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Portrait of a Young Man

Date

ca. 1615

Creator

Ottavio Leoni

Location

Raclin Murphy Museum of Art

The sitter in the Snite drawing has been traditionally ascribed as Camillo Graffico (1587-?), an engraver and publisher from the Friuli, because of the inscription "Camille" on the bottom right of the recto, and middle of the verso. This identification seems unlikely given Leoni's known engravings of Graffico as a full faced middle-aged man, two of which are part of a group depicting notable Italians (Bartsch XVII.12.21 and 13.251) that do not resemble the young man in the Snite drawing. It also remains highly unlikely the Snite portrait is a younger version of Graffico given a likeness of him in the Louvre dated 1614, eight years earlier. Since, Camillo was a common Italian name of the period, identification of our sitter remains a mystery. from Coleman, Seminar in Italian Drawings (Notre Dame, 2009)

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The sitter in the Snite drawing has been traditionally ascribed as Camillo Graffico (1587-?), an engraver and publisher from the Friuli, because of the inscription "Camille" on the bottom right of the recto, and middle of the verso. This identification seems unlikely given Leoni's known engravings of Graffico as a full faced middle-aged man, two of which are part of a group depicting notable Italians (Bartsch XVII.12.21 and 13.251) that do not resemble the young man in the Snite drawing. It also remains highly unlikely the Snite portrait is a younger version of Graffico given a likeness of him in the Louvre dated 1614, eight years earlier. Since, Camillo was a common Italian name of the period, identification of our sitter remains a mystery. from Coleman, Seminar in Italian Drawings (Notre Dame, 2009)
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  • The sitter in the Snite drawing has been traditionally ascribed as Camillo Graffico (1587-?), an engraver and publisher from the Friuli, because of the inscription "Camille" on the bottom right of the recto, and middle of the verso. This identification seems unlikely given Leoni's known engravings of Graffico as a full faced middle-aged man, two of which are part of a group depicting notable Italians (Bartsch XVII.12.21 and 13.251) that do not resemble the young man in the Snite drawing. It also remains highly unlikely the Snite portrait is a younger version of Graffico given a likeness of him in the Louvre dated 1614, eight years earlier. Since, Camillo was a common Italian name of the period, identification of our sitter remains a mystery. from Coleman, Seminar in Italian Drawings (Notre Dame, 2009)
  • The sitter in the Snite drawing has been traditionally ascribed as Camillo Graffico (1587-?), an engraver and publisher from the Friuli, because of the inscription "Camille" on the bottom right of the recto, and middle of the verso. This identification seems unlikely given Leoni's known engravings of Graffico as a full faced middle-aged man, two of which are part of a group depicting notable Italians (Bartsch XVII.12.21 and 13.251) that do not resemble the young man in the Snite drawing. It also remains highly unlikely the Snite portrait is a younger version of Graffico given a likeness of him in the Louvre dated 1614, eight years earlier. Since, Camillo was a common Italian name of the period, identification of our sitter remains a mystery. from Coleman, Seminar in Italian Drawings (Notre Dame, 2009)
  • The sitter in the Snite drawing has been traditionally ascribed as Camillo Graffico (1587-?), an engraver and publisher from the Friuli, because of the inscription "Camille" on the bottom right of the recto, and middle of the verso. This identification seems unlikely given Leoni's known engravings of Graffico as a full faced middle-aged man, two of which are part of a group depicting notable Italians (Bartsch XVII.12.21 and 13.251) that do not resemble the young man in the Snite drawing. It also remains highly unlikely the Snite portrait is a younger version of Graffico given a likeness of him in the Louvre dated 1614, eight years earlier. Since, Camillo was a common Italian name of the period, identification of our sitter remains a mystery. from Coleman, Seminar in Italian Drawings (Notre Dame, 2009)
  • The sitter in the Snite drawing has been traditionally ascribed as Camillo Graffico (1587-?), an engraver and publisher from the Friuli, because of the inscription "Camille" on the bottom right of the recto, and middle of the verso. This identification seems unlikely given Leoni's known engravings of Graffico as a full faced middle-aged man, two of which are part of a group depicting notable Italians (Bartsch XVII.12.21 and 13.251) that do not resemble the young man in the Snite drawing. It also remains highly unlikely the Snite portrait is a younger version of Graffico given a likeness of him in the Louvre dated 1614, eight years earlier. Since, Camillo was a common Italian name of the period, identification of our sitter remains a mystery. from Coleman, Seminar in Italian Drawings (Notre Dame, 2009)
  • The sitter in the Snite drawing has been traditionally ascribed as Camillo Graffico (1587-?), an engraver and publisher from the Friuli, because of the inscription "Camille" on the bottom right of the recto, and middle of the verso. This identification seems unlikely given Leoni's known engravings of Graffico as a full faced middle-aged man, two of which are part of a group depicting notable Italians (Bartsch XVII.12.21 and 13.251) that do not resemble the young man in the Snite drawing. It also remains highly unlikely the Snite portrait is a younger version of Graffico given a likeness of him in the Louvre dated 1614, eight years earlier. Since, Camillo was a common Italian name of the period, identification of our sitter remains a mystery. from Coleman, Seminar in Italian Drawings (Notre Dame, 2009)
Ottavio Leoni (Italian, 1578 - 1630)
ca. 1615
Drawings
Black chalk with traces of white heightening on blue paper
2000.074.021
Not on view, please request access
9 x 6 3/8 in. (23.01 x 16.21 cm)
Gift of John D. Reilly, ND '63, '64

Our collection information is a work in progress and may be updated as new research findings emerge. If you have spotted an error, please contact Raclin Murphy Museum of Art at RMMACollections@nd.edu.