Harvard Art Museums > 2020.290: Seated Woman Drawings Collections Search Exit Deep Zoom Mode Zoom Out Zoom In Reset Zoom Full Screen Add to Collection Order Image Copy Link Copy Citation Citation"Seated Woman (Hendrick Goltzius) , 2020.290,” Harvard Art Museums collections online, Dec 22, 2024, https://hvrd.art/o/183478. Reuse via IIIF Toggle Deep Zoom Mode Download This object does not yet have a description. Gallery Text The fluency, verve, and control with which Goltzius wielded his pen is exquisitely manifest in this signed and dated study. While the architectural elements are composed of regular parallel hatches, the seated woman is rendered using dense curving strokes, which skillfully describe the undulating folds of her dress. Her twisting torso and refined hand gestures further add to the sense of overt elegance that this drawing exudes. Although the specific subject of the composition remains unidentified, the overgrown ancient structures in the background and the attributes scattered in the foreground—a pen case, an inkwell, and an open book—recall contemporary representations of Clio, the Muse of History. Produced not long after Goltzius returned to Haarlem from his yearlong stay in Italy, this drawing also records the artist’s productive engagement with the Venetian artistic tradition, most notably the broad and fluid manner encountered in woodcuts and drawings by Titian. Identification and Creation Object Number 2020.290 People Hendrick Goltzius, Dutch (Mühlbracht 1558 - 1617 Haarlem, Netherlands) Title Seated Woman Other Titles Alternate Title: Allegorical Female Figure Former Title: An Allegory of Learning Classification Drawings Work Type drawing Date 1596 Culture Dutch Persistent Link https://hvrd.art/o/183478 Physical Descriptions Medium Brown and black ink and white opaque watercolor on blue paper Dimensions 21.2 x 12.8 cm (8 3/8 x 5 1/16 in.) Inscriptions and Marks inscription: center left, brown ink: HG (in ligature) inscription: lower left, brown ink: 1596 inscription: verso, upper left, brown ink: stley[?] inscription: verso, lower right, graphite: Le Parmesan / 4 watermark: None collector's mark: lower left, blue stamp: CICERI (Pierre-Luc Charles Cicéri or Eugène Cicéri, Lugt 446) collector's mark: lower center, black ink stamp: CHS. (Charles Saunier, Lugt 567a) collector's mark: verso, bottom center, blue ink: M/G [inside of] A [Lugt 3306, mark of Maida and George Abrams] Provenance Recorded Ownership History Pierre-Luc Charles Cicéri or Eugène Cicéri, Paris (Lugt 446). Charles Saunier (1865-1941), Paris and Lozère sur Yvette (Lugt 567a). [1] J. Hohl-Schmuziger, Basel. Reinhold D. Hohl (1929-2014), Basel, by 1961. [2] Sold [through Christie's, New York, January 30, 1997, lot 222]. Sold [through Sotheby's, Amsterdam, November 9, 1999, lot 43]. [Derek Johns, Ltd., London], sold; to Maida and George Abrams, Boston (Lugt 3306), 2000, gift; to Harvard Art Museums, 2020 Notes [1] According to Lugt, the drawings from Saunier's collection were dispersed after his death in 1941 and there was no public sale. [2] Hohl is listed as the owner in "Die Zeichnungen von Hendrick Goltzius" (1961) Acquisition and Rights Credit Line The Maida and George Abrams Collection, Fogg Art Museum, Harvard University, Cambridge, Massachusetts, Gift of George Abrams in honor of Gerdien Verschoor, Director of CODART (2005-2019) Accession Year 2020 Object Number 2020.290 Division European and American Art Contact am_europeanamerican@harvard.edu Permissions The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request. Publication History Emil Karel Josef Reznicek, Die Zeichnungen von Hendrick Goltzius, Haentjens Dekker & Gumbert (Utrecht, The Netherlands, 1961), vol. 1, pp. 304-5, cat. no. 164, vol. 2, fig. no. 256 Emil Karel Josef Reznicek, "Drawings by Hendrick Goltzius, Thirty Years Later: Supplement to the 1961...", Master Drawings (Autumn 1993), vol. 31, no. 3, pp. 215-278, p. 266, under K430a Old Master Drawings, auct. cat., Christie's, New York (New York, January 30, 1997), pp. 250-251, lot 222, repr. p. 251 William W. Robinson, Bruegel to Rembrandt: Dutch and Flemish Drawings from the Maida and George Abrams Collection, exh. cat., Harvard University Art Museums (Cambridge, MA, 2002), pp. 70-71, cat. no. 23, repr. p. 71 Walter Melion, The Meditative Art: Studies in the Northern Devotional Print, 1550-1625 (Philadelphia, PA, 2009), p. 296, repr. as plate 7.6 on p. 311 Exhibition History Bruegel to Rembrandt: Dutch and Flemish Drawings from the Maida and George Abrams Collection, British Museum, London, 06/13/2002 - 09/22/2002; Institut Néerlandais, Paris, 10/10/2002 - 12/08/2002; Harvard University Art Museums, Cambridge, 03/22/2003 - 07/06/2003 Mirror of Holland: Drawings from the Maida and George Abrams Collection, Part 1, Museum of Fine Arts, Boston, Boston, 11/20/2010 - 03/06/2011 The Art of Drawing in the Early Dutch Golden Age, 1590–1630: Selected Works from the Abrams Collection, Harvard Art Museums, Cambridge, 09/09/2017 - 01/14/2018 Subjects and Contexts Dutch, Flemish, & Netherlandish Drawings Verification Level This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at am_europeanamerican@harvard.edu
