維羅喬工作室，約1470年作，歷來傳為利奧納多·達芬奇作品

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 255, 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 73, as Leonardo

Florence, Biblioteca Laurenziana, Leonardo da Vinci, Mostra di disegni, manoscritti e documenti, 1952, no. 10;
Vinci, et al., La Raccolta Leonardesca della Contessa de Béhague, 1980-81;
Paris, Louvre, Leonard de Vinci: Dessins et manuscrits, 1989-1990, (catalogue by Françoise Viatte), no. 8

B. Degenhart, ‘Eine Gruppe von Gewandstudien des jungen Fra Bartolommeo’, Münchner Jahrbuch der Bildenden Kunst, vol. XI, 1934, p. 224, note 6 (as Fra Bartolommeo);
B. Berenson, The Drawings of the Florentine Painters, Chicago 1938, vol. I, p. 62, vol. II, no. 1071A, vol. III, fig. 525 (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. 102, vol. II, p. 211, no. 1071A, vol. III, fig. 445 (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, 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. 19, fig. 2 (as Leonardo);
A. Vezzosi and C. Pedretti, Leonardo’s Return to Vinci, The Countess of Béhague Collection, New York 1981, p. 21, fig. 2 (as Leonardo);
J. Snow-Smith, The Salvator Mundi of Leonardo da Vinci, Seattle 1982, pp. 53-54, fig. 51 (as Leonardo);
J. Cadogan, ‘Linen Drapery Studies by Verrocchio, Leonardo and Ghirlandaio’, Zeitschrift für Kunstgeschichte, 1983, vol. 46, p. 56, fig. 22, 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, pp. 151-153 (as Leonardo);
K. Christiansen, ‘Leonardo drapery studies’, Burlington Magazine, August 1990, p. 572 (as Ghirlandaio);
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.C. Marani, Leonardo una carriera di pittore, Milan 1999 (as Verrocchio and his Workshop);
B. Py, Everhard Jabach, collectionneur (1618 – 1695), Paris 2001, pp. 20 and 274;
Leonardo da Vinci, Master Draftsman, exhib. cat., New York, The Metropolitan Museum of Art, 2003, pp. 116 and 119, under note 18;
Leonard de Vinci. Dessins et manuscrits, exhib. cat., Paris, Louvre, 2003, p. 56, under note 6, p. 57 and note 18 (as Leonardo);
C. Bambach, ‘Leonardo and drapery studies on ‘tela sottilissima de lino’’, Apollo Magazine, January 2004, p. 53, under note 30 (as Verrocchio);
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

Workshop of Andrea del Verrocchio, circa 1470, Traditionally attributed to Leonardo da Vinci Drapery Study of a Kneeling Figure Facing Left Support This drawing is on fine linen, which is adhered to paper. The paper sheet shows scattered foxing on all edges. There are two small pieces of paper adhered to the top edge, and a rust stain on the paper on the upper right edge. There is a small lifting area of linen on the right-hand side and tapes are adhered to the verso. The linen shows some light foxing throughout and a darker staining at the top to about a quarter of the way down, but this does not affect the subject. Artist pinholes are evident in the top corners of the linen. Medium The medium is in a good condition, though there is a little rubbing to the surface of the linen and related loss of pigment in the centre.
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兩幅細膩精緻的衣紋習作是約1470年出自佛羅倫薩畫師安德烈·德·維羅喬工作室的作品。維羅喬的工作室是文藝復興早期佛羅倫薩最重要且創新的畫室。如此品般以蛋彩在細麻布上畫的衣紋習作已知僅16幅，而現存私人收藏的更不過兩幅，其餘皆為歐洲之博物館所有。

百年後，著名藝術家傳記著作者喬爾喬·瓦薩里在其書中把這種罕見精湛的技術歸功於利奧納多·達芬奇之首創，而當時他恰恰還是維羅喬的學徒。現在我們無法考證這些習作究竟是維羅喬本人的作品，還是出自達芬奇或其他學徒之手，但學者們普遍認同，這批作品屬十五世紀末這一藝術發展關鍵時刻中最獨特優秀的重要代表。其布紋皺褶的呈現手法極為逼真，在素描史上還前所未見，為當時逐漸打破固有框架、創造新篇的畫家及雕塑家起到啟發和領導的作用，真正開啟了意大利文藝復興的輝煌時期。