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Fight Between Calvarly and Infantry

  • Object:

    Drawing

  • Place of origin:

    Italy (made)

  • Date:

    late 16th century (made)

  • Materials and Techniques:

    Pen and Indian ink and wash heightened with white on brown paper

  • Museum number:

    E.3985-1919

  • Gallery location:

    Prints & Drawings Study Room, level H, case PD, shelf 276

Place of Origin

Italy (made)

Date

late 16th century (made)

Materials and Techniques

Pen and Indian ink and wash heightened with white on brown paper

Dimensions

Length: 270 mm, Width: 108 mm

Descriptive line

Drawing, a fight between calvarly and infantry, Lombardy, late 16th century.

Bibliographic References (Citation, Note/Abstract, NAL no)

Ward-Jackson, Peter, Italian Drawings Volume I. 14th-16th century, London, 1979, p. 215.

The text is as follows:

LOMBARDY: late 16th century

471

A fight between cavalry and infantry
Inscribed in ink in an old hand on a strip of paper added at the top ‘G. Lanfranco’ and on the back in pencil ) in Bernard Webb’s hand ‘Benjamin West Collection’
Pen and Indian ink and wash heightened with white on brown paper
10 5/8 x 7 1/8 (270 x 180) E.3985-1919

PROVENANCE Benjamin West; Bernard Webb Bequest 1919

LITERATURE I. Moskowitzd (editor), Great drawings of all timeI, New York, I, 1962, pl. 277; W. Ames, Italian Drawings from the 15th to the 18th century, 1964, pl. 81

The Webb Bequest contains four other drawings in a similar technique by the same hand (see nos. 472-75 below). They were all formerly attributed to Giovanni Lanfranco on the strength of the inscription on 471. This attribution is certainly incorrect, but it is difficult to substitute another. Ames, the author of the commentary on the Italian drawings in the first work cited in the bibliography, proposes Cavedone, but this is not convincing either, and Ames abandons it is the second book cited, where the drawing is catalogued as anonymous, 17th century. The free, impressionistic ise of white heightening suggests an artist in the circle of Gaudenzio Ferrari. But the drawings appear to be much later in date. They may be late examples of a tradition of drawing established by Gaudenzio and his followers; or they may be old forgeries or pastiches in imitation of such artists as Polidoro (in the case of no. 472) and Castilgione (in the case of no. 474).

Victoria and Albert Museum, Department of Engraving, Illustration and Design & Department of Paintings, Accessions 1919, London: Printed Under the Authority of His Majesty's Stationery Office, 1921

Materials

Pen and ink; Wash; Brown paper

Collection

Prints, Drawings & Paintings Collection

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