- Museum number
A man (? self-portrait of the artist) sitting on a stool, holding up a pregnant bitch
Pen and brown ink
- Production date
Height: 304 millimetres
Width: 203 millimetres
- Curator's comments
- Achim Gnann believes this to be a self-portrait and contrary to Popham's dating to the last decade of the artist's life he places it to the end of the artist's time in Parma in 1524.
Lit.: A.E. Popham, 'Italian drawings in the BM, Artists working in Parma in the Sixteenth Century', London, 1967, I, no.153, II, pl. 120; A.E. Popham, 'Catalogue of the Drawings of Parmigianino', Cambridge, 1971, no.256; H. Chapman, in exhib. cat. (C.C. Bambach, H. Chapman, M. Clayton and G. Goldner), London, British Museum, and New York, The Metropolitan Museum of Art, 'Correggio and Parmigianino, Master Draughtsmen of the Renaissance', 2000, no. 130; C. Van Cleave, 'Master Drawings of the Italian Renaissance', London, 2007, p. 182, illustrated p. 186; D. Ekserdjian, 'Parmigianino', New Haven and London, 2006, p. 184; A. Gnann, 'Parmigianino, Die Zeichnung', Petersberg, 2007, no. 187
Bambach, Chapman, Clayton & Goldner 2000
The man holding up the long-suffering dog is, according to the old inscription, a self-portrait by the artist. This identification was supported by Popham, who noted that the features of the figure generally accord with those in an anonymous engraving inscribed with the artist's name, the best-authenticated portrait of the artist in his later years. Informal drawings such as this were probably drawn for the artist's own pleasure or as gifts to his intimate circle. Parmigianino's fond interest in man's best friend is shown in his sympathetic portrayal of dogs in the frescoes at Fontanellato, and by drawings such as the quick pen sketch of a bitch in the Louvre (perhaps the same animal as that in the London drawing) and the memorable study in the same museum of a dog attaching itself in an amorous fashion to the leg of a young man (Popham, 'Parm.', nos 429 and 460, pls 443 and 437).
Literature: Popham, BM, no. 153; Popham, Parm., no. 256; Quintavalle 1971, no. LXXVIII
- Not on display
- Exhibition history
1987 Apr-Jul, Vienna, Kunstlerhaus, 'Medusa's Spell', no. VII.17
2000-1 Oct -Jan, BM, 'Drawings by Correggio and Parmigianino', No.130
2001 Feb-May, New York, Met Mus of Art, 'Drawings by Correggio and Parmigianino', No.130
2003 Feb-May, Parma, Galleria Nazionale, 'Parmigianino e il manierismo europeo'
2016 Mar-Jun, Rome, Scuderie del Quirinale, 'Correggio e Parmigianino'
- Previous owner
Previous owner/ex-collection: Moselli
Previous owner/ex-collection: Pierre Jean Mariette (L.2097; Paris, 1775-6/503 as Parmigianino 'Le Portrait de L'Auteur, assis sur un siege de bois, & tenant debout, dans ses mains une chiennne qu'il possédoit & chérissoit: ce Sujet, fait avec tout l'art & la finesse de plume dont il étoit capable, est d'une conservation parfaite' bt Boileau 321 livres)
Previous owner/ex-collection: Louis François de Bourbon, Prince de Conti (his sale, Remy, Paris 1777/1116 as Parmigianino 'Le portrait de François Mazzuola, dit le Parmesan, assis sur un siege de bois, & tenant debout, dans ses mains, une chiennne: ce sujet est fait avec tout l'art & toute la finesse dont étoit capable ce célebre Artiste: no 503 dans du catalogue de M. Mariette')
Previous owner/ex-collection: Sir Thomas Lawrence (L.2445)
Previous owner/ex-collection: Count Nils Barck (L.1959)
- Acquisition date
- Acquisition notes
- Bent Sørensen kindly pointed out the Conti provenance.
- Prints and Drawings
- Registration number