ANDREA DEL VERROCCHIO | DRAPERY STUDY OF A STANDING FIGURE FACING RIGHT, IN PROFILE

Everhard Jabach, his posthumous inventory of 1695 (as Dürer),

thence by inheritance to his widow Anna Maria de Groote, then probably to their elder son, Everhard Jabach (1658-1721);

acquired by Pierre Crozat, Paris, at an unknown date between 1695 and 1721, 

his sale, Paris, 10 April 1741, part of lot 5 (catalogued by Pierre Jean Mariette, as Leonardo),

acquired by Jean-Baptiste-François Nourri;

an unidentified black chalk paraphe on the verso of the backing sheet;

Pierre Defer,

thence by inheritance to his son-in-law, Henri Dumesnil (L.739),

his sale, Paris, 10-12 May 1900, lot 251 (as Leonardo);

Comtesse Martine Marie-Pol de Béhague;

Marquis Hubert de Ganay;

Marquis Jean Louis de Ganay,

his sale, Monaco, Sotheby's, 1 December 1989, lot 74 (as Leonardo),

acquired at the sale by Barbara Piasecka Johnson, Princeton, NJ

B. Berenson, The Drawings of the Florentine Painters, Chicago 1938, vol. I, p. 62, vol. II, no. 1071D, vol. III, fig. 527 (as Leonardo);

K. Clark, Leonardo da Vinci, Cambridge 1939, p. 12, under note 1 (as Leonardo);

B. Berenson,  I Disegni dei Pittori Fiorentini, Milan 1961, vol. I, p. 103, vol. II, p. 212, no. 1071D, vol. III, fig. 446 (as Leonardo);

C. Ragghianti and G. D. Regoli, Disegni dal Modello, Pisa 1975, p. 31, under note 10 (as Leonardo);

G. D. Regoli, ‘Il piegar de’panni’, Critica d’Arte, XXII, November-December 1976, p. 36, no. 150, fig. 1, pp. 47-48, under note 16 (mentions de Ganay group and attributes them to Leonardo);

A. Vezzosi and C. Pedretti, La Raccolta Leonardesca della Contessa de Béhague, Vinci 1980, p. 18, fig. 1 (as Leonardo);

A. Vezzosi and C. Pedretti, Leonardo’s Return to Vinci, The Countess of Béhague Collection, New York 1981, p. 20, fig. 1 (as Leonardo);

J. Cadogan, ‘Linen Drapery Studies by Verrocchio, Leonardo and Ghirlandaio’, Zeitschrift für Kunstgeschichte, vol. 46, 1983, p. 59, fig. 27, reproduced (as Leonardo);

Leonardo da Vinci, exhib. cat., London, South Bank Centre, 1989, p. 50, under cat. no. 3 (as Leonardo);

D. Scrase, ‘Paris and Lille, Leonardo: Italian Drawings’, The Burlington Magazine, February 1990, p. 151-153 (as Leonardo);

K. Christiansen, ‘Leonardo drapery studies’, The Burlington Magazine, August 1990, p. 572 (as Verrocchio);

D.A. Brown, Leonardo da Vinci: Origins of a Genius, London 1998 (discusses the group exhibited in 1989 and attributes it to Verrocchio and his Workshop);

P. Marani, Leonardo una carriera di pittore, Milan 1999 (as Verrocchio and his Workshop);

B. Py, Everhard Jabach, collectionneur (1618-1695), Paris 2001, pp. 20, 274;

Leonardo da Vinci, Master Draftsman, exhib. cat., New York, Metropolitan Museum of Art, 2003, pp. 116 and 119, under note 18, p. 285, under no. 15;

Leonard de Vinci. Dessins et manuscrits, exhib. cat., Paris, Louvre, 2003, p. 56, under note 7, p. 64 under no. 7, p. 57 and note 18 (as Leonardo);

B. Py, 'Everhard Jabach: Supplement of Identifiable Drawings from the 1695 Estate Inventory', Master Drawings, vol. XLV, no. 1, 2007 p. 6, and p. 36, note 15;

A. Gauthier, ‘From Crozat to The Musée des Beaux-Arts, Rennes: The Origins of the Drawings Collection of the Marquis De Robien’, Master Drawings, vol. XLV, no. 1, 2007, p. 95;

L. Bicart-Sée, 'Some Archival References for Jean-Baptiste- François Nourri', Master Drawings, vol. XLV, no. 1, 2007 p. 88;

G. Aubert, ‘From Crozat to the Musée des Beaux-Arts, Rennes: The Origins of the Drawings Collection of the Marquis De Robien,’ Master Drawings, vol. XLV, no. 1, 2007, p. 95;

C. Bambach, Leonardo da Vinci Rediscovered,  4 vols., New Haven/London 2019, vol. 4, p. 105, note 410 (as 'anonymous artist in Verrocchio's workshop');

L. Franck et al., Léonard de Vinci, exhib. cat., Paris, Musée du Louvre, 2019-20, p. 38 (as part of a group of works by either Leonardo da Vinci or Verrocchio)