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153 Born to a mining family in Castleford, the English artist Henry Moore (1898–1986) trained first as a teacher. He entered the army in 1917 and served until the end of the first World War. Upon his return in 1919 he enrolled at the Leeds School of Art. Moore’s interests, even before this, included a variety of non-Western art, which made him chafe a bit under the yoke of traditional sculpture training in the Academic tradition. In Western sculpture he was most alert to early Greek and Cycladic objects. In addition, Moore was attentive to the inherent nature of materials, whether wood or stone, as he planned his compositions. A 1923 trip to Paris was a turning point, for he discovered the works of the French avant-garde, especially Paul Cézanne. He repeated the trip two years later, visiting Italy as well. Appointed sculpture professor at Royal College of Art in 1924, he was given his first one-man show in 1928. Through all this time he concentrated more and more on the human figure, which became the overwhelming focus of his mature work, refined through a great number of life drawings. In 1933 he joined the modernist Unit One group which included Barbara Hepworth and Ben Nicholson among its members. In 1940 Moore’s London studio was damaged in the Blitz and he moved to the village of Much Hadham north of the city. At this time he was made an official War Artist, which eventually brought him more public attention. The transformations of life for a people at war fascinated him and affected his work deeply. After the war, he was given a retrospective at New York’s Museum of Modern Art, and from this point on his career was characterized by major commissions including public ones such as work for the Festival of Britain in 1951 and Lincoln Center in 1965. Towards the end of his life, in 1977, he created the Henry Moore Foundation. He died in 1986. Inscriptions none Marks none Provenance Mary de Limur Weinmann, by 2008; bequest to the Museum Literature unpublished 38 Henry Moore Shelter Drawing, Seated Woman Knitting, n.d. Wax crayon, pen and black ink, brush and gray wash on tan wove paper prepared with black, 25.1 x 16.5 cm. Crocker Art Museum, bequest of Mary de Limur Weinmann, 2019.145.24
154 Julian Andrews recounts the origin of Moore’s Shelter Drawings, as they were later known:1 On September 11, 1940, when out to dinner in London, Moore was caught in an Underground station. An order had gone out to air raid wardens to keep the public off London streets during German bombing raids. Moore found the Belsize Park station crowded with people; families, strangers, all scattered about the station in tense groups as the trains continued to run through. After a difficult night, Moore made the first of these drawings the next day. 2 The drawings, made originally as ideas for sculptures, filled several sketchbooks that Moore worked on simultaneously. Moore “went into London two or three times a week” to draw in the Underground and its unused tunnels,3 though he also drew scenes from the Tilbury shelter.4 His technique varied, but many of the more fully worked-up drawings rely on wax resist, with an underlying layer of wax crayon over the initial composition in graphite or pen and ink, then a final layer of watercolor spread across the crayon. The watercolor would “take” only on the bare paper, leaving the colored crayon exposed with only occasional dots of watercolor scattered across those areas. This is the technique of the Crocker drawing. Taller than Moore’s sketchbooks, the drawing is both darker and more finished than most of the drawings within them. The scene is of a woman knitting. The artist has chosen a subject suited to the atmosphere of war and its deprivations. As in the first World War, during World War II knitting for the troops was seen as a patriotic duty. “England expects—knit your bit” was the watchword, and knitting was a perfect activity for the shelters. Contemplative and repetitive, knitting required enough attention it could provide welcome distraction from the air raids above, but was not so taxing it prevented conversation if the knitter found it welcome. Moore’s sketchbook donated to the British Museum by Lady Clark, wife of the former National Gallery director Sir Kenneth Clark, includes images of knitters in various poses. For many, the relationship between figure and surroundings is unclear. Though one is seated on a chair, one knee casually slung across the other as she works,5 the rest are seated on the ground, legs outstretched. Typically, the figures are isolated psychologically, as if complete concentration on their work mitigates the terror of bombing and the noise and unpleasantness of crowded surroundings.6 A knitter, a child reading, a sleeper, and a fig. 28. Henry Moore, Three Figures in a Shelter, 1941. Watercolor and wax crayon on prepared cream wove paper, 37 x 55.5 cm. Brighton and Hove Museums
155 woman playing with a child appear on one page. Though it is not quite clear whether they are intended to be a group, they work well together as typical shelter occupants.7 A group of three figures on one page includes a knitter at left and more of the surroundings.8 Here, the dark foreground is illuminated from a distant staircase, giving a lighting effect similar to the figure in the Crocker drawing. Since the secondary scenes on the page have figures in similar poses, this page may have been made specifically to study knitters and their movements. None of these pages share the setting of the Crocker drawing, a rectangular niche made of horizontal planks. A seated figure with clasped hands in the same sketchbook gives a better understanding of the rather dark setting in the Crocker sheet.9 In it, the bench on which the figure sits is quite clear, rather than being outside the picture frame. The setting may not be in an Underground station, rather in a tunnel along the tracks or possibly in another type of shelter altogether, since when space is defined within this sketchbook the tiled walls of the stations tend to be shown quite clearly. One of the later shelter drawings, now in the Brighton Museum and Art Gallery,10 sheds light on the context of the Crocker sheet. From 1941, it has been given the title Three Fates, the connection being the thread of life the Fates spin, measure, and cut, here symbolized by the knitting yarn. The title may or may not be Moore’s. (fig. 28) Three figures occupy a larger niche, with the figure at left holding a child, the middle one knitting, and the third with hands clasped in her lap. In this fully worked-up drawing, Moore’s ideas have progressed from the sketchbook of the year before. The heads are given abstract, modernistic forms, as if they belong to supernatural beings. Notably, the colorism is the same as in the Crocker sheet, with a range of greenish tones for the wax crayons, over which a dark, grayish watercolor is applied. Occupying a midpoint between the sketchbooks and the Brighton sheet and, like the latter, seemingly intended as a work of art in its own right, the Crocker’s Shelter Drawing, Seated Woman Knitting should be dated to 1941, near the date of the so-called Three Fates. 7
156156
157 notes 1 Jacques de Bellange 1 Antony Griffiths and Craig Hartley, Jacques Bellange c. 1575–1616, Printmaker of Lorraine, exh. cat. London, 1997, pp. 10–16, with references to many of the documents mentioned above 2 emails to Cornelia Müssig of 8 February 2016 and 19 February 2014 respectively, shared with this writer by Bruce Livie, Crocker curatorial files 2 Daniel Dumonstier 1 Gédéon Tallement des Réaux, Historiettes, ed. Antoine Adam, Paris, 1960, p. 660 2 Tallement des Réaux 1960 as in note 00 above, p. 660 3 ibidem, p. 661. I thank Nicolas Joly for the reference to this precious resource. 4 Others include a painting attributed to Philippe de Champaigne after Pierre Mignard in the Royal Collection, a statue in Saint-Germain-l’Auxerrois in Paris, both showing him late in life, a print by Mignard of 1673 and one by Larmessin post-1674. 5 Memoires du duc de Saint-Simon, ed. Adolphe Cheruel, Paris, 1857, vol. X, p. 72 6 Daniel Lecoeur, Daniel Dumonstier 1574–1646, Paris, 2006, p. 65] 7 ibidem, p. 61 8 ibidem, nos. 94 and 95 9 ibidem, nos. 172 and 173 3 Giovanni da San Giovanni 1 Francesco Baldinucci quoted in Il Seicento fiorentino, exh. cat. Florence, 1986, 3 vols., vol III, p. 101 2 inv. no. D.1978.PG.398 3 Catalogue of the Drawings of Parmigianino, New Haven, 1971, 3 vols., vol. I, no. 787 4 inv. no. 1874,1.10.424, in Julian Brooks with Catherine Whistler, Graceful and True, Drawing in Florence c. 1600, exh. cat. Oxford, 2003, no. 58 4 Jacopo Confortini 1 Florence, Uffizi, inv. no. 1847 S; Weimar, Kunstsammlungen, inv. no. II, 12; a compositional drawing formerly in the Benno Geiger Collection, Venice, published by Walter Vitzthum, “Confortini at Edinburgh,” in The Burlington Magazine, vol. CXII, no. 806, May 1970, p. 311, ill.; a similar compositional drawing, London, Christie’s, 12 December 1978, lot 26; and one in a private collection in New York, formerly in the Pieter de Boer collection, that depicts the three musicians, appearing with Colnaghi, Master Drawings, London, 1996, no. 19, see also K. E. Maison, “ More Confortini,” in The Burlington Magazine, vol. CXII, no. 807, June 1970, p. 398, ill. 2 New York, Christie’s, 26 January 2012, lot 60 3 Paris, Artcurial, 13 November 2015, lot 81 4 Giuliana Guidi et al., Il Seicento fiorentino, exh. cat. Florence, 1986, vol. III, p. 64; the Uffizi drawing is vol. II, no. 2.214
158 5 Attributed to Francesco Montelatici, called Cecco Bravo 1 Christie’s, London, 2 July 1991, lot 110 2 e.g. Statens Museum for Kunst, inv. nos. KKSgb4708, 4709, and 4813 6 Cornelis Saftleven 1 for a detailed discussion of his oeuvre, see Wolfgang Schulz, Cornelis Saftleven, Berlin, 1978, pp. 40ff 2 ibidem, p. 62 3 ibidem, p. 63 4 ibidem, no. 140; Nationalmuseum, inv. no. 2183/1863 5 ibidem, no. 124, Boijmans-van Beuningen Museum, inv. no. CS I 6 ibidem, no. 36, Rijksmuseum, inv. no. RP-T-1902-A-4570 7 Jean-Baptiste Jouvenet 1 Emmanuelle Brugerolles, Georges Brunel, and Camille Debrabant, The Male Nude: Eighteenth-century Drawings from the Paris Academy, exh. cat. London, 2013, p. 62; French edition Emmanuelle Brugerolles et al., L’Académie mise à nu, exh. cat. Paris, 2010, p. 37 2 ibidem, English ed. pp. 33–34 and French ed. p. 21 3 Schnapper and Gouzi as in Literature above, nos. D113, D115 are double poses, D120 and D106—Crocker inv. no. 1871.517 4 Schnapper and Gouzi as in Literature above, nos. D109, École des Beaux-Arts, inv. no. PM 2489; D111, inv. no. EBA 2967; D112, EBA inv. no. 2966; D110, Dijon, Musée Magnin inv. no. 1938-DF737; and Arcurial at Hôtel Marcel Daussault, Paris, 9 April 2008, lot 80 respectively 5 Wallace catalogue, p. 116 6 correspondence, Crocker curatorial files; inv. no. 5493 7 Christine Gouzi, introduction to Schnapper and Gouzi as in Literature above, pp. 10ff 8 ibidem, no. D123 8 Flemish, 16th-century Artist 1 “Gossart as a Draftsman,” in Maryan Ainsworth et al., Man, Myth, and Sensual Pleasures, Jan Gossart’s Renaissance, the Complete Works, exh. cat. New York, 2010, pp. 89ff 2 Hampel, Munich, 30 June 2022, lot 262 3 National Galleries of Scotland, inv. no. D5122 9 Francesco Solimena 1 Annette Hofer, Francesco Solimena 1657–1747 Malerfürst und Unternehmer, Munich, 2009, pp. 44–5 2 ibidem, p. 54; p. 44 for Daun as a promoter of Neapolitan art
159 3 as in the recent entry by Nicola Spinosa in his Francesco Solimena e le arti a Napoli, Dipinti, Rome, 2018, no. 183 and in Jiri Fronek’s lucid discussion of the Prague painting, in his Phaethon, the story of Francesco Solimena’s Painting, Prague, 2005, pp. 35ff 4 Hofer 2009 as in note 00 above, pp. 48–54 5 Romalli 2018 as in Literature above 6 Tim Warner-Johnson, email, 24 October 2017; Christie’s, New York, 26 January 2001, lot 152 7 communication with this author, Crocker curatorial files 8 Nicola Spinosa, Pittura napoletana del Settecento dal Barocco al Rococò, Naples, 1986, no. 60] 9 communication with this author, Crocker curatorial files; Sotheby’s, London, 8 December 2005, lot 327 10 Pier Leone Ghezzi 1 Maria Cristina Dorati da Empoli, Pier Leone Ghezzi, un protagonista del Settecento romano, Rome, 2008, p. 9 and Mimi Cazort in Ann Percy and Mimi Cazort, Italian Master Drawings at the Philadelphia Museum of Art, Philadelphia, 2004, under no. 43 2 Dorati da Empoli 2008 as in note 00 above, p. 24 3 inv. no. 1978.27 4 Antonella Pampaloni, “’I volti’ della storia nelle caricature della collezione di Pier Leone Ghezzi,” in Artisti e Mecenati, dipinti, disegni, sculture e carteggi nella Roma curiale, ed. Elisa Debenedetti, Rome, 1996, pp. 111, 113, nos. 145, 167, 170 11 Willem Troost 1 in his Travels through Town and Country, Dutch and Flemish Landscape Drawings 1550–1830, exh. cat. Haarlem, Curaçao, 2000, under no. 74 2 his “Rheinströme,” in Klaus Honnef, Klaus Weschenfelder, and Irene Haberland, eds., Vom Zauber des Rheins ergriffen, zur Entdeckung des Rheinlandschaft, Munich, 1992, pp. 13ff 3 “Die Rheinreisen niederländischer Künstler im siebzehnten Jahrhunderts,” ibidem, pp. 147ff 4 “Die Saftleven-Renaissance,” ibidem, pp. 195ff 12 Jean-Antoine Watteau 1 as in Literature above 2 inv. no. RF31370 3 inv. no. CD 16421 4 “Watteau’s copies after the Old Masters,” in Alan Wintermute et al., Watteau and his World, French Drawings from 1700 to 1750, exh. cat. New York and Ottawa, 1999, p. 54 5 La Surprise, Collection: J. Paul Getty Museum, Los Angeles, 2019, museum-essays.getty.edu/paintings/ dgasparotto-watteau 6 inv. no. NMH A 3/1979, in Margaret Morgan Grasselli and Pierre Rosenberg, Watteau 1684–1721, exh. cat. Washington, 1984, no. 136
160 13 Jean-Baptiste Oudry 1 Louis Gouguenot, “Vie de M. Oudry,” in Mémoires inédits sur la vie et les ouvrages des membres de l’Académie royale de peinture et de sculpture, 2 vols., Paris, 1854, vol. II, p. 377 2 Christine Giviskos, “Technique and Tradition in Oudry’s Animal Drawings,” in Mary Morton, ed., Oudry’s Painted Menagerie, Portraits of Exotic Animals in Eighteenth-century Europe, exh. cat. Los Angeles, 2007, p. 76 3 inv. no. NM 867 4 Gouguenot 1854 as in note 00 above, p. 380 5 Giviskos 2007 as in note 00 above, p. 76 6 in Vincent Drouguet et al., Animaux d’Oudry, collection des ducs de Mecklenburg-Schwerin, exh. cat. Fontainebleau, 2004, p. 142 7 ibidem, nos. 58 and 59 8 inv. nos. 1938-66-1 and 2, see Hall Opperman, J.-B. Oudry 1686–1755, exh. cat. Fort Worth, 1983, repr. pp. 52-53 9 Sotheby’s, New York, 13 January 1989, lot 190; Strasbourg, Musée des Beaux-Arts, inv. no. 1698, see Drouguet et al. 2004 as in note 00 above, under no. 59 10 Giviskos 2007 as in note 00 above, p. 75 11 Drouguet et al. 2004 as in note 00 above, nos. 57-59 12 drawing untraced; print National Gallery of Art, inv. no. 1975.81.28 14 Charles-Antoine Coypel 1 Charles Coypel, “Discours sur la necessité de recevoir des avis,” in Discours sur la peinture prononcez dans les conférences de l’Académie Royale de Peinture et de Sculpture, Paris, 1732, p. 11 2 Musée Bossuet, in Thierry Lefrançois, Charles Coypel, Peintre du roi 1694-1752, Paris, 1994, no. P.133 3 ibidem, no. D.102 4 London, British Museum, inv. no. 1895,0915.504 5 Bartsch 43] 6 Lefrançois 1994 as in note 00 above, p. 11 7 ibidem, p. 12 15 Jacob de Wit 1 communication to this author, Crocker curatorial files 2 V, 642ff 3 Ovid’s Metamorphoses in Latin and English, Translated by the most Eminent Hands, Wetsteins and Smith, Amsterdam, 1732
161 16 Johann Elias Ridinger 1 Lars Berg, “Johannes Ridinger als Zeichner,” in Jahrbuch der Berliner Museen, vol. LVI, 2014, p. 92 2 Ignaz Schwarz, Katalog einer Ridinger-Sammlung, Vienna, 1910, no. 272 for the date; complete title of series is: Genaue und richtige Vorstellung der wundersamste Hirsche sowohl als anderer besonderl. Thiere, welche von großen Herrn selbst gejagt, geschoßen, lebendig gefangen oder gehalten worden... [Exact and faithful depiction of the most wondrous stags and other unusual animals that have been hunted, shot, captured alive or held by gentlemen...], Georg August Wilhelm Thienemann, Leben und Wirken des unvergleichlichen Thiermalers und Kupferstechers Johann Elias Ridinger, Leipzig, 1856, no. 242 3 Inscription on the print: Anno 1736. Ist dise Wilde Gans von einem im geröricht laurenden [sic! lauernden] Fuchsen auf einem altwasser bey Reichenweiler in der Graffschaft Mümpelgard [sic! Mömpelgard] legendig gefangen, der Fuchs verfolget und von einem hochfürstlichen Württemburgischen Jäger zum Schuss gebracht worden [In 1736 this wild goose was taken alive by a fox lurking in the reeds in a backwater near Reichenweiler [now Riquewihr] in the county of Mömpelgard [now Montbéliard]; the fox was chased and shot by a hunter in the company of the Prince of Württemberg. 4 Sotheby’s, New York, 14 January 1987, lot 177 5 Zu den besonderen Ereignissen u. Vorfallenheiten bey der Jagd, Thienemann 1856 as in note 00 above, nos. 343ff; this one no. 344 17 Jan L‘Admiral 1 Rijksmuseum, inv. nos. RP-T-1910-35 and -36 respectively 2 inv. no. RP-P-1914-4833 18 Francesco Guardi 1 Stephen Ongpin, Settecento Veneto, London, 2022, no. 28 2 ibidem, note 12 3 Hermann Ball and Paul Graupe, Berlin, 28 November 1930, lot 63, 44 x 65 cm, previously in the Miller von Aichholz collection 4 Thanks to Rachel Sloan of the Courtauld Institute for this information. She notes the photo verso bears the indication “François Guardi. Dessin en sepia,” which is consistent with a Crocker family provenance as several drawings in the Weinmann bequest were purchased in Paris near the turn of the last century. A forgery of a similar scene is mentioned by Antonio Morassi, Guardi, tutti i disegni di Antonio, Francesco, e Giacomo Guardi, Venice, 1975, no. 657 5 inv. no. 65.181.8 6 inv. no. 2212.1, oil on canvas, 284.5 x 423.8, ill. Ongpin 2022 as in note 00 above 7 ibidem, no. 29 8 The ex-Castiglioni drawing is difficult to judge from the catalogue photograph, though the sail in question is not present there.
162 19 Louis-Jean-François Lagrenée 1 Antoine Renou, “Nécrologie (Louis-Jean-François Lagrenée l’aîné),” in Nouvelles des arts, vol. IV, 1804, p. 283 2 Sophie Raux, “La reconnaissance des institutions,” in Quand la gravure fait illusion, autour de Watteau et Boucher, le dessin gravé au XVIIIe siècle, exh. cat. Valenciennes, 2006, p. 80 3 Valenciennes 2006 as in note 00 above, under no. 39 4 inv. nos. 27477 and 27478 5 Valenciennes 2006 as in note 00 above, under no. 39 6 Jacques Herold, Louis-Marin Bonnet, catalogue de l’oeuvre gravé, Paris, 1935, no. 42 7 Emmanuelle Brugerolles, Georges Brunel, and Camille Debrabant, The Male Nude: Eighteenth-century Drawings from the Paris Academy, exh. cat. London, 2013, pp. 90–91 20.1, 20.2 Hubert Robert 1 letter in J. H. Fragonard e H. Robert a Roma, exh. cat. Rome, 1991, p. 267 2 letter exchange ibidem, p. 268; criticism continues in following exchanges 3 C. Gabillot, Hubert Robert et son temps, Paris, 1895, p. 79 4 Fragonard e Robert 1991 as in note 00 above, p. 272 5 Petra Lamers, Il viaggio nel Sud dell’Abbé de Saint-Non, Naples, 1992, no. 403a; 398a, 399a, 400a, 402a, 406a, 407a, 410a, 413a, and 414a. 6 Lamers 400a and 410a respectively 7 the lower level is mentioned in the Description, vol. II, pp. 215–16, quoted in Lamers, no. 411: “Cette ruine, une des plus considérables & des plus pittoresques en même-temps, est attenante à nombre de Galeries qui sont devenues presque souterraines par attérrissement.” 8 Pierre-Jean Mariette’s Abecedario, quoted in Gabillot 1895 as in note 00 above, p. 52 9 in their Vivre l’antique de Marie-Antoinette à Napoléon Ier, Saint-Rémy-en-l’Eau, 2021, pp. 38–41 10 in her Futures and Ruins, Eighteenth-century Paris and the art of Hubert Robert, Los Angeles, 2010, pp. 139–43 11 Sarah Català, Hubert Robert à Paris, Paris, 2021, p. 70n47; she also points out its pendant, Ruins of the Temple at Baalbec, 1767, private collection, no. 15 in the same catalogue 21 Gaetano Gandolfi 1 Yale University Art Gallery, inv. no. 1983.81, Donatella Biagi Maino, Gaetano Gandolfi, Turin, 1995, no. 66 2 ibidem, no. 217 3 some of these regulations discussed in Christine Giviskos, “Académie, académie, étude, Figural drawing in France, 1680–1865,” in William Breazeale, Susan Anderson, Christine Giviskos, and Christiane Andersson, The Language of the Nude: Four Centuries of Drawing the Human Body, exh. cat. Sacramento, 2008, pp. 86ff, and in the present author’s introduction to the same catalogue, p. 12
163 22 Jean-Baptiste Le Prince 1 Kimerly Rorschach, Drawings by Jean-Baptiste Le Prince for the Voyage en Sibérie, exh. cat. Philadelphia, 1986, p. 10 2 ibidem 23 Jean-Baptiste Hüet 1 Couilleaux 2015 as in Literature above, p. 7 2 now in the Louvre, inv. no. 5411 3 Couilleaux 2015 as in Literature above, p. 9 4 ibidem 5 ibidem, p. 81–82 6 as in Literature above 7 Gallice sale, Charpentier, Paris, 25 May 1954, lot 20, there entitled Le passage du gué, illustrated 8 as in Literature above 9 invoice, Crocker curatorial files 24 Giuseppe Cades 1 Luigi Lanzi, Storia pittorica della Italia dal risorgimento delle belle arti fin presso al fine del XVIII secolo, 1824–25, ed. 1968, p. 423, who emphasizes Corvi’s discipline 2 recounted in Maria Teresa Caracciolo, Giuseppe Cades 1750–1799 et la Rome de son temps, Paris, 1990, pp. 163–64 and Anthony Morris Clark, “An Introduction to the Drawings of Giuseppe Cades,” in Master Drawings, vol. II, no. 1, Spring, 1964 p. 19 3 Clark 1964 as in note 00 above 4 Caracciolo as in note 00 above, nos. 135A and B, Istituto nazionale per la Grafica, inv. no. F.N.72 (18953), École des Beaux-Arts, inv. no. 388 respectively, as well as an undated replica, no. 135C, Sotheby’s New York, 18 January 1984, no. 125 5 ibidem, no. 138A, Thorvaldsensmuseum, inv. no. 152; an undated replica is in Chicago, inv. no. 1922-648 6 Richard J. Campbell and Victor Carlson, Visions of Antiquity, Neoclassical Figure Drawings, exh. cat. Los Angeles and Minneapolis, 1993, p. 268 7 Caracciolo as in note 00 above, nos. 105A-O 8 inv. no. 1871.347: William Breazeale, Susan Anderson, Christine Giviskos, and Christiane Andersson, The Language of the Nude: Four Centuries of Drawing the Human Body, exh. cat. Sacramento, 2008, no. 12; Caracciolo, no. 111, under no. 138B, and p. 117 25 Friedrich Heinrich Füger 1 Christoph Martin Wieland, Die Grazien, Leipzig, 1770, in Wielands Werke, ed. Hans-Peter Nowitzki, Berlin, 2008, vol. IX, p. 351 2 to the canon of Hamburg Cathedral, Dr. Friedrich J. L. Meyer, “Meine Direktorschaft entfernt mich leider nur zu oft von meiner Staffelei; und ich malte wenigstens die Hälfte
164 Bilder mehr im Jahre wenn ich kein Amt hätte.” In Robert Keil, Heinrich Friedrich Füger 1751–1818, Nur wenigen ist es vergönnt das Licht der Wahrheit zu sehen, Vienna, 2009, p. 416 3 Wolf Eiermann, “Eine Zeitreise mit Füger in den Klassizismus,” in Heinrich Friedrich Füger 1751–1818, zwischen Genie und Akademie, exh. cat. Heilbronn, 2001, pp. 31–32 4 Thanks to Alan Templeton for this information, in conversation in 2012 5 Lais and Socrates, inv. no. 1871.82, William Breazeale and Anke Fröhlich-Schauseil, trans. William Breazeale, The Splendor of Germany: Eighteenth-century Drawings from the Crocker Art Museum, exh. cat. Sacramento, London, 2020, no. 18 6 Wawra, 16 June 1916, lot 47 7 inv. no. 1644, located in the German embassy in Brussels, Keil 2009 as in note 00 above, no. WV602; the entry mentions the Wawra drawing 8 respectively, the same lot as the 1810 Three Graces Finding Amor mentioned above; MFA inv. no. 1971.713; and Dorotheum, 10–14 November 1980, lot 303; Keil 2009 nos. WV605, 604, 603 26 Johann Christian Klengel 1 Anke Fröhlich, “Glücklich gewählte Natur,” der Dresdner Landschaftsmaler Johann Christian Klengel 1751–1824, Hildesheim, 2005, p. 13 27 Felice Giani 1 Anna Ottani Cavina, Felice Giani 1758–1823 e la cultura di fine secolo, Milan, 1999, no. 31 2 Apollo and Marsyas for Palazzo Conti-Sinibaldi, 1800–01, Cooper-Hewitt, inv. no. 1901-39- 3180, ibidem, no. A1.326; Workshop of Apollo, 1800-05, Cooper-Hewitt, inv. no. 1901-39-3182, ibidem, no. A1.328 3 Temple of Fame, circa 1815, Cooper-Hewitt, inv. no. 1901-39-3181, ibidem, no. A1.327; Temple of Fame, circa 1815, Cooper-Hewitt, inv. no. 1901-39-3184, ibidem, no. A1.330; a fifth stage curtain of around the same date represents Minerva and the Poets on Parnassus, CooperHewitt, inv. no. 1901-39-3183, ibidem, no. A1.329 4 ibidem, p. 939 5 ibidem, p. 940 6 ibidem, p. 947 28 Johann Georg von Dillis 1 quoted in Christoph Heilmann, “Maler, Museumsdirekor, Kunstberater zweier Könige, zur Persönlichkeit von Johann Georg von Dillis,” in Heilmann et al., Johann Georg von Dillis 1759–1841, Landschaft und Menschenbild, Munich, 1991, p. 11 2 Heinrich Höhn, Leben und Werke des Landschaftsmalers Georg von Dillis, Ph.D. diss. Munich, Strasbourg, 1908, p. 25 3 Underlying this and following discussion of Dillis’s drawing habits is Hinrich Sieveking’s “Im Unvollendeten vollendet, der Zeichner und Aquarellist Dillis,” in Heilmann et al. 1991 as in note 00 above, pp. 60ff 4 For a variety of these drawings, see Thomas Le Claire, Wolkenstudien, Cloud studies, Johann Georg von Dillis, Hamburg, 2002
165 5 Karin Rhein et al., Die Kunst selbst ist Natur: Johann Georg von Dillis 1759–1841, Cemälde und Zeichnungen in der Sammlung des Museums Georg Schäfer, Schweinfurt, 2017, p. 24 6 as in Literature above, no. 10. 7 ibid, p. 22 8 Boerner 2011 as in Literature above 29 (recto and verso) Christian Gottlob Hammer 1 C. G. Bautzmann quoted in Anke Fröhlich, Landschaftsmalerei in Sachsen in der zweiten Hälfte des 18. Jahrhunderts, Weimar, 2002, p. 194 2 email of July 23, 2007 3 as in Literature above 4 Sächsische Landesbibliothek, Staats- und Universitätsbibliothek Dresden, inv. no. SLUB/ KS B7820 30 Ernst Fries 1 Annette Frese, “’Ihm gleichend bringt die Zeit uns keinen wieder,’ zur Biographie von Ernst Fries,” in Ernst Fries, Heidelberg 1801–1833 Karlsruhe, exh. cat. Heidelberg, 2001, p. 11 2 in her Ernst Fries 1801–1833, Monographie und Werkverzeichnis, Heidelberg, 2000, p. 14 3 Sigrid Wechssler, “Nota bene: Ernst Fries,” in Heidelberg 2001 as in note 00 above, p. 22 4 “Ernst Fries’ exzentrischer Blick auf die Landschaft,” in Heidelberg 2001 as in note 00 above, pp. 45ff 5 Wechssler 2000 as in note 00 above, pp. 41ff provides these and other details of the trip 6 ibidem, no. 333, of Eboli, Berlin, Kupferstichkabinett, inv. no. SZ E. Fries 54 7 ibidem, nos. 335 and 336, Mannheim, Städtische Kunsthalle, invl no. G. 2993 and location unknown, with Boerner, Neue Lagerliste 19, in 1957, no. 27 8 ibidem, no. 339, Berlin, Kupferstichkabinett, inv. no. SZ E. Fries 65 9 ibidem, p. 42 10 ibidem, no. 337, Kurpfälzisches Museum, inv. no. Z5454 11 ibidem, no. 338, Karl und Faber, Munich, 4 December 2008, lot 141; thanks to F. Carlo Schmid for sharing this information in an email of 19 September 2022 12 ibidem, no. 339, as in note 00 above 13 ibidem, no. 346, Berlin, Kupferstichkabinett, inv. no. SZ E. Fries 58 31 Eugène Boudin 1 Robert Schmit, Eugène Boudin 1824–1898, Paris, 1973, no. 195 32 Adolf Hirémy-Hirschl 1 Walter Zettl in Galleria Carlo Virgilio, Adolf Hirémy Hirschl, Disegni, Acquerelli e pastelli, exh. cat. Rome, 1981, p. 7
166 2 Matthiesen Fine Art, Adolf Hiremy Hirschl 1860–1933, exh. cat. London, 1987, p. 13 3 Della Rocca, Turin, 22 April 2010, lot 677 4 Matthiesen 1987 as in note 00 above, no. 26 5 ibidem, no. 25, illustrated in Charles McCorquodale, review of Matthiesen 1987, in Apollo, vol. CXXVI, n.s. no. 307, September, 1987, p. 205 6 Virgilio 1981 as in note 00 above, no. 101 7 ibidem, no. 102 8 Matthiesen 1987 as in note 00 above, no. 27 33 Paul Signac 1 Marina Ferretti-Bocquillon in her Signac aquarelliste, Paris, 2001, pp. 13ff discusses this stylistic transformation in detail 2 Françoise Cachin, Signac, catalogue raisonné de l’oeuvre peint, Paris, 2000, p. 381 3 Ferretti 2001 as in note 00 above, p. 14 4 ibidem, p. 8 5 Sotheby’s, London, 5 February 2002, lot 202 6 Sotheby’s, London, 12 July 2005, lot 27 34 Lyonel Feininger 1 commentary for Koller, Zürich, 24 June 2011, lot 3238 2 Grisebach, 31 May 2013, lot 359, identical to the drawing mentioned in the previous footnote 3 Leona E. Prasse, Lyonel Feininger, A Definitive Catalogue of his Graphic Work, Cleveland and Berlin, 1972, no. E42 4 Christies, London, 23 June 2015, lot 103 5 Karl und Faber, Munich, 4 December 2019, lot 721 6 Hans Hess, Lyonel Feininger, London, 1961, no. 188 7 Prasse 1972 as in note 00 above, no. W187 8 in Lyonel Feininger, vom Sujet zum Bild, exh. cat. Schwerin, 2007, p. 122 35 Heinrich Vogeler 1 Hans-Herman Rief, Heinrich Vogeler, das graphische Werk, Bremen, 1974, no. 75 2 ibidem, no. 39 3 ibidem, no. 44 4 Rena Noltenius, Heinrich Vogeler 1872–1942, die Gemälde, ein Werkkatalog, Bonn, 2000, no. 58 5 Heinrich Wigand Fetzet, Heinrich Vogeler, Zeichnungen, Worpswede, 1967, no. 24 6 Rief 2000 as in note 00 above, no. 23 for both
167 36 Egon Schiele 1 Christian Bauer, Egon Schiele, der Anfang/the Beginning, exh. cat. Munich, 2013, p. 170 2 ibidem, p. 177 3 ibidem, p. 193 4 Jane Kallir, Egon Schiele, Life and Work, New York, 2003, p. 44 5 see Jane Kallir in Alessandra Comini, ed., Egon Schiele, Portraits, exh. cat. New York, 2015, pp. 65ff 6 Bauer 2013 as in note 00 above, p. 199 7 Dorotheum, Vienna, 29 November 2000, lot 7 8 Bauer 2013 as in note 00 above, p. 194 9 Kallir 1990/98 as in Literature above, no. 96 37 Fernand Léger 1 artist, quoted in Fernand Léger, exh. cat. Buffalo, New York, 1982, p. 50 2 ibidem 3 Sandro Parmiggiani, ed., Fernand Léger, lo spirito del moderno, exh. cat. Reggio Emilia, Milan, 2002, p. 183 4 Sotheby’s New York, 10 May 2016, lot 316; Sotheby’s New York, 16 November 1989, lot 211 38 Henry Moore 1 Julian Andrews, London’s War, the Shelter Drawings of Henry Moore, London, 2002, pp. 35ff 2 ibidem, p. 36 3 ibidem, p. 37 4 ibidem, p. 43 5 British Museum, inv. no. 1977, 0402.22; Ann Garrould, Henry Moore, Complete Drawings, 4 vols., London, 1994-, vol. III, nos. A9. 40. 41. 1ff, discusses and reproduces this and the following sketchbook pages from the Lady Clark sketchbook 6 British Museum, inv. no. 1977,0402.23 7 British Museum, inv. no. 1977,0402.24 8 British Museum, inv. no. 1977,0402.37 9 British Museum, inv. no. 1977,0402.44 10 inv. no. FA101655; Garrould 1994—as in note 00 above, no. AG41.80]