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Sketched with brown ink on now-darkened paper, thirteen men sit on the far side of a long table. They gather in clusters of three as they look and gesture toward a man at the center, Jesus, who has long hair and a beard. They all wear robes. Square openings in the space behind the table recede into the distance but are lightly sketched. Subtle vertical lines of the laid paper are visible, and the bottom center is stamped with a letter R.
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Sketched with brown ink on now-darkened paper, thirteen men sit on the far side of a long table. They gather in clusters of three as they look and gesture toward a man at the center, Jesus, who has long hair and a beard. They all wear robes. Square openings in the space behind the table recede into the distance but are lightly sketched. Subtle vertical lines of the laid paper are visible, and the bottom center is stamped with a letter R.

National Gallery of Art · Drawing

a) The Last Supper; b) Putti

Vincenzo Tamagni, after Leonardo da Vinci

Date
c. 1515
Medium
a) pen and brown ink on two joined sheets of laid paper; b) pen and brown ink on laid paper
Dimensions
sheet: 10.3 × 29.7 cm (4 1/16 × 11 11/16 in.) mount: 21.2 × 37.8 cm (8 3/8 × 14 7/8 in.)
Classification
Drawing
Accession number
2009.54.9
Credit line
Gift of David E. Rust
Time span
1501 to 1550
Department
CG-E
Original NGA record Wikidata

Subjects and terms

  • Seated figure
  • Christ
  • Table
  • Costume
  • Figures
Provenance

Jonathan Richardson, Sr. (1667-1745), London (Lugt 2184). Rudolf Dub (1873-1939), Brünn (Lugt 2197b). Mathias Komor (1909-1984), New York (Lugt 1882a). David E. Rust, Washington, D.C.; gift to NGA, 2009.

Inscription

recto: on mount, at right, in graphite in later hand: Tamagni; verso: on sheet, at lower right, in black ink in later hand: RD [Rudolf Dub] (Lugt 2197b); on sheet, at lower right, in graphite in later hand: 1389

Marks

recto: Jonathan Richardson, Sr. (Lugt 2184); verso: on mount: Mathias Komor (Lugt 1882a)

NGA object ID 142944. Collection metadata is reproduced under CC0. This work is included because its NGA published-image record is marked open access; visitors should recheck the source record before substantial reuse.