February 2025
Saturday, February 1
Trois Crayons (French, "three crayons") The technique of drawing with black, white and red chalks (à trois crayons) on a paper of middle tone, for example mid-blue or buff. It was particularly popular in early and mid-18th century France with artists such as Antoine Watteau and François Boucher. (Clarke, The Concise Oxford Dictionary of Art Terms)
Coming Up
Greetings from a chilly New York.
For this month’s newsletter, we have an all American special, featuring an interview with The Drawing Foundation, a look at the Master Drawings New York event calendar, and not one but two ‘Drawing(s) of the Month’: the first, selected by Dr Oliver Tostmann from the Wadsworth Atheneum Museum of Art; and the second, selected by Martin Clayton from the Royal Collection. As ever, there are current events, literary, visual and audio highlights, and lastly, the ‘Real or Fake’ section.
For next month’s edition, please direct any recommendations, news stories, feedback or event listings to tom@troiscrayons.art.
NEWS
In Art World News
In Los Angeles, wildfires have destroyed three museums: Zorthian Ranch, the Bunny Museum and Will Rogers’ historic ranch. The Huntington and the Getty Center were largely undamaged and have now reopened; however, The Getty Villa will remain closed until further notice. The travelling exhibition, Gustave Caillebotte: Painting Men, will open as planned at the Getty Center on February 25. A coalition of local and international cultural institutions, led by the J. Paul Getty Trust, have announced a $12 million emergency relief fund for members of the Los Angeles arts community.
In the UK, the Cultural Gifts and Acceptance in Lieu Schemes' Annual Report for 2024 has now been published and is available to read here. Newly allocated works on paper include a study by Sir Frederic Leighton for Flaming June and two Richard Roberts pen and wash designs for barges. The Tate has announced plans for this year’s celebration, ‘Turner 250’, a year-long festival of special exhibitions and events to mark 250 years since the birth of JMW Turner. All the relevant information is available here. In the Netherlands, the Witt Library's digitisation project will move a step closer to completion this month with all works from the Italian school due to be published online in the week commencing February 10.
In Exhibition, Auction and Art Fair News
In New York, Master Drawings New York is now underway and continues until February 8. 29 leading international galleries are concurrently exhibiting in more than two dozen galleries on the Upper East Side of Manhattan, showing works on paper from the 15th to the 21st centuries, as well as paintings, sculpture, and photography. In Brussels, BRAFA is in full swing and closes tomorrow, February 2. In New York, on February 4, Christie’s host their drawings sale, ‘Old Master & British Drawings’. See the star lot by Jacopo Ligozzi here. In New York, on February 5, Sotheby’s host their drawings sale, ‘Master Works on Paper from Five Centuries’. The sale includes an impressive Turner watercolour and an enigmatic early drawing from the Bruges school. In New York, David Zwirner has recently opened a show of works by Giorgio Morandi from the Magnani-Rocca Foundation which remains open until February 22. In London, Sam Fogg has recently opened a display of Medieval Drawings 1150-1550. In London, John Mitchell Fine Paintings will be hosting their annual alpine exhibition, ‘Peaks & Glaciers’, from February 6 – March 21. In London, Stephen Ongpin Fine Art and Richard Nagy Ltd will be hosting a joint exhibition in two venues, ‘After Dusk: Recent Drawings by Ofer Josef’, from February 13 – March 7.
Frederic Leighton, Colour Sketch for Flaming June (c.1895), Leighton House, London. Photo: © The Royal Borough of Kensington & Chelsea, Leighton House
In Lecture and Event News
In New York, The Drawing Foundation’s event programme at Master Drawings New York continues until February 8. Sotheby’s is generously hosting our own event in partnership with The Drawing Foundation, ‘New Exhibitions of Old Master Drawings: Conversations with Curators’, on February 2. In Lille, the PBA Lille will host a study day, ‘Raphael, un dessinateur et peintre de genie à la Renaissance’ on February 5. In Paris, at the Institut national d'histoire de l'art, Hugo Guibert will present his research on a large collection of unpublished drawings by Christophe Huet and Claude III Audran at the National Museum in Stockholm on February 8. In London, at Strawberry Hill House, Adriana Concin, Assistant Curator of Paintings and Drawings at the V&A, will give a talk on a long-lost Italian portrait Miniature by Lavinia Fontana from Horace Walpole’s Miniature Cabinet on February 12. In Hartford, at the Wadsworth Atheneum, Oliver Tostmann, Susan Morse Hilles Curator of European Art, will discuss highlights from the exhibition, ‘Paper, Color, Line’, in a curator talk on February 22. In Rome (and online), the Gernsheim Study Days have arranged a three-day conference, ‘Mettere mano. Reworking Early Modern Drawings’, from March 4–7 at the Villino Stroganoff, which coincides with the opening of the research exhibition ‘Rework, Retouch, Care: Case Studies from the Hertziana Collection’ at the Palazzo Zuccari.
In Literary and Academic News
Claire van Cleave’s ‘The Farnese Drawings Collection’ is at last available to pre-order. For those in New York, there will be a book launch at Stephen Ongpin Fine Art, exhibiting at Adam Williams Fine Art on February 5. Margaret Morgan Grasselli and Elizabeth Savage’s new book, ‘Printing Colour 1700–1830: Histories, Techniques, Functions, and Receptions’ has also been announced and is due for publication on March 27. In San Francisco, the Fine Arts Museum of San Francisco has advertised a job vacancy, ‘Curatorial Cataloguing Fellow - AFGA (Works on Paper)’. Applications are due by February 14. Submissions are now open for the 2025 Berger Prize. The Berger Prize celebrates writing and scholarship about the arts and architecture of the United Kingdom. Books published in 2024 are eligible for submission for the £5,000 prize. Submissions are due by March 28.
EVENTS
Unknown, The Three Graces in Front and Back View (detail), c. 1500. Pen and brown ink, delicately washed in grey-brown, with a brown border at the left and bottom, 217 x 289 mm, Inv. no. 36909 Z, Staatliche Graphische Sammlung München, Munich
This month we have picked out a selection of new and previously unhighlighted events from the UK and from further afield. For a more complete overview of ongoing exhibitions and talks, please visit our Events page.
UK
Wordlwide
Demystifying drawings
The drawing foundation
With Allison Wucher, Simon Levenson and Daniella Berman
Founded in 2023 by Allison Wucher and Simon Levenson,The Drawing Foundation is a non-profit that celebrates the art of drawing through in-person events, online initiatives and institutional collaborations. With the dealer Stephen Ongpin of Stephen Ongpin Fine Art as a board member, and the art historian and curator Daniella Berman as Head of Special Projects and Strategic Initiatives, the foundation has quickly established itself as a vital access point to the world of drawings, both in New York and beyond.
For the second year running, The Drawing Foundation has curated a rich programme of talks, workshops and panels for “Drawings Week” in association with Master Drawings New York. Having opened to the public yesterday, the fair and event programme continue in tandem until February 8. Allison, Simon, and Daniella join the editor to discuss The Drawing Foundation’s aims, the schedule of programmes for this week to coincide with Master Drawings New York 2025, and their hopes for the future of the organisation.
Panel Discussion Drawn to Blue Paper at the Institute of Fine Arts, New York University, New York, 2024. Organised by The Drawing Foundation in partnership with the Conservation Center of the Institute of Fine Arts, New York University and in association with Master Drawings New York 2024
Could you introduce The Drawing Foundation, and tell us how you are putting its mission into practice?
The Drawing Foundation’s mission emerged from our shared love of drawing and our commitment to fostering exchange around this fundamental form of mark-making. Drawing is so fundamental; from early childhood, there’s an almost innate understanding that if you take a pencil (marker, crayon, etc) to paper (or, in some cases to wall!) it leaves a mark. The potential of drawing is vast, and it is a ubiquitous practice for many artists throughout this history of art. We have such a tendency to want to label someone as a painter, architect, or sculptor, but the truth is that regardless of those labels – with very few exceptions – everybody draws.
Even though the practice of drawing is so foundational, there are few organisations dedicated to exploring the history of drawing alongside contemporary practice. Moreover, the community of curators, scholars, collectors, and artists who are dedicated solely to drawings is relatively small. For many museums in the US, drawings fall into the same curatorial silo/department as prints, and sometimes photography, meaning that some curators may be charged with caring for drawings even though it is not their specific area of scholarship. Our goal is to create a platform that can bring together those who focus exclusively and passionately on drawings and those who are just curious or encounter drawings as a component of their position, collection, or practice. By bringing everyone together we can all benefit from shared knowledge and experience.
We are putting our mission into practice by engaging with a broad array of partner institutions and organisations – from small university galleries to major encyclopaedic museums, from commercial galleries that specialise in 18th century drawings to galleries that run the gamut between old and new artforms, from organisations that engage in the commerce of drawings to those that promote drawing scholarship. Through this vast network of partners, we can develop bespoke in-person programs (like the panel discussion we are organising with Trois Crayons tomorrow, February 2!), recording many of them so that they have a longer life-span and can serve as a resource reaching many more individuals. We also promote events and exhibitions hosted by our partners. Everything can be found in one place on our website.
Allison, you have a long-standing relationship with Master Drawings New York, having served as Director between 2016 and 2022. What led you to set up The Drawing Foundation in 2023 and what inspired this redirection towards events and community engagement?
Throughout my time at Master Drawings New York (MDNY) I was engaged in developing partnerships with key institutions in and around New York. Prior to my involvement, there were no events or meaningful interactions between MDNY and institutions like The Met or the journal Master Drawings. I felt it was important to create a more robust week of drawing-related programming to engage our community beyond the gallery exhibitions and auctions. Over the course of 6 years, I had grown the institutional partnerships from 2 events in 2017 to 15 events in 2022. The events became very popular and proved beneficial to our attendees, to our partners, and to MDNY as an organisation. I also personally found the experience to be incredibly rewarding.
In 2022 I approached my friend and colleague, Simon Levenson, to form a nonprofit focused on drawing. Our aim was to create a community-driven platform for creating and listing drawings events that would interest all segments of our constituency - including artists, scholars, curators, collectors, conservators, and enthusiasts. We would build on my existing relationships with museums and other organisations to develop and promote programming year-round and not just in NYC. Simon has a background in teaching drawing and, through his own company - Drawing America, he has the know-how to produce artfully designed event-driven websites. Between the two of us, and with the additional perspectives that Stephen and Daniella offer, we felt we had a shot at building something of great value worthy of the drawings world.
Once MDNY came under new ownership in 2023, we negotiated an arrangement where The Drawing Foundation would be provided with funding to develop, facilitate, and expand the events historically associated with MDNY. This has proven to be a wonderful, mutually beneficial opportunity to further develop meaningful programming during this pivotal week for the drawings community.
The Drawing Foundation Team (from left to right): Stephen Ongpin, Daniella Berman, Allison Wucher, and Simon Levenson
Simon, you are a practicing artist and instructor. Can you tell us about The Drawing Foundation’s engagement with contemporary practice, and how it connects the study and appreciation of historic art to the art of the present?
The majority of the classes I have taught or organised over the past 15 years through my organisations Drawing New York and Drawing America have either been life drawing with a model in a studio or in front of historic art in a museum gallery - both of which are deeply rooted in academic traditions of artistic practice and training. In the classes I teach, every lesson begins with a short discussion of the history of a specific drawing concept and how it is relevant to contemporary artists. This gives students a context for the skills they work with in class and fuels conversations about both new and historic drawing techniques.
The Drawing Foundation engages with contemporary artists by creating art-making events rooted in this same philosophy and academic history. These include both instructed courses and open drawing sessions. We welcome everyone from established practicing artists to adults drawing for the first time in our community.
Last year, in conjunction with Drawing America, The Drawing Foundation hosted our first annual live day-long drawing competition at the National Arts Club. This event allows artists to meet and exchange, spurring each other on to make this a competition in the best sense of the word. Awards were presented in the areas of portraiture and figure drawing. At the end of the day, participants submitted their drawings to be evaluated by three judges - curator Nadine Orenstein (The Metropolitan Museum of Art, New York), artist Hannah Yata, and gallery director LeeAna Wolfman (Templon Gallery, New York). Prizes of cash and supplies were given to the winners in each category. It was a really lovely, convivial event and we look forward to hosting the competition again this Spring at the National Arts Club (stay tuned for information about this!).
This year we will also launch our first New York Plein-Air Festival. We can’t share too much yet, but we are very excited to have this opportunity. Previous iterations of such an event were organised in 2021 and 2022 by Drawing America and held at the famed Olana NY National Historic Site, the picturesque home of the great Hudson River Valley School painter Frederic Edwin Church. By offering an event in a plein-air format in New York City, we enable our community of artists to engage with their location and surroundings in a much more public way. Also, we will be offering a chance to draw and paint some of the most iconic New York cityscapes that have inspired many artists over the past 200 years. You can’t really beat that…
The events programme for Master Drawings New York began yesterday and it highlights the diversity and scope of the drawings field. What events do you have in store for this year’s Master Drawings New York?
This year we are thrilled to have 15 events on our calendar! Every year we have a core group of stellar institutional partners we work with to create the bulk of our programming; these include The Metropolitan Museum of Art, Master Drawings journal, the Society for the History of Collecting, Cooper Hewitt, The Winter Show, The Hispanic Society Museum and Library, and the West Harlem Art Fund.
In addition to these core partnership events, each year we try to have a loose theme that guides the programs we craft from scratch. This year, for example, we have a light focus on Italian drawings. This was partially inspired by the numerous blockbuster exhibitions of Italian Renaissance drawings in the UK and European institutions, and by other upcoming drawing exhibitions and projects we wanted to highlight. We have three panel discussions that touch on Italian themes or subjects: Crosscurrents: Cultural Exchange in the 18th Century, on Friday, January 31, New Exhibitions of Old Master Drawings: Conversations with Curators on Sunday, February 2, and Drawings in the Round: Perspectives on Italian Drawings on Monday, February 3. For those who cannot join us in the room for these events, all three will be recorded and available to view on our website later this month.
Participants from the inaugural Drawing Competition 2024 at The National Arts Club, New York. Organised by The Drawing Foundation and Drawing America
You have curated a fascinating programme for this year’s Master Drawings New York. Can you tell us your plans for the future of the collaboration, and for any other forthcoming initiatives?
Beyond the events we organise for Drawings Week, we run a number of other programs and collaborations that expand opportunities for those involved in the dynamic world of drawings. For example, we have offered curator-led tours for our members to exhibitions, including to the pioneering Making Her Mark exhibition with Andaleeb Banta at the Baltimore Museum of Art. We host virtual research colloquiums and lectures with partner institutions such as the Courtauld Research Forum and Association of Print Scholars. As mentioned earlier, for the contemporary artists and makers in our community, we mount an annual drawing competition, and are excited to be in the planning stages for a New York plein-air festival – stay tuned!
In October 2024, we held our first edition of On Drawings, a two-day program of exhibition tours, study sessions, and lectures with partner institutions and sponsored by the Salon du Dessin and Master Drawings New York. The series considered both modern and old master drawings and the events ranged from conversations with living artists, discussions on the boundaries of the category “drawing”, lectures on the history of drawing collecting in France, and talks on a broad array of drawing practices including contemporary and historic Indigenous American drawings. Many of the events from On Drawings 2024 were recorded and can be found on our website. We look forward to organising the next edition of On Drawings for Fall 2025.
How can people get involved with The Drawing Foundation, and participate in future events?
Individuals can become members of The Drawing Foundation. We offer an accessible membership rate, as well as discounted and free memberships for students. We have regular events for our members, in addition to our expansive roster of free programming that is open to a broader public. Members have access to a member platform on our website where they can interact with other members, bookmark events and exhibitions, and register for exclusive events. We also are always happy to work with museums, galleries and other organisations who may be interested in collaborating or promoting their events/exhibitions on our website.
While we are based in New York City, we plan to expand our network and promote events that allow our community to come together around the world. To learn about future initiatives, please sign up for our free mailing list on our website and follow us on Instagram (@thedrawingfoundation). For greater access, we invite your readers to become members of The Drawing Foundation and join us in championing the fundamental form of mark-making that is drawing!
MDNY 2025 Events Calendar. Events are organised by the drawing Foundation.
DRAWING OF THE MONTH (US)
Dr Oliver Tostmann, Susan Morse Hilles Curator of European Art at the Wadsworth Atheneum Museum of Art, Hartford, CT, has kindly chosen our seventeenth drawing of the month.
Lelio Orsi (1508/11-1587)
The Walk to Emmaus, ca. 1565-75
Pen and brown ink, with brush and brown wash, heightened with white opaque watercolour on paper prepared with a light brown wash. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1938.257
The Wadsworth Atheneum Museum of Art in Hartford is perhaps best known for its dazzling European paintings. Its collection of drawings has remained much less studied. This Walk to Emmaus by the Emilian painter and draftsman Lelio Orsi is one of my all-time favourites. Its artful simplicity and the broad use of wash make this sheet particularly alluring. The work is part of the current exhibition Paper, Color, Line: European Master Drawings, which features some sixty highlights on paper from the Wadsworth’s collection, spanning from the early 1500s to the 1990s.
Orsi is considered highly individual, even eccentric, today. He worked mostly in Reggio Emilia and Novellara, and thanks in part to his travels, he was perfectly aware of his contemporaries. The visionary and didactic aspects of the biblical Walk to Emmaus must have appealed to the artist, who specialised in such imagery throughout his career. Thus, it is not a surprise that he chose this scene, even though it was not popular among his Italian contemporaries.
Here, Orsi captures the evening of Christ’s resurrection, when Cleophas and another disciple traveled to the village of Emmaus. Joined by the risen Christ, the group emerges out of a sea of darkness as they walk on a rocky path. The companions are fully absorbed by the presence of the mysterious stranger in their midst, listening to his news about the recent resurrection of the Lord. It is not until later that evening that Christ reveals his true identity to them.
With little interest in the setting, Orsi rendered the three figures frontally, in a manner reminiscent of Michelangelo. To convey the moment of astonishment and wonder, he worked out poses, gestures, and drapery with diligent pen strokes. Orsi paid close attention to the guise of the figures, rendering a variety of materials and textures in their garments, broad brimmed hats, and robust boots. It is possible that his own experiences as a traveler left their impact on this design.
A general attention to small and intricate forms that comes close to the sensitivity of a miniaturist is balanced on this sheet by broad colouring and dramatic lighting. The brown wash served Orsi as a mid-tone to work down the shadows and work up the highlights. Typical for the artist, he created at least three more drawings that relate to the Hartford sheet. They were all preparatory studies for an oil painting that is now at the National Gallery in London. The recently discovered watermark on the Hartford Walk compounds the argument that the artist worked on the group during his later years, between 1565 and 1575.
Though Orsi is well appreciated, he is far from being a household name. Thus, it seems surprising that the Wadsworth not only holds this masterful drawing in its collection, but also one of his easel paintings. The institution acquired the Walk in 1938, two years after it had bought his Noli me tangere. The Wadsworth, therefore, is one of the few museums that is able to equally present Orsi’s mastery as a painter and draftsman.
This drawing is currently on display at the Wadsworth Atheneum Museum of Art, Hartford, CT, in ‘Paper, Color, Line’ which remains open until April 27.
DRAWING OF THE MONTH (UK)
Martin Clayton, Martin Clayton, Head of Prints and Drawings at the Royal Collection Trust, has kindly chosen our UK drawing of the month.
Michelangelo Buonarroti (1475-1564)
A Bacchanal of Children, 1533
Red chalk, 27.4 x 38.8 cm. Royal Collection, Windsor Castle
The nineteen drawings by Michelangelo in the Royal Collection are remarkable for the high proportion that were made as ends in themselves, either as personal meditations or gifts for his closest friends. The meditations centre on the Passion of Christ; the gift drawings (often called ‘Presentation Drawings’) are primarily mythological or allegorical, the most celebrated being those made for Tommaso de’ Cavalieri.
Michelangelo met the young Roman nobleman in 1532 and was immediately enraptured, writing to him of the ‘ocean with overwhelming waves that has appeared before me’. We know of four drawings that Michelangelo made for Cavalieri: a Punishment of Tityus and an Abduction of Ganymede, New Year’s gifts at the turn of 1532-33; a Fall of Phaethon the following summer (exhibited at the British Museum in 2024); and the so-called Bacchanal of Children, drawn in the autumn of 1533. All are now at Windsor except Ganymede (that sheet has been identified with a version in the Fogg, but the jury remains out).
Though not a uniform set, the four drawings are finished to a similarly high degree – the modelling almost ‘stippled’ with finely sharpened chalk – and all carry a philosophical or moral message. Tityus and Ganymede represent the opposed forms of love in Neoplatonic philosophy: the carnal lust that leads to earthly suffering, and the spiritual love inspired by beauty that leads to the divine. The Phaethon is an exemplar of the consequences of hubris, and may express feelings of unworthiness in daring to love one as beautiful in body and soul as Cavalieri (however unwarranted such humility might seem, in Michelangelo of all people).
The Bacchanal is more complex, and its relevance to Michelangelo’s love is not obvious. In a rocky cave, children carry the corpse of a deer towards a cauldron, where their companions stoke the fire and stir the pot. Others drink from a wine vat; one urinates into a wine bowl that will soon be offered to his friend. An aged goat-woman suckles a child, while a naked man slumps asleep or in a drunken stupor. Though no literary source has been identified, the meaning in Neoplatonic philosophy is clear: the children (and the goat-woman and drunken man) represent the lowest level of human existence, acting in the absence of reason, intellect and divine love.
The Bacchanal is the most carefully worked of all Michelangelo’s drawings, and must have taken him many hours to execute. It is in pristine condition and has clearly been treasured since it was drawn. Yet strangely for such a celebrated drawing, there is a yawning gap in the provenance: we have no knowledge of its whereabouts between the Farnese collections around 1600 and its documented presence in the Royal Collection around 1800, nor any idea as to how it was acquired.
Michelangelo’s Bacchanal of Children is in the exhibition ‘Drawing the Italian Renaissance’ at The King’s Gallery, London, to 9 March.
Real or Fake
Can we fool you? The term “fake” may be slightly sensationalist when it comes to old drawings. Copying originals and prints has long formed a key part of an artist’s education and with the passing of time the distinction between the two can be innocently mistaken.
Most artists gave up the practice of copying once they had attained their maturity, except in the cases where copy drawings were needed for a specific purpose, as in the production of prints or illustrated books. This month’s example is an exception to that rule, in that it is a characteristic copy which dates to the maturity of a well-established artist’s career. But which is which, and what might the differences in composition indicate?
Scroll to the end to reveal the answer.
Resources and Recommendations
to listen
The Story of British Art - from Cave Paintings to Landscapes
The art historian Bendor Grosvenor, writer and former curator at the V&A Susan Owens, and artist Lucinda Rogers discuss the practice and history of drawing. The trio cover the intimacy of the medium and the contribution of British artists, from prehistoric bone carvings to the landscapes of Constable and Rogers’ New York winter 1988 sketchbook.
TO watch
Guided Tour: From Dürer to Matisse. Selected Drawings from the Collection of the Pushkin Museum
In April 2020, just two days after the opening of the Pushkin State Museum’s special exhibition ‘From Dürer to Matisse’, the Moscow museum was forced into lockdown by the Covid-19 pandemic. The Pushkin has a fine collection of 27,000 European drawings, rarely displayed inside or outside of Russia. This exhibition tour with the Russian artist Dmitry Gutov and the chief editor of BURO.ru, Kate Darma, examines some of the exhibition’s highlights.
to read
Discovering the Name of a 19th-Century Model in Paris
For those who enjoyed The National Gallery’s ‘Discover Degas and Miss Lala’ in the summer of 2024, Ramón Hurtado’s identification of one of the most popular models in 19th century Paris will be of interest. The old man with his thin frame and topknot can be recognised from works by Georges Seurat, Émile-Jules Pichot and Léon Bonnat, but who was he?
answer
The original, of course, is the upper image.
Upper image: Giacinto Calandrucci (1646-1707), Assumption of the Virgin, Art Institute of Chicago, Chicago, 1922.701
Lower image: Charles-Joseph Natoire (1700-1777) after Giacinto Calandrucci, Assumption of the Virgin, Art Institute of Chicago, Chicago, 1976.344
Natoire’s copy and others of its kind are most likely related to the artist’s pedagogical responsibilities. In 1751 Natoire was appointed director of the French Academy in Rome, and all but ceased painting to focus on the responsibilities of the Academy, ceding courtly favour to Carle Van Loo, and François Boucher.
Natoire's drawing is not a precise transcription of the Calandrucci’s drawing, and it varies significantly in the poses of the standing figure, the Virgin, and the angels. Neither does Natoire’s drawing correspond exactly with Calandrucci’s fresco in S. Maria dell'Orto in Rome, suggesting that Natoire may have had a variant drawing at hand, or may simply have been exercising his artistic independence.
For further reading, see Perrin Stein, ‘Copies and Retouched Drawings by Charles-Joseph Natoire’, Master Drawings, Vol. 38, No. 2, pp. 167-286.
