New York dealer Richard Berman is showing a selection of mostly 16th to 17th century Italian drawings including works by Antonio Campi, Giulio Campi, Andrea Boscoli, Camillo Procaccini, Cherubino Alberti, and Carlo Maratta. New research on the Maratta has connected the drawing as a study for a major commission, circa 1685-1690 by Marchese Niccolò Maria Pallavicini, an important Roman patron. Other research revealed that a Lombard School drawing described as late 15th century is actually a rare early 16th century Umbrian drawing of a grotesque reflecting the influence of Piero Perugino, Pintoricchio and Raphael, who were all influenced by the Roman frescoes of grotesques in Nero’s palace in Rome, the Domus Aurea, discovered in the late 15th century. The first appearance of the word ‘grottesche’ appears in a contact of 1502 for the Piccolomini Library attached to the Duomo of Siena. They were introduced by Raphael, who developed the grotesques into a complete system of ornament in the Loggias that are part of the series of rooms he designed for the Vatican Palace in Rome.

Richard Berman has chosen an interesting venue for his MASTER DRAWINGS week exhibition – the wood paneled viewing room in the Level 1 Vault of the JP Morgan Chase Bank at 35 East 72 Street, an elegant example of Neo-Federal architecture built in 1930 by Cross and Cross Architects, notable for many pre-eminent buildings on New York’s Upper East Side. While viewing hours are limited (no Sundays, and 3pm closing Saturdays) the location enhances the viewing of these rare Italian drawings.

London dealer Crispian Riley-Smith has assembled two drawings exhibitions for MASTER DRAWINGS Week. One is titled ‘Beasts and Birds’ and the second focuses on ‘Italian Figures and Landscapes from 16th and 17th centuries.”

New York Old Masters specialist Margot Gordon collaborated with Riley-Smith to organize the first the New York event a decade ago and both are delighted to see how well it has matured, with top tier dealers offering an incredibly diverse array of artworks from both legendary and less celebrated artists. A number of participating dealers also exhibit each July at a sister event, the annual LONDON ART WEEK, where Old Master auctions and museum exhibitions also vie for the attention of visiting museum officials and art patrons. Margot Gordon says, “Drawings hold special appeal to art collectors. There are many different forms — from rapid sketches the Italians call “schizzi,” or first thoughts called “primo pensiero,” to studies and finished works in their own right. You are invited to enter the artist’s mind and share his passion on a very personal level. It’s a strong motivator to those who love art. What’s more, with such a wide range of offerings, and appealing prices, drawings are often the most accessible option to collectors seeking access to an artist’s process.” Crispian Riley-Smith adds that “The backbone to the success of MASTER DRAWINGS NEW YORK is the continued support of our fantastic exhibitors who each year manage to find amazing drawings and make incredible discoveries, as well as curating interesting and stimulating shows. The interest from the public grows in this sector with new clients discovering this exciting field, and we are fortunate to enjoy the continued support of loyal clients.

“MASTER DRAWINGS NEW YORK has become popular with both private and institutional clients because it makes it convenient to see a number of exhibitions from the very top tier of world dealers in a single area of the city, and close by other venues they need to visit. For those interested in learning more about the quality and range of drawings on offer, there’s simply no better way to expose yourself to the very finest examples.” Margot Gordon admits that, “Some visitors to our shows are surprised to see that not all our drawings date to the early centuries. We have several dealers who specialize in 20th and even 21st century works. In fact, our members display everything from medieval illuminations to preparatory studies by Raphael, to minimalist art and signed Picasso sketches. We particularly love the fact that curators, museum patrons, private collectors and the press all get to see the newest market offerings of each form at one time. It’s a model that works similarly well with our sister event in London.”

Riley-Smith says “With our format, dealers get to put their individual stamp on their own exhibitions and can entertain their private and museum clients as they like.” With such a wide range of options on offer, Gordon and Riley-Smith point out that drawings and watercolours represent a wonderful collecting opportunity, especially to those forming a new collection. Price points range from several thousand dollars to several million. The www.masterdrawingsinnewyork.com web site offers details on participating dealers and their specialties, and suggestions on how to work with a dealer to build a collection.

In previous years, noted experts on the subject have contributed to the brochure, including John Marciari, the head of the Department of Drawings and Prints at The Morgan Library & Museum in New York, artist Eric Fischl, William Griswold, former Director of The Morgan Library & Museum, New York; and Cara Dufour Denison, Curator Emerita Drawings and Prints at The Morgan. Cara Denison says, “Master Drawings New York is an indispensable event for lovers of drawings.”