Italian Old Masters.- Buonarroti (Michelangelo, after) & Beatrizet (Nicholas, engraver) The Fall of Phaeton, state with lettering ‘Mich. Ang. Flor. inv.’ and with Philippe Thomassin 's imprint engraving, [according to Bartsch, retouched by Thomassin and published by him before his death in 1622, subsequently republished by de Rossi in 1649], 413 x 282mm, [Bartsch XV.258.38], Girolamo Rossi the Elder, Rome, 1649; The Dream of Human Life, after Michelangelo, printed, lower ‘EGREGIVS. / MICHAELANGELUS. / BONAROTVS. / AVTOR. / .M.L. cum privilegio’ (the drawing by Michelangelo upon which this print is based is in the Courtauld Gallery, London), 44 x 30.5 cm, toned and dustsoiled, reinforced and tipped onto paper board, Michele Lucchesi, Rome, 1545?; Del Sarto (Andrea, after) Saint John Blessing the Multitude, watermark, after one of the grisaille frescoes in the Chiostro dello Scalzo, Florence (1511-26), trimmed, central vertical fold, small repairs on verso, 1617 (see ‘Pitture a fresco di Andrea del Sarto esistenti nella Compagnia dello Scalzo in Firenze’, Tipografia all'Insegna di Dante, 1830, pl. 8); Palma (Jacopo, after) & Van Kessell (Thorodor) Mary Magdalene, from ‘Theatrum Pictorium, or Theatre of Painting’, some dustsoiling and spotting, [Hollstein IX], David Teniers the Younger, c. 1660; Reni (Guido, after), Langot (François) & Weyen (Herman) St. Francis in the wilderness, browned, [Pepper 134], c. 1640-1680; Veronese (Paolo, after) L'amour heureux, from ‘Cabinet Crozat’, II, etching and engraving, small repairs on verso, c. 1729-1739; Raphael (after) & Soutman (P., engraver) Tu es Petrus…, one corner chipped, [Catalogue raisonne du cabinet d'estampes de feu Mr. Winckler…, 3670], n.d.; Reni (Guido, after) & Winstanley (H., engraver) Juxta exemplar in aedibus praenobilis [Adam and Eve expelled from Eden by an angel], small repairs on verso, etching, [Wellcome Library no. 8686i], 1728; Il Guercino, G.F. Barbieri (after) & Frey (J., engravfer) Petronillae Virginis. Quae Flacci Nobilis Viri coniugium spernens [...] [The burial of St. Petronilla and her apotheosis as she is received by Christ], after Guercino's 1623 painting now in the Museo Capitolino, reinforced, creased, browned and dustsoiled, Rome, 1731; Titian (after) & Baron (Bernard, engraver) The Cornaro Family, engraving and etching, trimmed, repairs on verso, browned and dustsoiled, London, 1732; with others or related interest, engravings, v.s. (16) *** Michelangelo’s celebrated drawing 'The Dream' was copied and reproduced soon after its creation. This early engraving made the composition more readily available to artists and collectors. Printed in Rome by the publisher Michele Lucchese, it preserves important information about Michelangelo’s original.
Italian Old Masters.- Buonarroti (Michelangelo, after) & Beatrizet (Nicholas, engraver) The Fall of Phaeton, state with lettering ‘Mich. Ang. Flor. inv.’ and with Philippe Thomassin 's imprint engraving, [according to Bartsch, retouched by Thomassin and published by him before his death in 1622, subsequently republished by de Rossi in 1649], 413 x 282mm, [Bartsch XV.258.38], Girolamo Rossi the Elder, Rome, 1649; The Dream of Human Life, after Michelangelo, printed, lower ‘EGREGIVS. / MICHAELANGELUS. / BONAROTVS. / AVTOR. / .M.L. cum privilegio’ (the drawing by Michelangelo upon which this print is based is in the Courtauld Gallery, London), 44 x 30.5 cm, toned and dustsoiled, reinforced and tipped onto paper board, Michele Lucchesi, Rome, 1545?; Del Sarto (Andrea, after) Saint John Blessing the Multitude, watermark, after one of the grisaille frescoes in the Chiostro dello Scalzo, Florence (1511-26), trimmed, central vertical fold, small repairs on verso, 1617 (see ‘Pitture a fresco di Andrea del Sarto esistenti nella Compagnia dello Scalzo in Firenze’, Tipografia all'Insegna di Dante, 1830, pl. 8); Palma (Jacopo, after) & Van Kessell (Thorodor) Mary Magdalene, from ‘Theatrum Pictorium, or Theatre of Painting’, some dustsoiling and spotting, [Hollstein IX], David Teniers the Younger, c. 1660; Reni (Guido, after), Langot (François) & Weyen (Herman) St. Francis in the wilderness, browned, [Pepper 134], c. 1640-1680; Veronese (Paolo, after) L'amour heureux, from ‘Cabinet Crozat’, II, etching and engraving, small repairs on verso, c. 1729-1739; Raphael (after) & Soutman (P., engraver) Tu es Petrus…, one corner chipped, [Catalogue raisonne du cabinet d'estampes de feu Mr. Winckler…, 3670], n.d.; Reni (Guido, after) & Winstanley (H., engraver) Juxta exemplar in aedibus praenobilis [Adam and Eve expelled from Eden by an angel], small repairs on verso, etching, [Wellcome Library no. 8686i], 1728; Il Guercino, G.F. Barbieri (after) & Frey (J., engravfer) Petronillae Virginis. Quae Flacci Nobilis Viri coniugium spernens [...] [The burial of St. Petronilla and her apotheosis as she is received by Christ], after Guercino's 1623 painting now in the Museo Capitolino, reinforced, creased, browned and dustsoiled, Rome, 1731; Titian (after) & Baron (Bernard, engraver) The Cornaro Family, engraving and etching, trimmed, repairs on verso, browned and dustsoiled, London, 1732; with others or related interest, engravings, v.s. (16) *** Michelangelo’s celebrated drawing 'The Dream' was copied and reproduced soon after its creation. This early engraving made the composition more readily available to artists and collectors. Printed in Rome by the publisher Michele Lucchese, it preserves important information about Michelangelo’s original.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
