Head of a Bearded man

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Specifications

Title	Head of a Bearded man
Material and technique	Black and red chalk
Object type	Drawing > Two-dimensional object > Art object
Location	This object is in storage

Dimensions	Height 81 mm Width 61 mm
Artists	Follower of: Federico Zuccaro Previously attributed: Taddeo Zuccaro
Accession number	DN 166/63 (PK)
Credits	Gift Dr A.J. Domela Nieuwenhuis, 1923
Department	Drawings & Prints
Acquisition date	1923
Creation date	in circa 1550-1600
Inscriptions	'Portrait von Hans Sachs / Meister ?' (verso, centre, pencil), 'Hans Sachs / 166/63 / XVII J[ahrhundert] / B Jolles' (verso, lower edge, potlood)
Collector	Collector / Adriaan Domela Nieuwenhuis
Provenance	Boguslaw Jolles (-1912, L.381 deest), Dresden/Vienna; his sale, Munich (Helbing) 28.10.1895, lot 182 (German, 17th century, DM 10); Dr. Adriaan J. Domela Nieuwenhuis (1850-1935, L.356b), Munich/Rotterdam, donated with his collection in 1923 (Anonymous German, 17th century)
Research	Show research Italian Drawings 1400-1600
Material	Black chalk > Chalk > Artist's material > Material > Material and technique Red chalk > Chalk > Artist's material > Material > Material and technique
Object	Drawing > Two-dimensional object > Art object
Geographical origin	Italy > Southern Europe > Europe

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Entry catalogue Italian Drawings 1400-1600

Author: Surya Stemerding

The subject of this small drawing is an elderly man, balding but with a full beard, looking off to his left. Despite the diminutive size of the sheet, the man’s features have been recorded precisely. The sheet was included in the Jolles sale of 1895 as an anonymous German portrait of the poet and playwright Hans Sachs (1494-1576), but it bears no resemblance to any of the known portrait prints of him.

The drawing bore the name of Taddeo Zuccaro (1529-1566) for a long time after the sale, but none of his portraits are in a comparable style.^[1]It is more likely that it was made by a follower of Taddeo’s brother Federico Zuccaro (c.1539/1543-1609). The combination of black and red chalk for the flesh tones is typical of Federico’s drawn oeuvre, and was widely imitated.^[2] It is true, though, that his portrait drawings usually have more clearly defined parallel hatching and a more pronounced physiognomy.

Footnotes

^[1]Until 1966. J.Q. van Regteren Altena described it as ‘circle of one of the Zuccari!’, as recorded in an annotation on the mount by curator Bram Meij.

^[2] D. Graf, ‘Porträtstudien Federico Zuccaris’, in Winner/Heikamp 1993, pp. 43-81.

Show research Italian Drawings 1400-1600

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