The Burlington Magazine 140 (1998): 149-151.

2000: McGrath, Thomas. "Color and Exchange of Ideas between Patron and Artist in Renaissance Italy." The Art Bulletin 82, no. 2 (June 2000): 298-308

2000: Mishory, Alec. Art History: an Introduction. Tel-Aviv, 2000: 261, fig. 227.

2009: Schumacher, Andreas, et al. Botticelli: Likeness, Myth, Devotion. Exh. cat., Frankfurt am Main, 2009: 106-107 and fig. 69 (questioning attribution of .a to Botticelli); 286 and fig 150 (discussing whole sheet); 234 and fig. 119 (Lippi Seated Figure)

2013: Schenck, Kimberly, et al. "A Page from Giogio Vasari's Libro de' Disegni as Composite Object." Facture 1 (2013): 2-31 (color).

2013: "Vasari and the National Gallery of Art." National Gallery of Art Bulletin 48 (Spring 2013): 5, 7, repr. 8-9 (color).

2022: Frank, Louiss, and Carina Fryklund. Vasari, The Book of Drawings: The Fate of a Mythical Collection. Paris and Stockholm, 2022: 145 and 147; fig. 16.