Lot 6: Circle of Lorenzo di Credi (Florence circa 1458-1537)

Circle of Lorenzo di Credi (Florence circa 1458-1537)
A drapery study
metalpoint, black chalk, brush and brown ink, grey wash, on cream prepared paper
8¾ x 7 1/8 in. (216 x 182 mm.)

G. Vasari (L.2858), with part of his decorative borders in pen and ink with brush shading at the top and bottom of the sheet.
J. Richardson Sr. (L.2183), his mount with attribution 'Leonardo da Vinci' (recto) and shelfmarks 'Zk.32./Z.501./Zg./g.' on the back of the mount (L.2984).
N. Hone (L.2793).
R. Cosway (L.628).
Addison Francis Baker-Cresswell, Cresswell and Hadston, Northumberland. He gave it to Dorothy Winkworth, mother of Mary Winkworth, later Mrs. G.W. Wrangham, London and Hatfield.
By descent to a private collection, Northumberland.

This drawing offers fascinating insight into the working method and studio practice of Florentine artists in the second half of the 15th Century. It is also an extraordinary demonstration of the drawing practice advocated by Vasari, whose characteristic frame and a fragment of his elegant cartouche surround the drawing.
In his Introduction to the three Arts of Design, Architecture, Sculpture and Painting, 1568, Vasari encourages young artists to execute drawings of drapery after sculptures: 'Therefore, he who would learn thoroughly to express in drawing the conceptions of the mind and anything else that pleases him, must after he has in some degree trained his hand to make it more skillfull in the arts, exercise it in copying figures in relief either in marble or stone, or else plaster casts taken from the life, or from some beautiful antique statue, or even from models in relief or clay, which may either be nude or clad in rags covered with clay to serve for clothing and drapery. All these objects being motionless and without feeling, greatly facilitate the work of the artist, because they stand still, which does not happen in the case of live things that have movement.' (Vasari on technique. Being the introduction to the three arts of design, ed. London, 1907, pp. 207-8).
Filarete in his Treatise on Architecture, 1464, described how to create small dummies or 'lay-models' after which the artists could make their drapery studies: 'Try to have a small figure in wood, whose arms, legs and neck are articulated; then prepare a garment made of linen and when it is convenient, as if it was an alive person, dress the lay-model by giving it the attitude you wish to give him and arrange it as it should be; and if the draperies are not placed according to your wish take melted glue and spray entirely your figure. Then you can arrange the folds as you please and let it dry: they will remain rigid. If you want to transform it, plunge the lay-model in hot water; like this you could change its shape' (see F. Viatte, Léonard de Vinci. Les études de draperies, exhib. cat., Paris, Musée du Louvre, 1989-90, pp. 38-9).
The practice of executing independent drapery studies was probably developed - one could say institutionalized - by Verrocchio and perfected by his pupils - painters or sculptors - Leonardo of course, but also, among others, Lorenzo di Credi, Botticelli, Ghirlandaio, and Perugino. The majority of drawings of this kind that have survived do not appear to have been made with particular pictures in mind, but because of the universality of the poses which could be used on numerous occasions.
Of the artists mentioned above, the present drawing seems closest both in technique and style, to that of Lorenzo di Credi (circa 1458-1537), and especially to a drawing sold, Christie's, 28 January 1999, lot 49 and to another one in the Lugt Collection, Paris (F. Viatte, op. cit., no. 21). Lorenzo entered Verrocchio's studio early in his career and trained with the master alongside Leonardo. When the latter left the studio in 1478, Credi rose to become the sculptor's principal painting assistant, eventually assuming chief responsibility for the pictures commissioned from the master and for the entire studio when Verrocchio left for Venice.
In Vasari's celebrated 'cartons', this drawing was likely among the works he attributed to Lorenzo di Credi. In his Life of the artist, he mentioned: 'Leonardo's style greatly delighted Lorenzo, who succeeded better than any others in imitating his polish and finish, as is seen by many pen-and-ink drawings and water-colors in our book, including some copies of clay models draped in waxed cloth, finished with incredible patience and diligence' (W. Gaunt ed., Giorgio Vasari. The Lives of the Painters, Sculptors and Architects, London and New York, 1963, II, p. 287).