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The Armand Hammer Collection

Master Drawings

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Leonardo da Vinci, Sheet of Studies [recto], probably 1470/1480, pen and brown ink over black chalk on laid paper, The Armand Hammer Collection, 1991.217.2.a

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Drawn with brown ink and shaded with tan washes, two robust, bearded men wearing robes, with a smaller, nude, winged boy between them, fill this vertical, cream-colored page. At the center top of the paper, the boy angel faces us, gazing down toward 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 sculpt his sturdy 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 in the opposite direction. 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 or toward us. He also grasps a flat, tablet-like object but holds it up like a sign, on his right side, 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 black chalk, heightened with white and squared for transfer on laid paper, The Armand Hammer Collection, 1991.217.4

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Andrea del Sarto, Head of a Woman, c. 1515, black chalk on laid paper, The Armand Hammer Collection, 1991.217.5

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Correggio, Study for the "Madonna della Scodella" [recto], 1523/1524, pen and brown ink, brown wash, and red chalk on laid paper, The Armand Hammer Collection, 1991.217.6.a

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Albrecht Dürer, Tuft of Cowslips, 1526, gouache on vellum, The Armand Hammer Collection, 1991.217.1

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Andrea Sacchi, A Sacrifice to Pan, early 1630s, pen and brown ink and wash over red chalk on laid paper; laid down, The Armand Hammer Collection, 1987.24.3

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Rembrandt van Rijn, A Landscape with Farm Buildings among Trees, c. 1650/1655, pen and brown ink with brown wash on laid paper, The Armand Hammer Collection, 1991.217.75

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Antoine Watteau, A Man Reclining and a Woman Seated on the Ground, c. 1716, red, black, and white chalk on brown laid paper, The Armand Hammer Collection, 1991.217.12

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Giovanni Battista Tiepolo, Saint Jerome in the Desert Listening to the Angels, 1728/1735, pen and brown ink with brown wash over black chalk, heightened with white, on laid paper, The Armand Hammer Collection, 1991.217.9

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Jean-Honoré Fragonard, A Prayer for Grandpapa, late 1770s, brown wash over black chalk on laid paper, The Armand Hammer Collection, 1991.217.17

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Jean-Auguste-Dominique Ingres, Mrs. Charles Badham, 1816, graphite on wove paper, The Armand Hammer Collection, 1991.217.20

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Vincent van Gogh, Man Polishing a Boot, 1882, black chalk, graphite, and gray wash, heightened with white on wove paper, The Armand Hammer Collection, 1991.217.68

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Mary Cassatt, Smiling Margot Wearing a Ruffled Bonnet, c. 1902, graphite over red chalk on wove paper, The Armand Hammer Collection, 1991.217.74

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Andrew Wyeth, Brandywine Valley, 1940, watercolor on wove paper, The Armand Hammer Collection, 1991.217.72

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