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Drawings from the Uffizi - revisited

Specifications and bibliographical references

I. New attributions for the 15th and 16th centuries

Andrea Mantegna (Isola di Carturo, 1431 – Mantua, 1506), Self-Portrait as Medusa, inv. 1447 E Formerly Manner of Andrea Mantegna; formerly Andrea Mantegna (?) Pen, brush, ink, in part iron-gall, yellowed paper, laid down, 124x99 mm (max.; cut diagonally at the four corners) Published with this attribution by Marzia Faietti, ‘Andrea, disegnatore con “maschera”’, in Mantegna e Padova 1445-1460, eds. D. Banzato, A. De Nicolò Salmazo, A. M. Spiazzi, exhibition catalogue (Padua, Musei Civici agli Eremitani), Milano 2006, pp. 81-89. Giacomo Raibolini called Giacomo (Jacopo/Iacopo) Francia (Zola Predosa [?], c.1486 – Bologna, 1557), The goddess Collatina and river-god with source of the “Aqua Virgo”, inv. 1538 Orn Formerly Luca Penni Pen, iron-gall ink, partially diluted, 219x312 mm (max.) Published with this attribution by Marzia Faietti, ‘Jacopo Francia, la dea Collatina e le sorgenti dell’“Aqua Virgo”’, in Governare l’arte. Scritti per Antonio Paolucci dalle Soprintendenze Fiorentine, eds. C. Di Benedetto and S. Padovani, Prato 2008, pp. 95-103. Amico Aspertini (Bologna, 1473/75-1552), Venus with Amor at Vulcan’s Forge, inv. 15158 F Formerly Anonymous XVI century Pen, bistre and iron-gall ink (?), slightly yellowed paper, 250x218 mm (max.) Published with this attribution by Marzia Faietti, ‘Amico Aspertini, Venere con Amore nella fucina di Vulcano’, in Disegno, giudizio e bella maniera. Studi sul disegno italiano in onore di Catherine Monbeig Goguel, eds. Ph. Costamagna, F. Härb, S. Prosperi Valenti Rodinò, Cinisello Balsamo, Milano 2005, pp. 36-37, no. 9. Amico Aspertini (Bologna, 1473/75-1552), St. Christopher with the Infant Jesus, inv. 12272 F Formerly Bartolomeo Passerotti Fine pen, broad-nibbed pen and partially diluted ink, yellowed paper, laid down, 340x236 mm (max.) Published with this attribution by Marzia Faietti, ‘La “linea a penna spiritosa” di Amico Aspertini’, in Notizie di Palazzo Albani, 34/35, 2005/06 (2007), pp. 75-83. Francesco Mazzola called Parmigianino (Parma, 1503 – Casalmaggiore, 1540), Male Head (verso), Ornament all’antica, inv. 334 S Formerly Pietro Bonaccorsi called Perin del Vaga Pen and bistre (?), 100x132 mm Published with this attribution by Marzia Faietti, ‘Un ritratto dall’antico di Parmigianino’, in Pegasus. Berliner Beiträge zum Nachleben der Antike, 9, 2007, pp. 47-71. Prospero Fontana (Bologna, 1512-1597), Holy Family with the infant St. John the Baptist and St. Elizabeth in a landscape, inv. 1965 F Formerly Girolamo Sellari called Girolamo da Carpi Pen and ink, brush and diluted ink, lead carbonate, traces of squaring in black chalk, purple prepared paper, 185x140 mm Published with this attribution by I. Rossi, ‘Un nuovo Prospero Fontana agli Uffizi’, in Paragone. Arte, 60, 2009, Ser. 3,84/85, pp. 35-40. Tommaso Laureti (?) (Palermo, 1530 – Rome, 1602), Design for a fountain, inv. 9067 S r Formerly Giovanni Battista Trotti detto Malosso Pen and iron-gall ink, brush and diluted iron-gall ink, slightly yellowed paper, 214x135 mm (max.); cut diagonally at the four corners) Published with this attribution by Marzia Faietti, ‘Un nuovo progetto grafico per la fontana del Nettuno a Bologna’, in Mélanges pour Marie, Paris 2010, pp. 22-24. Orazio Sammacchini or Samacchini (Bologna, 1532-1577), Angel of the Annunciation, inv. 13169 F Formerly Denjs Caluvaer called Dionisio Calvaert or Calvart Pen and ink, brush and diluted ink, lead carbonate, pale blue manufactured paper, 190x133 mm The sheet was recognized as a work of Orazio Sammacchini by Mario Di Giampaolo in July 1976 and by Marzia Faietti on 2 February 2006. Definitively reassigned to Sammacchini by Marzia Faietti on 15 March 2007. Federico Barocci (Urbino, 1535?-1612), Sketch of a female figure with a child in her arms, another standing child to her right and a figure to her left (study for the Madonna del Gatto), inv. 18318 F Formerly Anonymous XVII century Red chalk, paper stained with conspicuous grease marks, 33x110 mm The sheet was attributed to Federico Barocci by Annamaria Petrioli Tofani, Marzia Faietti and Karen Buttler. Definitively reassigned to Federico Barocci by Marzia Faietti on 28 June 2010. Denjs Caluvaer called Dionisio Calvaert or Calvart (Antwerp, c.1540 – Bologna, 1619), Foreshortened allegorical figure (Truth) in an oval compartment, inv. 1667 E Formerly Annibale Carracci Pen and ink, brush and diluted ink, lead carbonate, 189x144 mm (max.) Published with this attribution by Marzia Faietti, in In Arte Venustas. Studies on Dtexturedings in Honour of Teréz Gerszi Presented on Her Eightieth Birthday, Budapest 2007, pp. 56-57, no. 14.

II. New attributions for the 17th and 18th centuries

Guido Reni (Bologna, 1575-1642), The Five Coats of Arms of Bologna and their Shield Supporters, inv. 489 Orn Formerly Carracci Pen and iron-gall ink, brush and diluted iron-gall ink, laid down, 186x290 mm (max.; cut along the margins of the lunette and laid down on antique paper mount) Published with this attribution by B. Bohn, in Le “Stanze” di Guido Reni. Disegni del maestro e della scuola, ed. B. Bohn, exhibition catalogue (Florence, Gabinetto Disegni e Stampe degli Uffizi XCV), Firenze 2008, pp. 29-30, no. 19. Bernardino Cervi, attributed to (Modena, 1586/1600-1630), Head of Bacchus (copy by Guido Reni), inv. 12228 F Formerly Annibale Carracci Pen and ink, probably iron-gall, yellowed paper, 209x167 mm Published with this attribution by B. Bohn, in Le “Stanze” di Guido Reni. Disegni del maestro e della scuola, ed. B. Bohn, exhibition catalogue (Florence, Gabinetto Disegni e Stampe degli Uffizi XCV), Firenze 2008, pp. 89-90, no. 68. Simone Cantarini, attributed to (Pesaro, 1612 – Verona, 1648), Head of Young Woman, inv. 20169 F Formerly school of Guido Reni Red chalk, pale blue manufactured paper, laid down, 136x105 mm Published with this attribution by B. Bohn, in Le “Stanze” di Guido Reni. Disegni del maestro e della scuola, ed. B. Bohn, exhibition catalogue (Florence, Gabinetto Disegni e Stampe degli Uffizi XCV), Firenze 2008, p. 114, no. 91. Marcantonio Franceschini (Bologna, 1648-1729), The Virgin and Child Enthroned with Saints Luke, John the Baptist and Pier Celestino in Adoration, inv. 17082 F Formerly Anonymous XVII century; formerly Anonymous XVIII century Pen and ink, brush and partially diluted grey ink, 403x251 mm (max.; conspicuous area of damage in the lower right-hand corner) The sheet was attributed to Marcantonio Franceschini by Anna Maria Petrioli Tofani in 1974 and by Marzia Faietti in 2004. Definitively reassigned to Marcantonio Franceschini by Marzia Faietti in February 2010. “The Guercino Forger” (second half of the XVIII century ?), Youth standing in front of a table, in three-quarter view, with a a musical score in his hand, inv. 3685 S Formerly Giovan Francesco Barbieri called Guercino Pen and ink, 233x197 mm, reintegrated along the upper margin Published with this attribution by Nicholas Turner, in Guercino la scuola, la maniera. I disegni agli Uffizi, exhibition catalogue (Florence, Gabinetto Disegni e Stampe degli Uffizi XCVII), Firenze 2008, p. 138, no. 95. “The Guercino Forger” (second half of the XVIII century ?), Landscape with a horse in flight and dogs attacking the unsaddled rider, inv. 3750 S Formerly School of Guercino Pen and ink, retouched with brush and diluted black ink, laid down, 283x447 mm Published with this attribution by Nicholas Turner, in Guercino la scuola, la maniera. I disegni agli Uffizi, exhibition catalogue (Florence, Gabinetto Disegni e Stampe degli Uffizi XCVII), Firenze 2008, p. 138, no. 93. “The Guercino Forger” (second half of the XVIII century ?), Landscape with a tree in the foreground and wayfarers walking along the road, inv. 3763 S Formerly School of Guercino Pen and ink, laid down, 288x404 mm Published with this attribution by Nicholas Turner, in Guercino la scuola, la maniera. I disegni agli Uffizi, exhibition catalogue (Florence, Gabinetto Disegni e Stampe degli Uffizi XCVII), Firenze 2008, p. 138, no. 94. Alessandro Tiarini (Bologna, 1577-1668), Bust of youth turned in three-quarter view to the right, inv. 1542 F Formerly Ludovico Carracci; formerly Annibale Carracci Black chalk, stumping, white chalk, pale blue manufactured paper, 373x228 mm Attributed to Alessandro Tiarini by Nicholas Turner (hand-written annotation on the verso), the sheet was reassigned to the Bolognese artist by Marzia Faietti on 26 November 2009. Gaetano Gandolfi (?) (San Matteo della Decima, 1734 – Bologna, 1802), Study of a seated female figure in the nude, seen from in front, inv. 2467 S Formerly Francesco Furini; formerly Anonymous XVII century; formerly Florentine Anonymous first half of the XVII century; formerly French Anonymous (?); formerly Baldassarre Franceschini called Il Volterrano Black chalk, white chalk, pinkish-brown manufactured paper, 422x292 mm The sheet was reassigned to Gaetano Gandolfi (?) by Marzia Faietti on 6 May 2009, thus formalizing an attribution already proposed in 2004.

III. New acquisitions

Amico Aspertini (Bologna, 1473/75-1552), Military triumph all’antica, inv. 123217 Pen and iron-gall ink, 170x267 mm (max.) Published with this attribution by Marzia Faietti, ‘La filologia infedele dell’“antiquario” Amico Aspertini’, in Lorenzo Valla e l’Umanesimo bolognese, Atti del Convegno internazionale Comitato Nazionale VI centenario della nascita di Lorenzo Valla (Bologna, 25-26 gennaio 2008), eds. G. M. Anselmi and M. Guerra, Bologna 2009, pp. 153-176. Andrea Meldolla called Lo Schiavone (Zara, c.1515-Venezia, 1563), Apparition of the three angels to Abraham and Sarah, inv. 123202 Pen and ink, brush and diluted ink, lead carbonate, black chalk, ochre prepared paper, laid down, 324x188 mm (max. height) Lodovico Cardi called Il Cigoli (Castello di Cigoli, 1559 – Rome, 1613), Lucifer, inv. 123201 Pen and ink, brush and diluted ink of various shades, black chalk, yellowed paper, 268x213 mm Giovanni Baglione (Rome, c.1566-1643/44), Time revealing Truth to Peace, while Envy and Discord look on in the background, inv. 123096 Pen and ink, brush and diluted grey ink, black chalk, red chalk, 164x254 mm Published with this attribution by E. Bonato, in Innocente e calunniato. Federico Zuccari (1539/40 – 1609) e le vendette d’artista, eds. C. Acidini, E. Capretti, exhibition catalogue (Florence, Gabinetto Disegni e Stampe degli Uffizi), Firenze-Milano 2009, pp. 262-263, no. 8.11. Giulio Cesare Procaccini (Bologna, 1574 – Milan, 1625), Male head (recto), Study of a hand (verso), inv. 123363 Black stone, greenish-grey-toned manufactured paper, 297x232 mm. (max.) Giovanni Andrea De Ferrari (Genoa, 1598 ?-1669 ?), Jacob asking Laban for the hand of Rachel, inv. 123091 Polychrome gouache, polychrome oil colours, laid down, 219x289 mm Luigi Sabatelli (Florence, 1772 – Milan, 1850), Juno, spouse of Jupiter, adorned by the nymphs to seduce him, inv.123364 Pen and iron-gall ink, pencil, 490x730 mm (max. measurements of lunette framing the scene) Vincenzo Gemito (Naples, 1856-1929), Head of a dark-complexioned [Moorish?] girl, inv. 123092 Pencil, ivory paper, 448x339 mm Acquisition published by Marzia Faietti, in ‘Primo Conti, Giovanni Andrea De Ferrari, Vincenzo Gemito, Adolfo Wildt’, in Uffizi Gabinetto Disegni e Stampe Acquisizioni Cartella 1. Nuovi arrivi. Primo Conti, Giovanni Andrea De Ferrari, Vincenzo Gemito, Adolfo Wildt e Giannino Marchig, Firenze 2005. Adolfo Wildt (Milan, 1868-1931), Ad metalla (from the cycle Le grandi giornate di Dio e dell’Umanità, 1925), inv. 123090 Pencil and charcoal, 900x1310 mm Acquisition published by Marzia Faietti, in ‘Primo Conti, Giovanni Andrea De Ferrari, Vincenzo Gemito, Adolfo Wildt’, in Uffizi Gabinetto Disegni e Stampe Acquisizioni Cartella 1. Nuovi arrivi. Primo Conti, Giovanni Andrea De Ferrari, Vincenzo Gemito, Adolfo Wildt e Giannino Marchig, Firenze 2005. Adolfo Wildt (Milano, 1868-1931), Dei et Christi eius aevum (Età cristiana, from the cycle Le grandi giornate di Dio e dell’Umanità, 1925), inv. 123095 Pencil and charcoal, 900x1310 mm Acquisition published by Marzia Faietti, in ‘Primo Conti, Giovanni Andrea De Ferrari, Vincenzo Gemito, Adolfo Wildt’, in Uffizi Gabinetto Disegni e Stampe Acquisizioni Cartella 1. Nuovi arrivi. Primo Conti, Giovanni Andrea De Ferrari, Vincenzo Gemito, Adolfo Wildt e Giannino Marchig, Firenze 2005. Jean Fautrier (Paris,1898 – Châtenay-Malabry, 1964), Sans titre, inv. 123219 Polychrome gouache, 220x270 mm (max.) Primo Conti (Florence, 1900-1988), Portrait of Nello Tarchiani, inv. 123049 Pen and black ink, polychrome tempera, 214x210 mm Acquisition published by Marzia Faietti, in ‘Primo Conti, Giovanni Andrea De Ferrari, Vincenzo Gemito, Adolfo Wildt’, in Uffizi Gabinetto Disegni e Stampe Acquisizioni Cartella 1. Nuovi arrivi. Primo Conti, Giovanni Andrea De Ferrari, Vincenzo Gemito, Adolfo Wildt e Giannino Marchig, Firenze 2005. Alberto Giacometti (Borgonovo, Canton Grisons, 1901 – Chur [Switzerland], 1966), Five studies of heads, inv. 123220 Pencil, printed paper (from the French literary magazine Les Temps Modernes), 226x140 mm

IV. A book of drawings attributed to Antonio Di Donnino del Mazziere

Antonio di Donnino del Mazziere, attributed to (Florence, 1497-1547), View of the Ponte alla Badia atFiesole; below, autograph figures, inscription and date (1527), inv. 12 P Formerly Andrea del Sarto; formerly Francesco Ubertini called Bachiacca Red chalk, textured paper, laid down, 275x203 mm (max.) Antonio di Donnino del Mazziere, attributed to (Florence, 1497-1547), Landscape with trees, tower house, two hunters with dog in the foreground, autograph inscription; below, two bearded heads, inv. 1315 E Formerly Andrea del Sarto; formerly Francesco Ubertini called Bachiacca; formerly circle of Andrea del Sarto Red chalk, textured paper, 279x198 mm (max.) Antonio di Donnino del Mazziere, attributed to (Florence, 1497-1547), Landscape with trees, two figures in the foreground and various buildings, including a machicolated castle; below, oblong cartouche with inscription and date: “Questo Libro sichomincio / adi 30 dagosto 1527”; inv. 1314 E Formerly Andrea del Sarto; formerly Francesco Ubertini detto Bachiacca; formerly circle of Andrea del Sarto Red chalk, textured paper, 276x208 mm (max.) Bibliography related to this drawings: O. H. Giglioli, Disegni italiani di paese nella Galleria degli Uffizi, in “Dedalo”, 1928-29; Catalogo della Mostra iconografica della Toscana, exhibition catalogue, Florence 1935; I. Fraenckel, Andrea del Sarto. Gemälde und Zeichnungen, Strasbourg 1935; L. Marcucci, in Mostra di disegni dei primi manieristi italiani, exhibition catalogue (Florence, Gabinetto Disegni e Stampe degli Uffizi), Florence 1954; L. Marcucci, Contributo al Bachiacca, in “Bollettino d’Arte”, XLIII, 1958, 1; A. Forlani, I disegni italiani del Cinquecento. Scuole fiorentina, senese, romana, umbro marchigiana e dell’Italia meridionale, Venice 1962; J. Shearman, C. Coffey, Maestri toscani del Cinquecento. Fra Bartolommeo - Andrea del Sarto and their Followers: Albertinelli - Fra Paolino - Granacci -Sogliani - Franciabigio - Antonio di Donnino, XX, Florence 1976; G. Gaeta Bertelà, in Firenze e la Toscana dei Medici nell’Europa del Cinquecento. Il primato del disegno, exhibition catalogue (Florence, Palazzo Strozzi), Florence 1980; V. Silvani, Il pittore Antonio di Donnino del Mazziere, Tesi di laurea, Università degli Studi di Firenze, Facoltà di Lettere e Filosofia, a.a. 1991-1992, surveyor prof. Mina Gregori; M. Sframeli, in A. Cecchi, A. Natali, C. Sisi, L’officina della maniera. Varietà e fierezza nell’arte fiorentina del Cinquecento fra le due repubbliche 1494-1530, exhibition catalogue (Florence, Galleria degli Uffizi, 1996-1997), Venice 1996, p. 272 (summerizing the attributions of the ‘taccuino’); A. Cecchi, Aggiunte per Antonio di Donnino del Mazziere, in Arte collezionismo conservazione. Scritti in onore di Marco Chiarini, ed. by M. Chappell, M. Di Giampaolo and S. Padovani, Florence-Milan 2004

V. Giovanni Battista Natali: a case of two artists with the same name

Giovanni Battista Natali (active in Bologna, c.1575-1650), Design for an altar aedicule (Bologna, church of S. Benedetto in Galliera, Pasi Chapel), inv. 20247 F Formerly another artist of the same name, Giovanni Battista Natali (Pontremoli, 1698-Piacenza, 1765) Pen and ink, pen and diluted ink, 395x203 mm Published with this attribution by Raimondo Sassi, ‘Il tecnico bolognese Giovanni Battista Natali (1575-1650 circa)’, in L’Archiginnasio, CI, 2006, pp. 119-175. Collaborator of Giovanni Battista Natali (active in Bologna, c.1575-1650), Design for an altar aedicule, inv. 20252 F Formerly Giovanni Battista Natali (Pontremoli, 1698-Piacenza, 1765) Pen and ink, pen and diluted ink, stylus, 352x200 mm Published with this attribution by Raimondo Sassi, ‘Il tecnico bolognese Giovanni Battista Natali (1575-1650 circa)’, in L’Archiginnasio, CI, 2006, pp. 119-175. Gerolamo Rainaldi (Rome, 1570-1655), Design for a ceiling decoration (Reggio Emilia, Cathedral, Toschi Chapel), inv. 20253 F Formerly Giovanni Battista Natali (Pontremoli, 1698-Piacenza, 1765) Pen and iron-gall ink, black chalk, laid down, 345x180 mm Published with this attribution by A. Mazza, in Palazzo Pratonieri e la collezione d’arte della Fondazione Pietro Manodori, eds. A. Mazza and M. Mussini, Reggio Emilia, 2004, pp. 42-43.

VI. Two historic groups: The drawings of Jacone e Plautilla Nelli

Jacopo di Giovanni di Francesco called Jacone, attributed to (Florence, 1495-1554), Two standing male figures dressed all’antica, inv. 1061 S Formerly Baccio Bandinelli Pen and ink, probably iron-gall, yellowed paper, 286x195 mm (max.) Published with this attribution by Marzia Faietti, ‘Jacone, disegnatore fiero e “fantastico”’, in Michelangelo e il disegno di architettura, ed. C. Elam, exhibition catalogue (Vicenza, Palazzo Barbaran da Porto-Firenze, Casa Buonarroti), Venezia 2006, pp. 224-226, no. 29. Plautilla Nelli (Florence, 1524-1588), Standing male figure in mantle (pluvial?) fastened with morse, turned to the left; partial study of mantle and morse, inv. 6767 F Formerly Giovanni Antonio Sogliani Two kinds of natural black chalk, of which one softer, white chalk, grey tinted paper, 272x185 mm Published with this attribution by Marzia Faietti, ‘"In the Shadow of the Friar": The Uffizi Dtexturedings Attributed to Plautilla Nelli’, in Plautilla Nelli (1524-1588). The Painter – Prioress of Renaissance Florence, ed. J. K. Nelson, Syracuse, New York 2008, p. 111, no. 14 Plautilla Nelli (Firenze, 1524-1588), Draped figure kneeling in profile, with right hand stretched forward and the left held to the chin, inv. 6860 F Formerly Giovanni Antonio Sogliani Two kinds of natural black chalk, of which one softer, partially oxidized lead carbonate, white chalk, laid down, 228x190 mm (max.; sheet cut along the contours of the figure) Published with this attribution by Marzia Faietti, ‘"In the Shadow of the Friar": The Uffizi Dtexturedings Attributed to Plautilla Nelli’, in Plautilla Nelli (1524-1588). The Painter – Prioress of Renaissance Florence, ed. J. K. Nelson, Syracuse, New York 2008, p. 111, no. 15.




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