The Virgin Seated with Yarnwinder, and the Infant Christ Embracing the Infant St. John. Verso: Studies of Embracing Putti
Purchased by Pierpont Morgan (1837-1913) in 1909.
Although Sydney Freedberg expressed some doubt about the attribution of the present drawing (unpublished opinion recorded in the curatorial file, 1948), it is likely that both sides of the sheet are original to Parmigianino, and datable to his very early career, prior to his departure for Rome in 1524.
According to David Ekserdjian, a drawing in the Frizzoni collection, Milan, given to Nicolò dell’Abate of a Woman and Two Putti may be a copy of a lost pen drawing by Parmigianino that was worked up from the Morgan sheet (unpublished opinion recorded in the curatorial file, 1987).1 Two drawings, both now in the British Museum, London, seem to derive from the embracing putti at right in the Morgan study.2 As A. E. Popham observed, the group also occurs in a painting attributed to Pomponio Allegri.3
Achim Gnann points out that the drawing is stylistically close to a copy of Raphael’s Madonna di Loreto, which is in the Louvre, Paris.4 The present study is also similar to another in the Morgan’s collection.5
Footnotes:
- Frizzoni 1886, 17, no. 35.
- British Museum, London, inv. Ff. 4-21, 1905-11-10-49.
- Popham 1967, 1: 93, no. 165.
- Louvre, Paris, inv. 3945; Gnann 2000, 50.
- Morgan Library & Museum, New York, inv. IV, 41.
Watermark: Indecipherable fragment.
Ottley, William Young, 1771-1836, former owner.
Lawrence, Thomas, Sir, 1769-1830, former owner.
Murray, Charles Fairfax, 1849-1919, former owner.
Morgan, J. Pierpont (John Pierpont), 1837-1913, former owner.
Morgan, J. P. (John Pierpont), 1867-1943, former owner.
Dervaux, Isabelle. Drawing connections: Baselitz, Kelly, Penone, Rockburne, and the old masters. New York: Morgan Library & Museum, 2007, p. 15, 20 (repr.)