Spaightwood Galleries

Last updated: 1/25/2017
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A Selection of Drawings and Prints:
Links to old master prints and drawings at Spaightwood Galleries

North Italian Illuminated Manuscript / Italian School, 16th and early 17th-Century Drawings
Cherubino Alberti / Michelangelo Buonarotti (After) / Annibale Carracci / Parmigianino / Marcantonio Raimondi
Giulio Romano / Jacopo Palma il Giovane / Andrea Schiavone / Tintoretto / Titian (after) / Veronese / Federico Zuccaro

Italian School, 17th-Century Drawings / Drawings2 / Simone Cantarini / Domenichino / Guercino / Pier Francesco Mola

Italian School Printmakers, 15th-17th Centuries: Venetian School, c. 1500 / Raphael School / Giovanni Jacopo Caraglio
Marcantonio Raimondi / The Master of the Die / Anea Vico / Agostino Veneziano / Nicholas Beatrizet
Michelangelo Buonarotti (After) / Girolamo Fagiuoli / Cherubino Alberti / Titian (after) / Tintoretto (after)
Parmigianino / Giorgio Ghisi / Diana Scultori / Annibale Carracci / Ludovico Carracci / Simone Cantarini / Elisabetta Sirani
Gerolamo Scarsello

Netherlandish School 15th-17th-Century Drawings / Flemish School, 17th-Century
Bernaert van Orley / Lucas van Leyden / Maarten de Vos / Jan Baptiste de Wael / Abraham Bloemaert
Peter Paul Rubens / Philipp Sadeler / Nicolaes Maes / Rembrandt School

Netherlandish Printmakers 16th-17th Centuries: Lucas van Leyden, Maarten van Heemskerck, Cornelis Cort
Philips Galle, Hans (Jan) Collaert, Adriaen Collaert, Karel de Mallery, Theodore Galle, Hendrik Goltzius
Julius Goltzius, Jacob Matham, Jan Sanraedam, Marten de Vos, Jan Sadeler, Aegidius Sadeler, Raphael Sadeler
Crispin de Passe, Magdalena de Passe, Wierix Brothers, Rembrandt, Rembrandt School, Jan Lievens, Jan Joris van Vliet,
Ferdinand Bol, Govert Flinck

German Drawings: German Drawings: Hans Sebald Beham / Virgil Solis / Hans von Aachen / Joseph Heinrich Roos

German 16th century printmakers: Heinrich Aldegrever, Jost Amman, Hans Sebald Beham, Hans Brosamer, Hans Burgkmair, Lucas Cranach, Albrecht Durer, Albrecht Durer (After), Hans Holbein (After), Hopfer Brothers, Georg Pencz, Hans Schäufelein, Virgil Solis, Wolfgang Stuber.

Biblical Subjects / Mythological Subjects / Allegorical Subjects / Historical Subjects

Adam and Eve / Noah / Lot and his Daughters / Joseph / Samson / Jephthah and his Daughter
David / Judith / Esther / Susanna and the Elders
De Vos Old Testament Women 1 / De Vos Old Testament Women 2 / De Vos New Testament Women
The Virgin Mary / Mary Magdalen / The Woman taken in adultery / The Crucifixion / The Lamentation / The Resurrection

18th-Century Drawings / 19th-Century Drawings / 20th-Century Drawings

Drawings from the late 15th century to the early 21st

This show was prompted by our acquisition over the past few years of a number of old master drawings, including works by Bernaert van Orley, Lucas van Leyden (a hand-colored impression of one of his large engravings, Golgotha), Hans Sebald Beham and studio, Annibale Carracci, Federico Zuccaro, Pier Francesco Mola, Paolo di Matteis, Jan Baptiste de Wael, and works by contemporary followers of Veronese, Domenichino, and Rembrandt (Pieter de With, attributed). Some of these works appear to be finished drawings, others attempts to conceptualize an artistic problem to be solved, still others models for members of the master's workshop to execute in whole or in part under the master's supervision.
We also feature 18th- and 19th-century drawings by artists like Mouricault (three scenes from the legend of Cupid and Psyche, each done in a different technique), the Count d'Orsay's portrait of the diplomat Tallyrand, Theophile Chauvel (one of the Barbizon group), Heloise Suzanne Colin and Marianne Rohden, both wives and mothers of artists in addition to being well-known artists themselves, Adrian Ludwig Richter (one of whose watercolors sold at auction recently for $22, 220), Wilhelm Richter, Johann Mader, Otto Greiner, Emil Kinkelin, Adalbert Wolfe, Felix O. C. Darley (Winslow Homer's model for shaping an artistic career) and others. We are also featuring works by more recent artists like Albert Besnard, Nataliya Goncharova (a beautiful and early abstract composition done in Russia c. 1913; one of her paintings sold at Sotheby's London in 1996 for $395,000), the sculptor Reuben Nakian, Rudolf Schlichter, the German Expressionist master (and friend of George Grosz), Marcel Vertes, Isabel Bishop, Aaron Bohrod, Joan Root, Phyllis McGibbon, Warrington Colescott's drawing for The Last Printmaker in his History of Printmaking Series, outsider-artist Simon Sparrow, and many others. We are also presenting a large group of drawings ranging from the late 15th century to the 19th by that famous artist, "Anonymous" (his/her name is legion!). Our new acquisitions complement the drawings we already had by such modern and contemporary artists as Pierre Alechinsky, Joan Gardy Artigas, Jim Bird, Claude Garache, John Himmelfarb, Manel Lledos, the COBRA artist Lucebert, and Gerard Titus-Carmel, all of whose works are also in the show. We include as well a monoprint by Joan Miro whose chief compositional element is a very elaborate signature as a kind of cross between a print and a drawing. We are also showing a brand new group of pastels by Jonna Rae Brinkman, who flew here for the opening, but has since gone back to New York to set up her new studio.

Thinking and looking at our newly expanded drawing inventory, we began thinking about the variety of our drawings and the various purposes for which they were made. In this show we want not merely to show some extraordinarily beautiful drawings but also to invite viewers to consider some of the many kinds of drawings, the multiplicity of uses of drawings, and the varying degrees of artistry of drawings, ranging from masters to amateurs. Because, particularly in the case of earlier artists, drawings were sometimes intended to be for the use of the artist and his assistants, remaining as valued property of the workshop for years, they are not always clearly identified on the sheet and attribution becomes a matter of interpretation. For one example, see the page on Pier Francesco Mola; for another, we offer the commentary below from Diane De Grazia, Correggio and His Legacy: Sixteenth-Century Emilian Drawings (Washington: National Gallery of Art, 1984): "The Brussels drawing is catalogued as a Zuccaro, but Anthony Blunt has suggested that it is the work of Francesco Vanni. However the application of red and black chalk is typical of Federico, and an attribution to him can be made with some security, Although the facial features of the more finished figures reflect those of Corregio, several of the lightly sketched angels in the background betray Federico's hand." As the history of the attribution of Rembrandt's paintings over the past forty years by a select committee trying to establish a definitive canon of his works, in which his numbers first sunk from a total of about 700 down to nearly 300, and have since risen to about 500 suggests, even experts can disagree and often the attributions of old master paintings and drawings may change from decade to decade even within the same museum based upon both the current state of knowledge about both artist and period and upon the changing knowledge of the expert doing the attributing.
Dutch School (late 15th-early 16th century, St. Peter freed from chains by an angel. Pen and wash. This is a leaf from a manuscript prayer book commissioned by someone conservative enough not to trust such newfangled inventions as printing presses (clearly they will never last), wealthy enough to pay for a handmade written and illustrated book, and desirous of something inspirational: the two leaves we have both feature sinners rescued by divine intervention. Image size: 120x143mm. Price: $1525.
Annibale Carracci (Italian, 1560-1609) attributed to, Pentecost. Pen and brown ink with wash on laid paper, c. 1606. Old faded collector's mark lower left. On the reverse of the drawing are studies of 6 heads looking up (partially visible from the recto lower left and at bottom) and a study of legs and feet, perhaps for a crucifixion. Image size: 120x143mm. Price: $10,100.
Annibale Carracci (Italian, 1560-1609) attributed to, Pentecost. Pen and brown ink with wash on laid paper, c. 1606. Old faded collector's mark lower left. On the reverse of the drawing are studies of 6 heads looking up (partially visible from the recto lower left and at bottom) and a study of legs and feet, perhaps for a crucifixion. Illustrated as matted to cover the old glue stains showing through from the verso. Image size: 120x143mm. Price: $10,100.
MATTEO ROSSELLI (Italian, 1578-1651), attributed, Woman and child asleep in a landscape. Red chalk on cream laid paper, c. 1610. Image size: 285x443mm. Price: $6100.
Rembrandt School (mid-17th century, Landscape with farmworker, windmill in the background. Pen and brown ink on laid paper, c. 1660. A very similar piece is shown in Drawings of the Rembrandt School, vol. 10, p. 5458, where it is attributed to Pieter de With, a painter and etcher active during the 1660s. Its similarities to a number of drawings by Rembrandt (e.g. Slive, Dover edition, numbers 62, 63, 73, 80, 126-27, 477, and 515, are apparent. Image size: 159x242mm. Price: $6600.
Jean-François Millet (French, 1814-1875), attributed. Catherine Lemaire as a Young woman. Pencil on bluish green tinted paper. Long repaired tear snaking its way up from the lower left to the left shoulder. This work is strongly reminiscent of Millet's portrait of his wife in 1848-49 in the Museum of Fine Arts, Boston. The subject here is several years younger and is seen before she began giving birth to Millet's children. After looking at photographs of several thousand 19th-century drawings, this one struck us as one of the most tender, wistful, and lovely drawings of its kind that we have ever seen. Image size: 261x203mm. Price: SOLD
Claude Garache (French, b. 1929), Epiaire (Y. 18756). Watercolor, 1974. Garache was the subject of a monograph by Jean Starobinski and his drawings were recently the subject of a book by Jacques Dupin, perhaps the world's leading expert on Joan Miro, who, along with Marc Chagall, recommended Garache to Aime Maeght back in 1966, beginning an association that lasted until recently with Galerie Maeght and Galerie Lelong. Spaightwood Galleries has shown Garache's work since 1982. Image size: 210x220mm. Price: $3275.

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