DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.67657#0059
Addenda.
xlv
ADDENDA.
p. 7. A. I. fl (2). THE TAKING OF CHRIST.
Another impression appears in the Gutekunst sale catalogue (Stuttgart, 1910,
No. 466, with reproduction).
p. 22. A. I. 10. Ship oh Fortune. Not unique.
Another impression in the National Library, Florence (formerly in MS. II.
III. 197), is reproduced by Dr. Warburg in Kunstwissenschaftliche Beitrdge
August Schmarsow gewidmet 1907, p. 141 (Francesco Sassettis LetztwMige
Verfilgung). The inscription on this impression is unbroken:
I • MI • LASO • PORTARE • ALLA • FORTVNA • SPERANDO
ALFIN • DAVER • BVONA • VENTVRA
Dr. Warburg recognises a direct allusion to the marriage of Bernardo Ruccellai
with Nannina, daughter of Piero and sister of Lorenzo de’ Medici, in 1466.
p. 202. ROBETTA.
15. Allegory of Fury.
An impression of the second state, showing marks of holes in the centre of
upper and lower margins, has been bequeathed by George Salting, Esq., 1910.
It comes from the Sykes, Esdaile and St. John Dent collections.
p. 413. No. 2*. BRAMANTE.
In the later state with Rossi’s address referred to on p. 414 the inscription
is transferred to the tablet over the arch, and further shading is added in several
parts of the buildings (e.g. on plinths of columns of arch ; front of buildings 1.
on either side of circular window). From communications kindly sent me by
Herr Paul Davidsohn of Berlin I am able to add that his print, described in
our remarks, p. 414, as corresponding with that in the Wellesley sale (with
escutcheon and arabesques on tablet), is a poor impression of a copy and not a
diSerent state of the original. Herr Davidsohn also possesses a good impression
of the early state, corresponding with that in the Print Room, Berlin. He also
remembers to have seen an impression with Lafreri’s address which would
make an intermediate state before Nicolo van Aelst, and confirm Nagler’s
assertion. It may be added that the open letters in 2* (ii.) are probably due to
defective printing of thick lines, and not to the actual engraving in double lines.
p. 441. NIGOLETTO DA MODENA. Add after No. 60.
61. Venus and Cupid. B. xiii. 280, 47.—O. ii. p. 543.—G. 58.
In the centre stands Venus in front of a pier supporting two ruined arches:
she holds an arrow in her 1. hand and the golden apple in her r. She is naked
except for a cloak which falls across her back from the r. shoulder and is
gathered up over the 1. wrist. Cupid is lying asleep on the ground to the r.,
resting on his quiver and supporting his head with his 1. hand. On the frieze
of the pier is inscribed VENV8 and NICOLETO on the plinth. Through the
arches of a terrace in the background are seen a lake with a ship and distant
mountains.
[147 X 105.] Good early impression.
Collections: Storck, Salting.
Bequeathed by George Salting, Esq., 1910.
Other impressions: Vienna (Alb.), Paris (E. de R.), Berlin.
Reproduction : Gazette des Beaux-Arts, xxi, p. 378.
In Nicoletto’s later manner, similar in style of composition to Nos. f48, 46, etc.
xlv
ADDENDA.
p. 7. A. I. fl (2). THE TAKING OF CHRIST.
Another impression appears in the Gutekunst sale catalogue (Stuttgart, 1910,
No. 466, with reproduction).
p. 22. A. I. 10. Ship oh Fortune. Not unique.
Another impression in the National Library, Florence (formerly in MS. II.
III. 197), is reproduced by Dr. Warburg in Kunstwissenschaftliche Beitrdge
August Schmarsow gewidmet 1907, p. 141 (Francesco Sassettis LetztwMige
Verfilgung). The inscription on this impression is unbroken:
I • MI • LASO • PORTARE • ALLA • FORTVNA • SPERANDO
ALFIN • DAVER • BVONA • VENTVRA
Dr. Warburg recognises a direct allusion to the marriage of Bernardo Ruccellai
with Nannina, daughter of Piero and sister of Lorenzo de’ Medici, in 1466.
p. 202. ROBETTA.
15. Allegory of Fury.
An impression of the second state, showing marks of holes in the centre of
upper and lower margins, has been bequeathed by George Salting, Esq., 1910.
It comes from the Sykes, Esdaile and St. John Dent collections.
p. 413. No. 2*. BRAMANTE.
In the later state with Rossi’s address referred to on p. 414 the inscription
is transferred to the tablet over the arch, and further shading is added in several
parts of the buildings (e.g. on plinths of columns of arch ; front of buildings 1.
on either side of circular window). From communications kindly sent me by
Herr Paul Davidsohn of Berlin I am able to add that his print, described in
our remarks, p. 414, as corresponding with that in the Wellesley sale (with
escutcheon and arabesques on tablet), is a poor impression of a copy and not a
diSerent state of the original. Herr Davidsohn also possesses a good impression
of the early state, corresponding with that in the Print Room, Berlin. He also
remembers to have seen an impression with Lafreri’s address which would
make an intermediate state before Nicolo van Aelst, and confirm Nagler’s
assertion. It may be added that the open letters in 2* (ii.) are probably due to
defective printing of thick lines, and not to the actual engraving in double lines.
p. 441. NIGOLETTO DA MODENA. Add after No. 60.
61. Venus and Cupid. B. xiii. 280, 47.—O. ii. p. 543.—G. 58.
In the centre stands Venus in front of a pier supporting two ruined arches:
she holds an arrow in her 1. hand and the golden apple in her r. She is naked
except for a cloak which falls across her back from the r. shoulder and is
gathered up over the 1. wrist. Cupid is lying asleep on the ground to the r.,
resting on his quiver and supporting his head with his 1. hand. On the frieze
of the pier is inscribed VENV8 and NICOLETO on the plinth. Through the
arches of a terrace in the background are seen a lake with a ship and distant
mountains.
[147 X 105.] Good early impression.
Collections: Storck, Salting.
Bequeathed by George Salting, Esq., 1910.
Other impressions: Vienna (Alb.), Paris (E. de R.), Berlin.
Reproduction : Gazette des Beaux-Arts, xxi, p. 378.
In Nicoletto’s later manner, similar in style of composition to Nos. f48, 46, etc.