16th C Italian Old Master Drawing c.1505 by Marcantonio Raimondi Allegory

View Similar Items

Louis Lesueur - Louis Lesueur (1746-1803) Landscape with ruins, 1789, drawing signed and dated

Jean-Henri Cless - Jean-Henri Cless (1774-1812) Portrait of a young woman, signed drawing

Domenico Piola the Elder - The Torture of Saint Concordia

Carlo Urbino - Draped Woman Holding A Branch

Raphael (Raffaello Sanzio da Urbino) - The Holy Family with the Infant Saint John the Baptist

Jan Goeree - Interior of the Nieuwe Kerk, Amsterdam

Felice Pinariccio known as Le Lasagna (active in Bologna during the 1560s-1570s) - Virgin and Child with Saint John the Baptist and Saint Jerome

François Boucher - Three drawings by François Boucher in a mounting by Jean-Baptiste Glomy

Cornelis Schut - 1600’s Flemish Old Master Ink Wash Drawing Biblical Figures Group on paper

18thC Italian Old Master - Fine 1700's Italian Old Master Ink & Wash Drawing Roman Allegorical Africa

18thC Italian Old Master - Fine 1700's Italian Old Master Ink & Wash Drawing Roman Allegorical India

18thC Italian Old Master - Fine 1700's Italian Old Master Ink & Wash Drawing Roman Allegorical Magnaminita

1 of 5

Marcantonio Raimondi
16th C Italian Old Master Drawing c.1505 by Marcantonio Raimondi Allegory
circa 1505

Name: 16th C Italian Old Master Drawing c.1505 by Marcantonio Raimondi Allegory
Brand: Marcantonio Raimondi

$8,959.91List Price

About the Item

Marcantonio Raimondi (Arguis, c.1470/80 – 1534 Bologna) Study of an Allegorical Figure Executed c. 1505 Pen and brown ink, brown wash, graphite framing lines, 73 x 60 mm (2.9 x 2.4 inch) Provenance - Capitano Carlo Prayer (1826–1900), Milan (Lugt 2044) - Giancarlo Baroni; his sale, Sotheby’s, New York, 29 January 2013, lot 76, repr. - Private collection, Paris ~ Marcantonio Raimondi was the most important engraver of the Italian Renaissance.[1] He pioneered the reproduction of works in art through engravings, and is considered the founder of the reproductive print. His corpus of more than three hundred engravings is based on the designs of other artists, including Michelangelo and most notably Raphael (1483–1520), whose fame is partly based on Marcantonio’s engravings. After studying with a Bolognese painter, Raimondi was in Venice by 1506. There he became Albrecht Dürer’s most prolific copyist – though not by consent. Dürer brought successful legal proceedings against Raimondi, but Dürer’s varied linework continued to inspire Raimondi for life. In Rome by 1510, Raimondi created a financially and artistically successful business, founding a school of engravers who could accurately reproduce works of art. His style matured into a system of hatching and highlighting, concentrating on essential areas of shadow that clearly articulated forms. By 1513 Raimondi focused on engraving Raphael’s works, while Raphael’s assistants handled printing and marketing. After Raphael’s death in 1520, Raimondi continued engraving works by his students and assistants, notably Giulio Romano. Around 1524 Raimondi was briefly imprisoned by Pope Clement VII for making a series of erotic engravings after Giulio’s designs, I Modi. Following this disgrace, Raimondi was forced to ransom himself from the Spaniards during the Sack of Rome in 1527. He departed the city a beggar and left no further trace. This very characteristic study in pen and ink by Marcantonio Raimondi is stylistically close to several discussed by Konrad Oberhuber in his article on the artist’s early works.[2] It is especially close in handling to the figure of Dido, now in the Staatliche Kunstsammlungen, Dresden (see additional fig.), which Oberhuber associated stylistically with the running princess in Raimondi’s engraving St. George and the Dragon, datable c. 1505.[3] The figures share the same fluidity in the use of the pen and the close cross hatching as well as an overall elegance in the depiction of the drapery. This sheet and others mentioned in Oberhuber’s article come from the collection of Captain Carlo Prayer, who collected in Milan in the second half of the 19th century, and they all bear his collector’s mark. They were once part of a dismembered sketchbook and some were sold at Christie’s in two sales in the late 1980s.[4] Our drawing, which can possibly be identified as Tyche (or Fortuna), the goddess of luck, can also for instance be compared to Raimondi’s Sleeping Putto in the Morgan Library in New York, again from Prayer’s collection (see last fig.).[5] ~ 1. For the artist, see: K. Oberhuber, The works of Marcantonio Raimondi and of his school, The Illustrated Bartsch, New York 1978 and L. Pon, Raphael, Dürer and Marcantonio Raimondi: Copying and the Italian Renaissance Print, New Haven 2004 2. K. Oberhuber, ‘Marcantonio Raimondi: gli inizi a Bologna ed il primo periodo romano’, Bologna e L'Umanesimo 1490-1510, exhib cat., Bologna, Pinacoteca Nazionale, 1988, pp. 76-78. 3. Op. cit., p. 76, fig. 37 (Dido). 4. Christie’s, London, 5 July 1988, lots 1-7 and Christie’s, London, 6 December 1988, lots 1, 2. All came from the collection of Juan and Felix Bernasconi. 5. Pen and brown ink, 73 x 81 mm, inv. no. 1992.149; K. Oberhuber and D. Walker, Sixteenth Century Italian Drawings from the Collection of János Scholz, exh. cat. Washington, D.C. (National Gallery of Art) and New York (Pierpont Morgan Library) 1973, no. 44, repr.

Creator:
Marcantonio Raimondi (1480 - 1534, Italian)
Creation Year:
circa 1505
Dimensions:
Height: 2.88 in (7.3 cm)Width: 2.37 in (6 cm)
Medium:
Ink
Movement & Style:
Old Masters
Period:
16th Century
Condition:
Gallery Location:
Gouda, NL
Reference Number:
1stDibs: LU116014282202

1780s Old Masters Landscape Drawings and Watercolors

Materials

Ink

Louis Lesueur
Louis Lesueur (1746-1803) Landscape with ruins, 1789, drawing signed and dated, 1789

$1,708

Jean-Henri Cless (1774-1812) Portrait of a young woman, signed drawing

Located in Paris, FR

Jean-Henri Cless (1774-1812) Portrait of a young woman in a landscape signed "Cless fec" for fecit on the lower left Brown ink and brown ink wash on paper Size of the sheet : 31.5 x 22 cm Size of the motive : 24.5 x 17 cm very simply framed under glass without actual frame 32 x 22.5 cm This pre...

Category

Early 1800s Old Masters Portrait Drawings and Watercolors

Materials

Ink, Pencil

Jean-Henri Cless
Jean-Henri Cless (1774-1812) Portrait of a young woman, signed drawing, circa 1800

$633

The Torture of Saint Concordia

By Domenico Piola the Elder

Located in Paris, Île-de-France

Circle of Domenico Piola (Genoa 1627 – 1703) The Torture of Saint Concordia Black chalk, brown ink and brown wash on two sheets of paper, 40.5 x 42 cm Unsigned Provenance: Estate...

Category

17th Century Old Masters Figurative Drawings and Watercolors

Materials

Ink

The Torture of Saint Concordia, c. 1670

$10,154

Draped Woman Holding A Branch

Located in Paris, Île-de-France

CARLO URBINO (Crema 1525 - after 1585) Draped Woman Holding a Branch Pencil and brown ink on laid paper 13.6 x 7.7 cm Unsigned 16th century Mounted on 20th-century paper Handwrit...

Category

16th Century Old Masters Figurative Drawings and Watercolors

Materials

Ink

Carlo Urbino
Draped Woman Holding A Branch

$5,973

The Holy Family with the Infant Saint John the Baptist

By Raphael (Raffaello Sanzio da Urbino)

Located in Paris, Île-de-France

STUDIO OF RAFFAELLO SANZIO, called RAPHAEL (Urbino 1483 – Rome 1520) Title The Holy Family with the Infant Saint John the Baptist Medium Pen and brown ink, brown wash, over black ch...

Category

16th Century Old Masters Figurative Drawings and Watercolors

Materials

Ink

The Holy Family with the Infant Saint John the Baptist

$50,772

Interior of the Nieuwe Kerk, Amsterdam

Located in Paris, Île-de-France

Jan Goeree (Middelburg 1670 – Amsterdam 1731) Interior of the Nieuwe Kerk, Amsterdam (c. 1724) Red chalk for the architecture, pen and black ink, grey wash on paper Composition reversed in preparation for engraving 25 × 17.5 cm Watermark: Hunting horn, Churchill 318 (dated 1724) Unsigned Provenance Private collection, France Context & Attribution Trained in the studio of Gérard de Lairesse, Jan Goeree was among the finest Dutch engravers of the early eighteenth century, celebrated for his architectural views of Amsterdam. This drawing is a preparatory study for an engraving of the same subject now preserved in a major public collection. The final print—slightly larger—closely follows the reversed composition of this sheet. Subject In the center of the Gothic nave, five bearers carry a catafalque toward a freshly dug grave—a tribute to the naval heroes often buried in the Nieuwe Kerk. This funerary motif, familiar from Dutch painting (e.g. Emanuel de Witte, 1657), evokes the vanitas theme and the transience of earthly life. Technical Analysis Goeree’s use of red chalk for the architecture and ink for the figures reveals his working method: the chalk lines could be used to produce a counterproof restoring the correct orientation of the architecture, while the inked figures remained adjustable before the design was transferred to the copper plate. Place within the Oeuvre Drawings of church...

Category