Triton and Nereid
| Reference: | S46559 |
| Author | Agostino de Musi detto VENEZIANO |
| Year: | 1517 ca. |
| Measures: | 170 x 140 mm |
€2,500.00
| Reference: | S46559 |
| Author | Agostino de Musi detto VENEZIANO |
| Year: | 1517 ca. |
| Measures: | 170 x 140 mm |
€2,500.00
Description
Triton swimming in the sea holding cymbals in both a hands with a Nereid, gesturing with her left hand, riding on his back.
Engraving, circa 1517-30, attributed to Agostino de Musi after a work by the workshop of Raphael (Urbino 1483-Rome 1520) or, as Bartsch suggests, to Marcantonio Raimondi.
Example of the first state of two, before Losi address.
A print depicting a triton and a nereid catalogued by Ruland (1876) as by Agostino Veneziano and as related to a design element in the Loggia Vaticana, designed by Raphael and executed by his workshop (c.1517-19) in the Vatican; it may perhaps be related to a now lost part of the decoration on an exterior pilaster, another element of which is reproduced in a print by Cherubino Alberti.
The repeating sequence of decoration in the Logge, is strongly influenced by the antique; Raphael had studied antique sculpture and painting in Rome.
A fine, early, impression on contemporary laid paper, trimmed to the platemark or with thin margins, excellent condition.
A very rare work.
Bibliografia
Bartsch, Le Peintre graveur (XIV.154.228); Ruland, C., 1876. The Works of Raphael Santi da Urbino as represented in the Raphael Collection in the Royal Library at Windsor Castle, formed by the Prince Consort, 1853-1861 and completed by Her Majesty Queen Victoria, Weimar – Ruland p. 232 B.131.
Agostino de Musi detto VENEZIANO (Venezia 1490 ca. - Roma 1536/38)
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Heir of the great tradition of the Raimondi’s, Agostino Musi, from the family de Masyus or dè Musis, also known as the Veneziano, derives his nick name from the city where he studied the “giorgionesco” style of Giulio Campagnola, di Jacopo dè Barbari and Dürer.
For a while, Agostino lived in Florence translating works from Andrea del Sarto. After that, he moved to Rome where he started working in the workshop of Bavero di Carrocci (aka Baviera) from 1516 till the Sack (Sacco) of the City.
After the Sack, he very likely went back to Florence and maybe Mantua, where he worked on Giulio Romano’s production. Between 1530 and 1531 Agostino went back to Rome and engraved the marvellous Vasi antichi e moderni, with the coats of arms of Clemente VII de Medici; in this work it can be seen his own, peculiar, ornamental style, which he used to realize splendid works for the first, great Roman publisher, Antonio Salamanca.
Bartsch ascribes to him 181 prints, dated between 1509 and 1536; Passavant then added other seven subjects (VI, pp. 49-68).
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Agostino de Musi detto VENEZIANO (Venezia 1490 ca. - Roma 1536/38)
|
Heir of the great tradition of the Raimondi’s, Agostino Musi, from the family de Masyus or dè Musis, also known as the Veneziano, derives his nick name from the city where he studied the “giorgionesco” style of Giulio Campagnola, di Jacopo dè Barbari and Dürer.
For a while, Agostino lived in Florence translating works from Andrea del Sarto. After that, he moved to Rome where he started working in the workshop of Bavero di Carrocci (aka Baviera) from 1516 till the Sack (Sacco) of the City.
After the Sack, he very likely went back to Florence and maybe Mantua, where he worked on Giulio Romano’s production. Between 1530 and 1531 Agostino went back to Rome and engraved the marvellous Vasi antichi e moderni, with the coats of arms of Clemente VII de Medici; in this work it can be seen his own, peculiar, ornamental style, which he used to realize splendid works for the first, great Roman publisher, Antonio Salamanca.
Bartsch ascribes to him 181 prints, dated between 1509 and 1536; Passavant then added other seven subjects (VI, pp. 49-68).
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