Provenance

Jonathan Richardson, Jr.

British, 1694 - 1771

Explore Selected Works

Sebastiano Conca, A Bishop Blessing a King, black and white chalk on blue laid paper, Joseph F. McCrindle Collection, 2009.70.97

A Bishop Blessing a King

Sebastiano Conca · · black and white chalk on blue laid paper ·  Accession ID  2009.70.97

Michelangelo, Two Nudes Fighting, c. 1505, pen and brown ink on laid paper; laid down, Gift of William B. O'Neal, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.150.3

Two Nudes Fighting

Michelangelo · c. 1505 · pen and brown ink on laid paper; laid down ·  Accession ID  1991.150.3

Pellegrino Tibaldi, The Holy Family with the Infant John the Baptist, c. 1546, pen and brown ink with brown wash and white gouache over black chalk, squared with black chalk on green-gray laid paper (originally blue), with a part of the lower edge replaced, Wolfgang Ratjen Collection, Patrons' Permanent Fund, 2007.111.169

The Holy Family with the Infant John the Baptist

Pellegrino Tibaldi · c. 1546 · pen and brown ink with brown wash and white gouache over black chalk, squared with black chalk on green-gray laid paper (originally blue), with a part of the lower edge replaced ·  Accession ID  2007.111.169

Drawn with brown ink and shaded with tan washes on cream-white paper, two bearded men wearing robes, with a smaller, nude, winged boy between them, fill this vertical drawing. At the center top of the paper, the angel faces us, gazing down to our left with open mouth and eyebrows drawn together. He has curly hair and lifts his muscular right arm, on our left, with his index finger pointed upward. Crosshatched lines define his body, and quick, curved lines shade his outstretched wings. To our right, one man stands with his body facing the center of the sheet but he turns his head to look up off the top right corner. He has curling hair, a wide mustache, and perhaps a goatee, though his chin is partially hidden by a dark spot on the paper. He has broad shoulders, a thick neck, large hands, and a hint of a muscular leg under his flowing, voluminous robes. He holds a flat, oblong object, possibly a stone tablet, perched on his slightly bent left knee. Seated to our left, the other man faces and looks at us. He also grasps a flat, tablet-like object but holds it up, braced on his right thigh, to our left, and points to it with his other hand. This man also is solidly built and swathed in robes, with a hood over his curly hair. He leans forward, knees apart, and stares out with his brows deeply furrowed. His downturned mouth is set in a bushy, curly beard. Near the bottom of the picture, the bare feet of the two men emerge from the folds of their robes. Touches of white washes on the folds of the robes create a sense of light coming from above and to our right, and charcoal lines reinforce the shadows. A grid is lightly drawn in red chalk lines over the composition. A black stamp in the lower left has the letters “E.C” and another at the center reads, “H de T. STAT.”
Raphael, The Prophets Hosea and Jonah, c. 1510, pen and brown ink with brown wash over charcoal and blind stylus, heightened with white gouache and squared for transfer with blind stylus and red chalk, on laid paper, The Armand Hammer Collection, 1991.217.4

The Prophets Hosea and Jonah

Raphael · c. 1510 · pen and brown ink with brown wash over charcoal and blind stylus, heightened with white gouache and squared for transfer with blind stylus and red chalk, on laid paper ·  Accession ID  1991.217.4

Jacopo Palma il Giovane, Figure Studies, pen and brown ink on blue wove paper; laid down, Gift of William B. O'Neal, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.150.50

Figure Studies

Jacopo Palma il Giovane · · pen and brown ink on blue wove paper; laid down ·  Accession ID  1991.150.50