Bulino, circa 1500, privo di firma ed indicazioni editoriali. ' Bellissima prova, impressa su carta vergata con filigrana “tre lune”, rifilata al rame e completa della linea marginale, in eccellente stato di conservazione. Ottimo esemplare di questa rarissima incisione, attribuita in passato dal Bartsch a Gaspare Reverdino (Reverdy), dal Passavant alla cerchia di Nicoletto da Modena, mentre più recenti studi propendono per una scuola fiorentina di fine quindicesimo secolo, più vicina agli influssi di Antonio Pollaiolo o Lucantonio degli Uberti. Ex collezione Ludwig Pollack (Lugt 788b). ' Bibliografia Passavant, J. D. Le Peintre-Graveur. vol. 5, Leipzig, R. Weigel, 1864, p. 18, no. 21; Hind, Arthur Mayger; Colvin, Sidney, eds. Catalogue of Early Italian Engravings Preserved in the Department of Prints and Drawings in the British Museum. London, 1910, p. 314, no. F. II. 16; Passavant, J. D. Le Peintre-Graveur. vol. 5, New York, [1966], no. 21, p. 18; Hind, A. M. Early Italian Engraving: A Critical Catalogue with Complete Reproduction of All the Prints Described. vol. 1; vol. 3, Reprint of the 1938 ed., Nendeln, 1970, no. D. IV, 3; vol. 1, p. 216; vol. 3, pl. 313; J. A. Levenson et. al. Early Italian Engravings from the National Gallery of Art (exh. cat). Washington, 1973, no. 188, pp. 516-17; Patellani, G. Lucantonio degli Uberti. I Quaderni del Conoscitore di Stampe. no. 20, 1974, no. 5, p. 46; Zucker, M. J. Early Italian Masters. The Illustrated Bartsch, vol. 24, commentary vol. pt. 2, New York 1994, p. 248, 2405.076; Matile, M. Frühe Italienische Druckgraphik 1460-1530: Bestandeskatalog der Graphischen Sammlung der ETH Zürich. Basel, 1998, no. 115, pp. 176-78; Annual bulletin of the National Museum of Western Art. No. 41 (Apr. 2006-Mar. 2007), 2008, List of New Acquisitions. p. 47. Engraving, about 1500, without signature and printing details. ' A fine impression printed on laid paer with “three moon” watermark, trimmed on the platemark, in perfect condition. Excellent example of this rare work, previously attributed by Bartsch to Gaspar Reverdino (Reverdy), by Passavant to the circle of Nicoletto da Modena, while more recent studies suggest a Florentine School of the late fifteenth century, closer to the influences of Antonio Pollaiolo or Lucantonio degli Uberti. Ex collection Ludwig Pollack (Lugt 788b). Literature Passavant, J. D. Le Peintre-Graveur. vol. 5, Leipzig, R. Weigel, 1864, p. 18, no. 21; Hind, Arthur Mayger; Colvin, Sidney, eds. Catalogue of Early Italian Engravings Preserved in the Department of Prints and Drawings in the British Museum. London, 1910, p. 314, no. F. II. 16; Passavant, J. D. Le Peintre-Graveur. vol. 5, New York, [1966], no. 21, p. 18; Hind, A. M. Early Italian Engraving: A Critical Catalogue with Complete Reproduction of All the Prints Described. vol. 1; vol. 3, Reprint of the 1938 ed., Nendeln, 1970, no. D. IV, 3; vol. 1, p. 216; vol. 3, pl. 313; J. A. Levenson et. al. Early Italian Engravings from the National Gallery of Art (exh. cat). Washington, 1973, no. 188, pp. 516-17; Patellani, G. Lucantonio degli Uberti. I Quaderni del Conoscitore di Stampe. no. 20, 1974, no. 5, p. 46; Zucker, M. J. Early Italian Masters. The Illustrated Bartsch, vol. 24, commentary vol. pt. 2, New York 1994, p. 248, 2405.076; Matile, M. Frühe Italienische Druckgraphik 1460-1530: Bestandeskatalog der Graphischen Sammlung der ETH Zürich. Basel, 1998, no. 115, pp. 176-78; Annual bulletin of the National Museum of Western Art. No. 41 (Apr. 2006-Mar. 2007), 2008, List of New Acquisitions. p. 47. Cfr.
Scopri come utilizzare
Scopri come utilizzare