Benvenuto Cellini, A Satyr, 1544/1545, pen and brown ink with brown wash over black chalk on laid paper; laid down, with framing line in brown ink, overall: 41.6 x 20.3 cm (16 3/8 x 8 in.), National Gallery of Art, Washington, Woodner Collection, Patrons' Permanent © 2016 National Gallery of Art
Washington, DC—Ian Woodner assembled an extraordinary collection of over 1,000 old master and modern drawings, making him one of the 20th century's most important collectors. More than 150 works from his collection now reside at the National Gallery of Art in Washington. While Ian Woodner gave some works himself in the 1980s, the majority have been donated by his daughters, Dian and Andrea. His daughters have also made other gifts and have pledged works from their personal collections. The Woodner Collections: Master Drawings from Seven Centuries brings together for the first time the best of Ian Woodner's collection with some of the works given and promised by Dian and Andrea Woodner. More than 100 major works of art will be on view in the West Building of the National Gallery of Art from March 12 through July 16, 2017.
"Ian Woodner's appreciation of a wide range of types and styles of drawings led him to form a collection of extraordinary breadth and depth that spans centuries," said Earl A. Powell III, director, National Gallery of Art. "The Gallery is deeply grateful for the generosity of the Woodner family and the continued support of Dian and Andrea Woodner."
The exhibition is organized by the National Gallery of Art, Washington.
Austrian 14th Century, An Aedicule with Two Studies of Saint Christopher, c. 1340; pen and black ink with black wash on vellum; overall: 15.4 x 21.6 cm (6 1/16 x 8 1/2 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Exhibition Highlights
The Woodner Collections includes some 100 drawings dating from the 14th to the 20th century executed by outstanding draftsmen such as Leonardo da Vinci, Albrecht Dürer, Raphael, Jean-Auguste-Dominique Ingres, Edgar Degas, and Pablo Picasso, among many others. Two highlights in the exhibition are Ian Woodner's greatest acquisitions, known as his "crown jewels": Giorgio Vasari's Libro de' Disegni (sheets probably 1480–1504 and after 1524) and A Satyr (1544/1545) by Benvenuto Cellini. Vasari's Libro de' Disegni consists of ten drawings by the Renaissance masters Botticelli, Filippino Lippi, and Raffaellino del Garbo arranged harmoniously on both sides of the sheet. It is widely regarded as one of the most beautiful and impressive of the few pages surviving intact. Cellini's monumental nude is a finished study of a bronze sculpture designed to stand at the entrance to the French royal palace at Fontainebleau.
"Included in the exhibition are many impressive works by well-known artists, all acquired by the Woodner family with an intrepid spirit and exquisite taste. A visit to the exhibition will offer a remarkable journey through many facets of European draftsmanship, revealing the broadly diverse ways the artists responded to their individual worlds and expressed their unique creativity," said Margaret Morgan Grasselli, curator and head of the department of old master drawings, National Gallery of Art.
Attributed to Altichiero da Zevio, Conquest of a Town, 1380/1420, pen and brown ink and brown wash on laid paper mounted on original pale blue album sheet; overall (three corners made up): 24 x 18.2 cm (9 7/16 x 7 3/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
The earliest works in the exhibition are two rare sheets from the 14th century: a page from a model book by an unknown Austrian artist, and the other, attributed to the Paduan painter Altichiero da Zevio, shows a band of knights in armor storming a medieval castle. Nearly half of the exhibition is devoted to works from the 15th and 16th centuries, including drawings by Raphael, Leonardo, and Albrecht Dürer. The most important figure in German Renaissance art, Dürer is represented by an outstanding group of five drawings: four figurative works and one vividly colored book illumination, A Pastoral Landscape with Shepherds Playing a Viola and Panpipes (1496/1497). Leonardo's petite Grotesque Head of an Old Woman (1489/1490) is both touching and comical. The study of Eight Apostles (c. 1514), a fragment of a preparatory drawing for a tapestry cartoon, shows the classical rhythms and expressive qualities that are typical of the "divine" Raphael. By contrast, a rare study by Pieter Bruegel the Elder humorously depicts a musician tipping precariously on a three-legged stool. It combines the artist's lively pen strokes with a keen eye for pose and expression and captures both the boisterous spirit and the clumsy charm of the peasants that populate so many of Bruegel's compositions.
Albrecht Dürer, A Pastoral Landscape with Shepherds Playing a Viola and Panpipes, 1496/1497, watercolor and gouache heightened with pen and ink and gold, pasted back onto page 1 of Aldus Manutius' first edition of Theocritus' Idylls and other texts (Venice, February 1496), page size: 31 x 20.3 cm (12 3/16 x 8 in.), overall size (book closed): 32.4 x 21.6 cm (12 3/4 x 8 1/2 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Leonardo da Vinci, Grotesque Head of an Old Woman, 1489/1490, pen and brown ink on laid paper; laid down, overall: 6.4 x 5.1 cm (2 1/2 x 2 in.), Woodner Collection, Dian Woodner © 2016 National Gallery of Art
Raphael, Eight Apostles, c. 1514, red chalk over stylus underdrawing and traces of leadpoint on laid paper, cut in two pieces and rejoined; laid down, sheet: 8.1 x 23.2 cm (3 3/16 x 9 1/8 in.), support: 9.4 x 24.8 cm (3 11/16 x 9 3/4 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Pieter Bruegel the Elder, The Bagpipe Player, c. 1562, pen and brown ink, with some incised lines, on laid paper; laid down, overall: 20.6 x 14.6 cm (8 1/8 x 5 3/4 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Among the small group of works by the 17th-century artists, Rembrandt's evocative View of Houtewael near the Sint Anthoniespoort (c. 1650) demonstrates his remarkable ability to express space, light, and atmosphere with an economy of means. The 18th century is particularly rich in examples by many French and Venetian artists, including François Boucher, Giovanni Battista Tiepolo, Giovanni Battista Piranesi, and Jean-Honoré Fragonard. A more emotional tone is struck in a drawing of Satan Defying the Powers of Heaven by the Swiss-Anglo artist Henry Fuseli and in two enigmatic compositions by the great Spaniard, Francisco de Goya.
Rembrandt van Rijn, View of Houtewael near the Sint Anthoniespoort, c. 1650, reed pen and brown ink with gray-brown wash and touches of white on laid paper, overall: 12.5 x 18.3 cm (4 15/16 x 7 3/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
François Boucher, Aurora Heralding the Arrival of the Morning Sun, c. 1765, brown and black chalk with stumping, heightened with white chalk on buff laid paper, overall (octagonal): 46 x 40.2 cm (18 1/8 x 15 13/16 in.), National Gallery of Art, Washington, Gift of Dian Woodner © 2016 National Gallery of Art
Giovanni Battista Tiepolo, Saint Mary Magdalene Lifted by Angels, c. 1740, pen and brown ink with brown wash over black chalk on laid paper, overall: 43.7 x 29.2 cm (17 3/16 x 11 1/2 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Giovanni Battista Piranesi, The Portico of the Pantheon, 1750s and early 1760s, pen and dark brown ink with gray and gray-brown wash over red chalk, on three pieces of paper glued together vertically. Overall: 21 x 30 cm (8 1/4 x 11 13/16 in.), left section: 21.1 x 8.4 cm (8 5/16 x 3 5/16 in.), center section: 21 x 18.6 cm (8 1/4 x 7 5/16 in.), right section: 21 x 7.4 cm (8 1/4 x 2 15/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Jean-Honoré Fragonard, Avenue of Cypresses at Villa d'Este, 1760/1765, pen and brown and gray ink with brown and gray wash red chalk counterproof on laid paper, overall: 45.6 x 34.2 cm (17 15/16 x 13 7/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Henry Fuseli, Satan Defying the Powers of Heaven, late 1790s, graphite, black chalk, and brown and gray wash on laid paper, sheet: 42.2 x 27.7 cm (16 5/8 x 10 7/8 in.), National Gallery of Art, Washington, Purchased as the Gift of Andrea Woodner © 2016 National Gallery of Art
Francisco de Goya, Mascaras crueles (Cruel Masks), 1796/1797, brush and black ink and gray wash with scraping on laid paper, overall: 23.7 x 15 cm (9 5/16 x 5 7/8 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art.
The 19th-century drawings include three elegant works by Jean-Auguste-Dominique Ingres and the feerie, powerful image Cactus Man (1881) by French symbolist Odilon Redon, one of Woodner's favorite artists. Several works from the 20th century close the exhibition: three masterly drawings by the young Pablo Picasso, Two Fashionable Women (1900), a blue-period Head of a Woman (c. 1903), and a cubist Standing Nude (summer 1910); an imposing study of a female nude by Georges Braque (1927); and three drawings by Louise Bourgeois, including M is for Mother (1998), a drawing of a large, red letter M that conveys not only maternal comfort but also maternal control.
Jean-Auguste-Dominique Ingres, Philippe Mengin de Bionval, 1812, graphite on wove paper, overall: 25.6 x 19.6 cm (10 1/16 x 7 11/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Odilon Redon, Cactus Man, 1881, various charcoals with stumping, wiping, erasing, incising, and sponge work, on light brown wove paper, overall: 49 x 32.2 cm (19 5/16 x 12 11/16 in.), Woodner Collection, Promised Gift of Andrea Woodner © 2016 National Gallery of Art
Pablo Picasso, Two Fashionable Women, 1900, charcoal, overall: 41.4 x 24.5 cm (16 5/16 x 9 5/8 in.), National Gallery of Art, WashingtonWoodner Collections, Dian Woodner © 2017 Estate of Pablo Picasso / Artists Rights Society (ARS), New York © 2016 National Gallery of Art
Ian Woodner (1903–1990)
Born in New York City in 1903 to Polish immigrant parents, Ian Woodner studied architecture at the University of Minnesota and continued his studies with a scholarship to the Graduate School of Architecture at Harvard University. By 1944 his architectural success led him to open a real estate development firm: the Jonathan Woodner Company.
Woodner's prosperous real estate ventures allowed him to pursue his lifelong interest in the arts, evident at an early age by the remarkable watercolors and drawings he produced. During the 1940s Woodner began to buy and sell minor impressionist paintings and Cycladic figurines, and for a short time he owned an art gallery on Madison Avenue in New York. By the mid-1950s he had developed a penchant for old master drawings, and he spent the next several decades, until his death in 1990, collecting them extensively. Woodner took advantage of several unusual opportunities that arose from the sale of important European collections, including 71 drawings from Chatsworth House in England that were auctioned by Christie's in 1984. Upon his death, the stewardship of the collection, including more than one thousand drawings, passed to his daughters Dian and Andrea Woodner, who placed 145 works on deposit at the National Gallery of Art in 1991. Since then, they have given nearly all of those drawings to the Gallery and continue to make generous gifts of their own. They have also pledged to give works from their personal collections.
The exhibition was organized by Margaret Morgan Grasselli, curator and head of the department of old master drawings, National Gallery of Art.
Florentine School, Studies of Saint Francis Kneeling and Other Figures, c. 1390/1410, brown wash heightened with white on green prepared paper cut, reassembled, and laid down; Overall: 40.9 x 24.8 cm (16 1/8 x 9 3/4 in.), support: 43.2 x 27 cm (17 x 10 5/8 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Master of the Worcester Carrying of the Cross, South German, active 1420-1440, The Flagellation of Christ, c. 1425, pen and black ink and gray wash, heightened with white on blue paper, National Gallery of Art, Washington, Promised Gift of Dian Woodner © 2016 National Gallery of Art
Zanobi Strozzi, Initial Q with a Procession of Children, c. 1430s, tempera and gold leaf on parchment, overall: 22.4 x 21.8 cm (8 13/16 x 8 9/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Giovanni Badile, Portrait of a Boy in Profile, 1440s, pen and tip of the brush with brown ink over lead point (laid on later blue paper), overall: 20.7 x 15.4 cm (8 1/8 x 6 1/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Barthélemy van Eyck, Seven Famous Figures from Ancient History, c. 1442, pen and brown ink with watercolor, heightened with white, on vellum, overall: 31.4 x 20.1 cm (12 3/8 x 7 15/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Master of the Drapery Studies, Christ on the Cross, early 1470s, pen and black ink with gray wash on antique laid paper, overall: 21.1 x 17.7 cm (8 5/16 x 6 15/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Swabian School, A Sibyl, c. 1470, pen and black and gray ink with gray wash on laid paper, overall: 20.1 x 14.2 cm (7 15/16 x 5 9/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner© 2016 National Gallery of Art
Swabian School, A Knight in Armor, Holding a Halberd, c. 1500, pen and brown and black ink, point of the brush and black ink, and gray wash, heightened with white, on brown prepared paper (upper corners made up), overall: 28.8 x 12.2 cm (11 5/16 x 4 13/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Giorgio Vasari with drawings by Filippino Lippi, Botticelli, and Raffaellino del Garbo, Page from Vasari's "Libro de' Disegni", 1480-1504 and after 1524, album page with ten drawings on recto and verso in various media with decoration in pen and brown ink, brown and gray wash, on light buff paper, overall: 56.7 x 45.7 cm (22 5/16 x 18 in.), National Gallery of Art, Washington, Woodner Collection, Patrons' Permanent © 2016 National Gallery of Art
Primary Master of the Strassburg Chronicle, The Crucifixion with the Virgin and Saints and the Hungerstein Family, c. 1492, pen and ink over traces of chalk and leadpoint on laid paper in bound volume, page size: 38.7 x 26.1 cm (15 1/4 x 10 1/4 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Primary Master of the Strassburg Chronicle, Maximilian, Duke of Austria, on Horseback, 1492, pen and black ink over traces of black chalk on laid paper ruled in leadpoint, overall: 38.7 x 26.1 cm (15 1/4 x 10 1/4 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Albrecht Dürer, The Virgin Annunciate, 1495/1499, pen and brown ink on laid paper, overall: 16.4 x 14.3 cm (6 7/16 x 5 5/8 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Albrecht Dürer, Female Nude Praying, 1497/1500, pen and brown ink on laid paper, overall: 21.5 x 13.6 cm (8 7/16 x 5 3/8 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Albrecht Dürer, Male Nude Holding a Mirror, c. 1500, pen and brown ink on laid paper; the paper has been pricked in several places with the points of a pair of compasses and indented lightly with a stylus, overall: 26.7 x 14.1 cm (10 1/2 x 5 9/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Albrecht Dürer, Male Nude with a Lion, c. 1500, pen and brown ink on laid paper, overall: 26.7 x 14.1 cm (10 1/2 x 5 9/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Fra Bartolommeo, One Angel Blowing a Trumpet, and Another Holding a Standard, c. 1500, pen and brown ink, squared in red chalk for transfer on laid paper, National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Luca Signorelli, Bust of a Youth Looking Upward, c. 1500, black chalk partially indented with a stylus on tan laid paper, overall: 22.5 x 17.7 cm (8 7/8 x 6 15/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift in Honor of the 50th Anniversary of the National Gallery of Art © 2016 National Gallery of Art
Hans Holbein the Elder, Portrait of a Woman, c. 1508, silverpoint with brush and black and brown ink over charcoal and leadpoint, heightened with white on white prepared paper, overall (Oval): 14.4 x 10.3 cm (5 11/16 x 4 1/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Hans Süss von Kulmbach, Mary and John before the Man of Sorrows, c. 1514, pen and brown ink with watercolor on laid paper, overall: 14.7 x 17.6 cm (5 13/16 x 6 15/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Hans Baldung Grien, The Lamentation of Christ, c. 1515, brush and black ink, heightened with white, on dark brown prepared paper; the surface varnished, overall: 27.2 x 18.3 cm (10 11/16 x 7 3/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Raphael, A Marble Horse on the Quirinal Hill, c. 1513/1514, red chalk and pen and brown ink, with stylus underdrawing and traces of leadpoint on laid paper, overall: 21.9 x 27.4 cm (8 5/8 x 10 13/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Girolamo Romanino, The Madonna and Child with Saints Francis and Anthony Abbot and a Donor, 1515/1519, red chalk (wetted for counterproofing) on laid paper; laid down, overall: 20.3 x 18.6 cm (8 x 7 5/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Andrea del Sarto, Head of Saint John the Baptist, c. 1523, black chalk on paper laid down on panel, overall: 33 x 23.1 cm (13 x 9 1/8 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Circle of Lucas Cranach the Elder, Christian II of Denmark and Norway, c. 1523, pen and brown ink with gouache on vellum, overall: 12 x 9.5 cm (4 3/4 x 3 3/4 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Simon Bening, The Adoration of the Magi, mid-1520s, tempera heightened with gold on vellum mounted to wood, overall: 16.8 x 22.9 cm (6 5/8 x 9 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
German 16th century (Augsburg), Portrait of a Man Wearing a Hat with a Medallion, 1520/1540, black, red, and yellow chalks on laid paper, overall: 20.4 x 20.3 cm (8 1/16 x 8 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Domenico Campagnola, The Hermit Saints Paul and Anthony Receiving Bread from a Dove, c. 1530, pen and brown ink over traces of leadpoint, overall: 39.2 x 25.9 cm (15 7/16 x 10 3/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Sebald Beham, Cimon and Pero, 1540, pen and black ink with charcoal heightened with white on heavy laid paper; laid down (repair to Pero's ear), overall: 39.7 x 24.1 cm (15 5/8 x 9 1/2 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Niccolò dell' Abate, The Rape of Ganymede, c. 1545, pen and brown ink with brown wash and watercolor over traces of black chalk, heightened with white on laid paper washed light brown; laid down, overall: 38.9 x 28.9 cm (15 5/16 x 11 3/8 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Francesco Salviati, The Resurrection of Christ, 1545/1548, 'pen and brown ink with brown wash heightened with white on laid paper (faint black chalk sketch on verso?), overall (oval): 28 x 19.1 cm (11 x 7 1/2 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Perino del Vaga, Alexander Consecrating the Altars for the Twelve Olympian Gods, 1545/1547, pen and brown ink with gray wash over black chalk on laid paper; laid down, overall: 31.7 x 21 cm (12 1/2 x 8 1/4 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Jean Cousin the Elder, Design for a Burgonet Helmet, c. 1545, pen and black ink with gray wash over black chalk on laid paper, overall: 34.9 x 42 cm (13 3/4 x 16 9/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Étienne Delaune, Design for the Backplate of a Suit of Parade Armor, 1555/1557, pen and black ink with gray wash and faint traces of black chalk on laid paper, overall (approximate): 39 x 30.8 cm (15 3/8 x 12 1/8 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Taddeo Zuccaro, Alexander the Great and Bucephalus, c. 1553, pen and brown ink with brown wash over traces of graphite on laid paper, overall: 19.4 x 24.1 cm (7 5/8 x 9 1/2 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Agnolo Bronzino or Giulio Clovio after Michelangelo, The Fall of Phaethon, 1555/1559, black chalk on laid paper, overall: 40.7 x 27.2 cm (16 x 10 11/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Jost Amman, Head of a Bearded Man, 1572, brush and black ink with white wash on blue prepared paper, overall: 15.5 x 11.5 cm (6 1/8 x 4 1/2 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Hans Hoffmann, Red Squirrel, 1578, watercolor and gouache over traces of graphite on vellum, overall: 25 x 17.8 cm (9 13/16 x 7 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Hans Hoffmann, Left Wing of a Blue Roller, c. 1580, watercolor and gouache on vellum; laid down, overall: 18.9 x 23.9 cm (7 7/16 x 9 7/16 in.), Woodner Collection, Dian Woodner © 2016 National Gallery of Art
Federico Barocci, Head of a Bearded Man, 1579/1582, red, black, white, and ochre chalks on blue laid paper; laid down, overall: 38 x 26.3 cm (14 15/16 x 10 3/8 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Federico Barocci, Presentation of the Virgin in the Temple, c. 1600, oil over graphite heightened with white, on laid paper; laid down, overall: 39.8 x 33.9 cm (15 11/16 x 13 3/8 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Abraham Bloemaert, Acis and Galatea, c. 1590, pen and brown ink with brown wash and traces of white heightening over black chalk on laid paper, overall: 31.2 x 30.1 cm (12 5/16 x 11 7/8 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
François Quesnel, Portrait of a Noblewoman (Madame de Pellegars?), c. 1590/1595, black and red chalks with stumping, heightened with white chalk, on laid paper, overall: 29 x 23.2 cm (11 7/16 x 9 1/8 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
French 17th Century, Male Nude Kneeling and Bound to a Tree, c. 1690, red chalk heightened with white chalk on gray-brown laid paper, overall: 49 x 30.5 cm (19 5/16 x 12 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Roelandt Savery, Mountainous Landscape with Castles and Waterfalls, c. 1606, black, ocher, red, and blue chalks, with traces of white heightening on gray-green laid paper, overall: 35.5 x 49.4 cm (14 x 19 7/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Sir Anthony van Dyck, The Mystic Marriage of Saint Catherine, c. 1618/1620, pen and brown ink with brown and gray washes over black chalk on laid paper, overall: 18.2 x 28.1 cm (7 3/16 x 11 1/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Hendrick Avercamp, Winter Games on the Frozen River Ijssel, c. 1626, pen and black and gray ink with watercolor, gouache, and graphite on laid paper; laid down, overall: 19.9 x 33.1 cm (7 13/16 x 13 1/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Pieter Jansz Saenredam, Interior of Saint Bavo's Church, Haarlem, mid-1630s, pen and brown ink with gray wash and touches of red chalk over graphite on laid paper, squared in red chalk; laid down, overall: 49.1 x 35.8 cm (19 5/16 x 14 1/8 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Lucas van Uden, Study of Trees, 1640s, pen and brown ink with gray wash, yellow and white chalks over traces of graphite on laid paper; laid down, Overall: 34.6 x 21.8 cm (13 5/8 x 8 9/16 in.), support: 43.4 x 30.5 cm (17 1/16 x 12 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Attributed to Rembrandt van Rijn, Joseph Recounting His Dreams, early 1640s, reed pen and brown ink with brown wash, heightened with white, on laid paper, overall: 17.3 x 22.4 cm (6 13/16 x 8 13/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Giovanni Benedetto Castiglione, The Adoration of the Shepherds, 1650/1655, oil on laid paper; laid down, overall: 41.2 x 60.9 cm (16 1/4 x 24 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Giovanni Battista Tiepolo, Venus and Cupid Discovering the Body of Adonis, c. 1740, pen and brown ink with brown wash over black chalk on laid paper, overall: 40.8 x 28.5 cm (16 1/16 x 11 1/4 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Giovanni Battista Tiepolo, The Meeting of Antony and Cleopatra, c. 1742, pen and brown ink with brown wash over black chalk on buff paper, overall: 33.9 x 26.2 cm (13 3/8 x 10 5/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Giovanni Battista Tiepolo? Head of a Young Man in Profile, c. 1743? red chalk with white heightening on blue paper, actual: 20.32 x 22.86 cm (8 x 9 in.), overall: 44 x 35.5 x 1 cm (17 5/16 x 14 x 3/8 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Jean-François de Cuvilliés I, A Rococo Garden Trellis and Gazebo, c. 1750, pen and black ink with brown wash, heightened with white gouache on blue laid paper, sheet: 54.4 x 32 cm (21 7/16 x 12 5/8 in.), mount: 57.8 x 35.4 cm (22 3/4 x 13 15/16 in.), National Gallery of Art, Washington, Gift of Andrea Woodner © 2016 National Gallery of Art
Giuseppe Galli Bibiena, Christ Led Captive from a Palace, 1740/1745, pen and brown ink, brown and gray wash (for architecture), pen and black ink (foreground), pen and gray ink (background), both with brown wash (for the figures), overall: 60.8 x 40 cm (23 15/16 x 15 3/4 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Giovanni Battista Piranesi, Fantasy of an Ancient Bath, 1755/1760, pen and brown ink with gray wash and traces of red chalk, on laid paper pasted down on the remains of Piranesi's original mount, sheet: 13.7 x 20 cm (5 3/8 x 7 7/8 in.), National Gallery of Art, Washington, Wolfgang Ratjen Collection, Purchased as the Gift of Andrea Woodner © 2016 National Gallery of Art
Giovanni Battista Piranesi, Fantasy of a Façade with Bizarre Ornaments, 1764/1766, pen and dark brown ink with brown wash over black chalk on laid paper, overall: 60.1 x 47.2 cm (23 11/16 x 18 9/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Jean-Baptiste Perronneau, Portrait of a Man, c. 1757, pastel on blue laid paper, mounted on board, overall: 55.4 x 45.5 cm (21 13/16 x 17 15/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Gabriel Jacques de Saint-Aubin, Draftsmen Outdoors, c. 1760, black chalk and stumping on laid paper, overall: 16.9 x 22.9 cm (6 5/8 x 9 in.), National Gallery of Art, Washington, Gift of Ian Woodner © 2016 National Gallery of Art
Jean-Baptiste Greuze, Bust of an Old Man, probably 1763, red, black, and white chalks with stumping and erasure on light brown laid paper, with later framing line in dark brown ink, overall: 46.6 x 37.6 cm (18 3/8 x 14 13/16 in.)
National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Jean-Baptiste Deshays, Seated Satyr Leaning Backward, 1758/1765, black chalk with stumping, heightened with white on brown laid paper, overall: 50 x 39 cm (19 11/16 x 15 3/8 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
François Boucher, Cupids Competing at Archery, 1765, black and white chalks on light brown laid paper (formerly blue), overall: 25.8 x 85.6 cm (10 3/16 x 33 11/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Pierre-Antoine Baudouin, The Honest Model, 1769, gouache and graphite on vellum, mounted on paperboard, Overall: 40.6 x 35.7 cm (16 x 14 1/16 in.), framed: 57 x 53.3 x 6 cm (22 7/16 x 21 x 2 3/8 in.), National Gallery of Art, Washington, Gift of Ian Woodner © 2016 National Gallery of Art
Giovanni Domenico Tiepolo, The Raising of Tabitha, early 1790s, pen and brown ink with brown wash over charcoal on laid paper, overall: 48.9 x 38.1 cm (19 1/4 x 15 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Giovanni Domenico Tiepolo, Punchinellos Hunting Waterfowl, c. 1800, pen and brown ink with brown wash over charcoal on laid paper, overall: 35.1 x 47.4 cm (13 13/16 x 18 11/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Giovanni Battista Lusieri, The Bay of Naples with Mounts Vesuvius and Somma, 1782/1794, watercolor with pen and black ink over graphite on laid paper mounted to paperboard, overall: 62.8 x 93.8 cm (24 3/4 x 36 15/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Francisco de Goya, Mendigos que se llevan solos en Bordeaux (Beggars Who Get about on Their Own in Bordeaux), 1824/1827, black chalk on greenish laid paper, overall: 19.4 x 14 cm (7 5/8 x 5 1/2 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Louis-Léopold Boilly, The Public in the Salon of the Louvre, Viewing the Painting of the "Sacre", begun 1808, pen and black ink with gray wash and watercolor over traces of graphite on laid paper, overall: 59.5 x 80.3 cm (23 7/16 x 31 5/8 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Jean-Auguste-Dominique Ingres, Two Studies of Virgil, c. 1812/8185 and c. 1825/1827, graphite on 5 joined sheets of paper, overall: 43.8 x 30.9 cm (17 1/4 x 12 3/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art © 2016 National Gallery of Art
Jean-Auguste-Dominique Ingres, Mademoiselle Mary de Borderieux(?), 1857, Graphite and watercolor with white highlights; Overall: 35.2 x 27.1 cm (13 7/8 x 10 11/16 in.), framed: 51.4 x 42.9 cm (20 1/4 x 16 7/8 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner © 2016 National Gallery of Art
Peter De Wint, Travelers on the Sands near Redcar, 1838, watercolor with gouache over graphite with scratching out, overall: 49.1 x 71.4 cm (19 5/16 x 28 1/8 in.), National Gallery of Art, Washington, Gift of Dian Woodner © 2016 National Gallery of Art
Constant Troyon, A Windmill against a Cloudy Sky, 1845/1850, oil paint and black chalk over charcoal on tan paper, overall: 46.7 x 36.5 cm (18 3/8 x 14 3/8 in.), National Gallery of Art, Washington, Andrea Woodner Fund © 2016 National Gallery of Art
Henri-Joseph Harpignies, Evening Light on a Wooded Lakeside with Cattle Drinking, 1882, watercolor with touches of white gouache over traces of charcoal on laid paper, overall: 36.8 x 53.2 cm (14 1/2 x 20 15/16 in.), National Gallery of Art, Washington, Purchased as the Gift of Andrea Woodner © 2016 National Gallery of Art
Rodolphe Bresdin, Oriental Horseman in a Desolate Mountain Landscape, 1858, pen and black ink and gray wash on wove paper, overall: 27.8 x 18 cm (10 15/16 x 7 1/16 in.), National Gallery of Art, Washington, Woodner Collection, Gift of Andrea Woodner © 2016 National Gallery of Art
Edgar Degas, Self-Portrait, c. 1855, red chalk on laid paper, overall: 31 x 23.3 cm (12 3/16 x 9 3/16 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Edgar Degas, Spanish Dancers and Musicians, 1868/1869, watercolor and pen and black ink on wove paper, overall (arched): 51.4 x 26 cm (20 1/4 x 10 1/4 in.), National Gallery of Art, Washington, Woodner Collection © 2016 National Gallery of Art
Luigi Aloys François Joseph Loir, The Pont d'Alma at Twilight, c.1914, watercolor and gouache, with abrading and scraping, pen and black ink, with touches of graphite on pale gray, multi-color fiber, wove paper; laid down, sheet: 42.8 x 66.1 cm (16 7/8 x 26 in.), National Gallery of Art, Washington, Gift of Dian Woodner © 2016 National Gallery of Art
David Hockney, Peter, 1971. Drawing. Promised gift of Dian Woodner © 2016 National Gallery of Art
