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The Armand Hammer Collection: Master Drawings

Five sketches in brown ink are spaced around a vertically oriented sheet of paper. In the top left quadrant, a bearded man faces our right in profile. He has short, curly hair, a deeply lined face, a pronounced underbite, and the tip of his long nose points down. Two independent, wrinkle-lined eyes are sketched in the top right quadrant of the page. Below are two drawings of women with their shoulders angled away from us to the right. Near the bottom left and smaller in scale, a woman looks over her shoulder at us with a slight smile on her lips. In the bottom right quadrant, a woman with her hair pulled back under a snood looks to our right in profile with her chin tipped up. The neckline of both women’s bodices dip across the shoulder blades in the back. The paper is speckled with faint brown stains and spots.

Leonardo da Vinci, Sheet of Studies [recto], probably 1470/1480, pen and brown ink over black chalk on laid paper, The Armand Hammer Collection, 1991.217.2.a

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Drawn with brown ink and shaded with tan washes on cream-white paper, two bearded men wearing robes, with a smaller, nude, winged boy between them, fill this vertical drawing. At the center top of the paper, the angel faces us, gazing down to our left with open mouth and eyebrows drawn together. He has curly hair and lifts his muscular right arm, on our left, with his index finger pointed upward. Crosshatched lines define his body, and quick, curved lines shade his outstretched wings. To our right, one man stands with his body facing the center of the sheet but he turns his head to look up off the top right corner. He has curling hair, a wide mustache, and perhaps a goatee, though his chin is partially hidden by a dark spot on the paper. He has broad shoulders, a thick neck, large hands, and a hint of a muscular leg under his flowing, voluminous robes. He holds a flat, oblong object, possibly a stone tablet, perched on his slightly bent left knee. Seated to our left, the other man faces and looks at us. He also grasps a flat, tablet-like object but holds it up, braced on his right thigh, to our left, and points to it with his other hand. This man also is solidly built and swathed in robes, with a hood over his curly hair. He leans forward, knees apart, and stares out with his brows deeply furrowed. His downturned mouth is set in a bushy, curly beard. Near the bottom of the picture, the bare feet of the two men emerge from the folds of their robes. Touches of white washes on the folds of the robes create a sense of light coming from above and to our right, and charcoal lines reinforce the shadows. A grid is lightly drawn in red chalk lines over the composition. A black stamp in the lower left has the letters “E.C” and another at the center reads, “H de T. STAT.”

Raphael, The Prophets Hosea and Jonah, c. 1510, pen and brown ink with brown wash over black chalk, heightened with white and squared for transfer on laid paper, The Armand Hammer Collection, 1991.217.4

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Andrea del Sarto, Head of a Woman, c. 1515, black chalk on laid paper, The Armand Hammer Collection, 1991.217.5

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Correggio, Study for the "Madonna della Scodella" [recto], 1523/1524, pen and brown ink, brown wash, and red chalk on laid paper, The Armand Hammer Collection, 1991.217.6.a

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A clump of leaves with a few stems of tall, yellow blossoms are painted on a vertical sheet of tan-colored parchment. The leaves are long and rounded, with prominent, textured veining. A few blades of grass and sprigs of clover are interspersed among the dense clump of leaves. The cowslip blossoms are clusters of bell-shaped yellow petals at the end of a starburst-like formations of pale green tubes. The ground is painted an earthy gray, and the background is left blank. The artist dated the work, 1526, in the lower right corner over a monogram of his initials, AD.

Albrecht Dürer, Tuft of Cowslips, 1526, gouache on vellum, The Armand Hammer Collection, 1991.217.1

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Andrea Sacchi, A Sacrifice to Pan, early 1630s, pen and brown ink and wash over red chalk on laid paper; laid down, The Armand Hammer Collection, 1987.24.3

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Rembrandt van Rijn, A Landscape with Farm Buildings among Trees, c. 1650/1655, pen and brown ink with brown wash on laid paper, The Armand Hammer Collection, 1991.217.75

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Antoine Watteau, A Man Reclining and a Woman Seated on the Ground, c. 1716, red, black, and white chalk on brown laid paper, The Armand Hammer Collection, 1991.217.12

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Giovanni Battista Tiepolo, Saint Jerome in the Desert Listening to the Angels, 1728/1735, pen and brown ink with brown wash over black chalk, heightened with white, on laid paper, The Armand Hammer Collection, 1991.217.9

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Jean-Honoré Fragonard, A Prayer for Grandpapa, late 1770s, brown wash over black chalk on laid paper, The Armand Hammer Collection, 1991.217.17

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Jean-Auguste-Dominique Ingres, Mrs. Charles Badham, 1816, graphite on wove paper, The Armand Hammer Collection, 1991.217.20

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Vincent van Gogh, Man Polishing a Boot, 1882, black chalk, graphite, and gray wash, heightened with white on wove paper, The Armand Hammer Collection, 1991.217.68

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Mary Cassatt, Smiling Margot Wearing a Ruffled Bonnet, c. 1902, graphite over red chalk on wove paper, The Armand Hammer Collection, 1991.217.74

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Andrew Wyeth, Brandywine Valley, 1940, watercolor on wove paper, The Armand Hammer Collection, 1991.217.72

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