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Catalogue of an Exhibition of Early Engravings

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Catalogue of an Exhibition of Early Engravings EARLY ENGRAVINGS. ITALY GERMANY THE NETHERLANDS M. KNOEDLER & COMPANY 14 EAST FIFTY-SEVENTH STREET NEW YORK 192-5 CATALOGUE OF AN EXHIBITION OF EARLY ENGRAVINGS. ITALY GERMANY THE NETHERLANDS JANUARY 19x5 M. KNOEDLER & COMPANY 14 EAST FIFTY-SEVENTH STREET NEW YORK ITALY ANDREA MANTEGNA 1431-1506 "The seven engravings, which are the only ones that can be claimed as his, suffice indeed to assure him his position among the leaders in the graphic arts. All the skill and all the feeling of one of the great­ est and richest art periods, the golden Quattrocento, is summed up in the ripest and freest form in Mantegna's engravings. Therefore it was that even in the time of the greatest Raphael worship they maintained their place beside the 'divine artist,' and that they remain even today, when this worship has been transferred from Raphael to Rembrandt and Velasquez, as fresh and as soul-stirring as are the works of Bach com­ pared to those of Beethoven and the modern composers." PAUL KRISTELLER: Andrea Mantegna. 1 BACCHANALIAN GROUP WITH SILENUS Hind 2. Bartsch 10 1 BACCHANALIAN GROUP WITH A WINE-PRESS Hind 3 Bartsch 19 "An extraordinary power and exuberance of imagination have been revealed by Mantegna in these pictures. The super- naturally powerful creations of his fancy are, however, clothed by his skill in portrayal with forms which, with the extreme of loving care, are in every detail and every movement rendered according to nature. What a thorough knowledge of the human body is betrayed, for instance, in the figure of the drunken Bac­ chante reclining at the side of the big cask in the arms of a Faun! The relaxation of the body in a drunken sleep, the leaden weight of the limbs, which, though instinct with life, are no longer capable of independent movement, are rendered in a man­ ner as splendid and as true to nature as is the comical effort of the Putto clambering up on to the cask, the action of the stamp­ ing Faun, or his eagerness in drinking. The care in the execution to every detail; the water as well as the wood of the cask are reproduced with absolute realism." PAUL KRISTELLER. 4 ITALY 3 BATTLE OF SEA-GODS: the right portion of a frieze. Hind 5 Bartsch 17 "These are not the mighty gods of Olympus, but the inferior deities of Nature, of the earth and of the sea, who acknowledge none of the higher obligations, and who display unchecked their wanton elemental nature, giving a loose rein to all the exuberance of their joy in life. These creatures of the sea frolic about in the water, turbulent and wanton as the waves, each carrying on his back a voluptuous female figure. The com­ bat with those harmless-looking weapons is probably not meant to be in earnest; a vent for their surplus energy is all they seek." PAUL KRISTELLER. 4 THE RISEN CHRIST BETWEEN SS. ANDREW AND LONGINUS Hind 7 Bartsch 6 "The austere majesty, the 'awfulness' of the composition, beside which such Michelangelesque conceptions as the 'Moses' alone are worthy to be placed, the grandeur of the gigantic, Jove-like figure of Christ, is still further enhanced by the statu­ esque impressiveness of the group. One would be almost tempted to see in this conception the design for a group of statuary, per­ haps for the high altar of S. Andrea in Mantua, which was raised above the most sacred relic possessed by the city, the 'preziosissimo sangue di Cristo.' Longinus, who is supposed to have brought this relic to Mantua, and Andrea were the especial patron saints of the town, and particularly of the Church of S. Andrea." PAUL KRISTELLER. SCHOOL OF ANDREA MANTEGNA 5 THE SCOURGING OF CHRIST (with the pavement). Hind 4 Bartsch 1 "The drawing by Mantegna on which this print is based must almost certainly have belonged to the period of the Ere- mitani frescoes." ARTHUR M. HIND. 6 HERCULES AND ANTAEUS. Hind 9 Bartsch 16 From a drawing, now lost, by Mantegna. ITALY 5 7 FOUR WOMEN DANCING. Hind II Bartsch 18 (Zoan Andrea) "This print reproduces in reverse, with variations, four of the dancing nymphs from the picture of Parnassus (or the 'Triumph of Venus') in the Louvre (which probably dates about 1497). The variation in the position of the figures makes it probable that the engraving goes back to a drawing by Mantegna and not to the picture itself." ARTHUR M. HIND. GIOVANNI ANTONIO DA BRESCIA "We have no definite knowledge of this engraver's life apart from what can be gathered directly from his work. The earliest work of Giovanni Antonio may precede by some years the first of his copies after Diirer, but it is hardly probable that any of it dates much before 1500." ARTHUR M. HIND. 8 HERCULES AND ANTAEUS: THE SMALLER PLATE Hind 3 Bartsch 13 After a drawing by Mantegna or his School. This engraving seems to have been much admired. It has been copied by four different, anonymous engravers. ZOAN ANDREA and the MASTER OF THE SFORZA BOOK OF HOURS (Antonio da Monza?) "ZOAN ANDREA is known to have been working at Mantua in 1475, engraving and apparently pirating designs by Mantegna. His style divides itself into two periods, the earlier entirely in the manner of Mantegna, the latter (when he was probably settled at Milan) showing near kinship to the Master of the Sforza Book of Hours, with whom he engraved one series in common." ' 'THE MASTER OF THE SFORZA BOOK OF HOURS. Miniaturist and (prob­ ably) engraver, worked at Milan about 1470—after 1497, famous for the miniatures in the Book of Hours of Bona Sforza, in the Department of MSS. British Museum. ... Dr. Kristeller attributes sixteen plates, includ­ ing nine of the Twelve upright Arabesques, to him.'' ARTHUR M. HIND. 6 ITALY 9 PANEL OF ORNAMENT: A TRITON RIDDEN BY A CHILD Hind i Bartsch n Number One of a series of Twelve Upright Arabesques. En­ graved by the Master of the Sforza Book of Hours. 10 PANEL OF ORNAMENT: GRIFFINS, AND TWO CUPIDS CROSSING HALBERDS Hind 5 Bartsch 15 Engraved by Zoan Andrea. Collection: Dr. Julius Hofmann. 11 PANEL OF ORNAMENT: FOUR CHILDREN WITH A CAT AND DOG Hind 9 Bartsch 19 Engraved by the Master of the Sforza Book of Hours. JACOPO DE' BARBARI About 1450-before 1516 Born at Venice between 1440 and 1450. Worked for the Emperor and various other princes in different towns in Germany; known at Nurem­ berg as Jacob Walch. Died before 1516. "A very attractive master, lacking vigour, but with a great charm of style. He affected somewhat languid postures in his figures, and as an engraver worked with a light touch, and a characteristic sinuosity of line. His studies on the proportions of the human figure had interested Diirer on his first visit to Venice, and his Apollo and Diana offered a direct suggestion to the German master. On the other hand, the influence of Diirer may be noted in the more systematic cross-hatching and subtle modelling in what appear to be his later prints, but the influence never caused him to modify his style as much as other Italian contemporaries such as Nicoletto da Modena and Benedetto Montagna. He is some­ what nearer in sentiment and style to Lucas van Leyden, whom he un­ doubtedly influenced." ARTHUR M. HIND. 11 TWO OLD MEN READING Hind 13 Bartsch 15 13 THREE NAKED MEN BOUND TO A TREE Hind 15 Bartsch 17 Watermark: Lily in a Shield. ITALY 7 GIROLAMO MOCETTO Before 1458-1531? Born at Murano before 1458. Married 1493, living in Venice in a house belonging to the Morosini family in 1514; worked at some time as assistant to Giovanni Bellini; made his will August 2.1, 1531. 14 THE CALUMNY OF APELLES Hind 9 Bartsch 10 "Based on a drawing by Mantegna in the British Museum. Mocetto has used as his background the Piazza of SS. Giovanni e Paolo at Venice, with Verrocchio's equestrian statue of Bar- tolommeo Colleoni (which was not uncovered until 1496, eight years after Verrocchio's death). The subject, taken from Lucian's description of a lost picture by Apelles, frequently recurs in the works of the Renaissance, the most famous example being Bot­ ticelli's picture in the Uffizi." ARTHUR M. HIND. CRISTOFANO ROBETTA 146Z—Flourished till 152.x Born at Florence 1461, the son of a hosier, was working in his father's shop in 1480, and practicing as a goldsmith in 1498. Mentioned by Vasari as belonging to a dining club of twelve called the ' 'Company of the Kettle," and was working until 15x1. "The lack of severe artistic training which is suggested by the facts known of Robetta's history, is reflected in the style of his prints. He shows little certainty of touch or method, either in drawing or engrav­ ing. But in spite of his lack of grip in drawing and affectations of style, he seldom fails to put into his work the peculiar quality of grace and charm which belongs to so many of the secondary Florentine artists imbued with the spirit of Botticelli and Filippino Lippi." ARTHUR M. HIND. 15 THE ADORATION OF THE MAGI Hind 6 Bartsch 6 Collections: G. Storck; Dr. C. D. Ginsburg. "Filippino was evidently Robetta's chief inspirer, though there are only a few cases where he can be shown to have worked directly from that painter's designs. The Adoration is adapted 8 ITALY from the picture in the Uffizi (of 1496).
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