Marco da Ravenna’s engraving, “Noah’s Sacrifice”, c1523, after Raphael

Marco da Ravenna (aka Marco Dente) (fl.1515–1527)

Note that the British Museum attributes this print to Marco da Ravenna, but advises that it is “placed under Marcantonio Raimondi” (1470/1482–1527/1534) (see https://www.britishmuseum.org/collection/object/P_V-4-32). I understand by this advice and the insight in the BM’s biographical details for Marco da Ravenna that the “identification of his [Marco da Ravenna’s] work is vexed”, that the attribution has shifted from Marcantonio Raimondi to Marco da Ravenna. I am also mindful that “The Illustrated Bartsch: The Works of Marcantonio Raimondi and of his School” (1978) has this print catalogued with Marcantonio Raimondi’s oeuvre (see vol. 26, p. 13).

“Noah’s Sacrifice”, c1523 (1519–1527), after Raphael's (1483–1520) design for the fresco executed by Gianfrancesco Penni (1490–1528) and Giulio Romano (1499–1546) in the third arcade of the Vatican Logge.

The curator of the British Museum advises:

“There is a drawing of the same subject and in the same direction as the print in the Albertina (inv. 169, SR 207) believed to be a copy by Penni as well as one in Weimar in the Grobherzoglich Sammlung” (https://www.britishmuseum.org/collection/object/P_H-1-10). 

Engraving on laid paper with a narrow margin around the image borderline and a collector’s ligature monogram ink stamp (not in Lugt) on the lower edge, backed with a support sheet.

Size: (sheet) 20.9 x 24.5 cm; (image borderline) 20.7 x 24.3 cm.

(Under Marcantonio Raimondi) TIB 26.4(6) (Konrad Oberhuber [ed.] 1978, “The Illustrated Bartsch: The Works of Marcantonio Raimondi and of his School”, New York, Abaris Books, p. 13, cat. no. 4 [6]).

The British Museum offers the following description of this print:

“The Sacrifice of Noah; Noah at right in a gesture of prayer in front of an altar, three figures preparing two rams for sacrifice; behind the altar two men leading two cows and a camel; after Raphael”

(https://www.britishmuseum.org/collection/object/P_V-4-32).

See also the descriptions of this print at the Rijksmuseum, the Metropolitan Museum of Art and the Childs Gallery: http://hdl.handle.net/10934/RM0001.COLLECT.104583;

https://www.metmuseum.org/art/collection/search/341434;

https://childsgallery.com/work/noahs-sacrifice-after-raphael-sanzio-1483-1520/.

Condition: a strong impression (possibly a lifetime impression based on the quality of the lines showing no sign of wear to the printing plate) with a narrow margin around the image borderline and laid onto a sheet of archival (millennium quality) washi paper. There are restored fractures (nearly invisible) where the sheet may have once been folded and I am uncertain whether the impression is on naturally grey laid paper or if the paper that has been evenly darkened with time, otherwise the sheet is in very good (restored) condition with no significant stains, or foxing.

I am selling this exceptionally rare and very beautiful engraving executed around the final year of Raphael’s life (or shortly after), for a total cost of AU$439 (currently US$337.98/EUR276.33/GBP247.34 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

This print has been sold

Marco Dente’s engraving, “Abduction of Helen”, 1510-27

Marco Dente (aka Marco da Ravenna; Marco da Ravenna) (fl.1515–1527)

(or an unidentified artist deceptively reproducing Dente’s engraving; see another close copy at the Thorvaldsens Museum with different publication details: http://www.thorvaldsensmuseum.dk/en/collections/work/E1889)

“Abduction of Helen” (aka “Kidnapping of Helena from Troy by Paris”), 1510-1527 and/or 1649, after Marcantonio Raimondi's (c1480–before 1534) engraving (see http://hdl.handle.net/10934/RM0001.COLLECT.34910), after the design by Raphael (aka Raffaello Santi) (1483–1520), published by Giovanni Giacomo de' Rossi (aka Jo Jacobus de Rubeis; Giovanni Jacomo de' Rossi) (1627–1691) in 1649.

Engraving on laid paper trimmed on, or within, the platemark and lined onto a support sheet.

Size: (sheet trimmed unevenly) 29.5 x 41.5 cm

Inscribed on the plate: (lower left) “G. R. formis”; (lower right) “R” (Note: Marco Dente used several monograms—“SR” and “RS”—and the “R” inscribed here may be attributed to his name, “Ravenna”.)

Bartsch 210 copy 3 (3); TIB 26 (Part 1) 210 (171)

The Rijksmuseum offers the following (transl.) description of this print:

“Two Trojans try to pull Helena van Troje into a boat, while Paris pulls her in the opposite direction. The men of Paris are defending themselves against the Greeks.” (http://hdl.handle.net/10934/RM0001.COLLECT.345628)

Condition: crisp impression but with numerous restorations of tears and with a replenished loss of the lower-left corner tip. The sheet has been laid upon a support sheet of washi paper.

I am selling this important engraving from the 16^th century (published in the 17^th century) for the total cost of AU$410 (currently US$315.05/EUR265.68/GBP236.18 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this historically significant print, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Disregarding for the moment that this print is a copy of Raimondi’s print which was in turn a copy of a drawing by Raphael and it may also be a copy of Dente’s engraving copying Raimondi, the image is an interpretation of Raphael’s design rather than a line-for-line copy.

For contemporary viewers, the distinction between a copy and an interpretative translation of another artwork may be perceived as the same: both are not original artworks. In the Renaissance, however, there was a distinction between a deceptive and an unapproved copy and an interpretative reproduction. With regard to this interpretative translation by Ramondi of Raphael’s drawing, Ramondi was very conscious of this distinction as his modus operandi ensuring that his prints were perceived as “original” was to very deliberately make prints based on drawings rather than “finished” paintings so that he had conceptual space for creative invention “by adding new settings and details” (see Innis H Shoemaker’s (1981) essay, “Marcantonio and His Sources: A Survey  of His Style and Engraving Techniques” in the Spencer Museum exh. cat. “The Engravings of Mancantonio Raimondi”, p. 3).

Marco Dente’s “The Judgement of Paris” after Marcantonio Raimondi

Marco Dente (1515–97)

“The Judgement of Paris” 1515–27 after the engraving by Marcantonio Raimondi (c.1460–before 1534)

Engraving on heavy laid paper

Size: (sheet) 29.8 x 44.5 cm; (plate) 29.3 x 43.7 cm; (image borderline) 29 x 43 cm

State I (of I)

Inscribed with the artist’s signature and date in the image (upper right) and annotated below the borderline: (lower right) "Léo Drouyn inv. et. sculp."; (lower centre) “LES DERNIÈRES FEUILLES”

Bartsch XIV,198,246; Delaborde 114, Copy 1

Condition: exceptionally rich impression of the utmost rarity with minimal margins. The sheet is in exceptionally fine condition (i.e. there are no tears, foxing or stains). The lower- left corner of the margin is lacking but the impression within the platemarks is complete. There is the central fold as published (?) but this fold is flattened and is barely visible. On the verso is a collector's mark in ink there are pencil and notations.

I am selling this large, exceptionally fine and rare engraving for the total cost of AU$435 including free shipping to anywhere in the world. If you are interested in purchasing this original etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make your payment easy.

This print has been sold

This detail from Dente’s rare engraving should catch most viewer’s attention as it is virtually the same arrangement of three figures that Manet referenced for his most famous—and historically infamous—painting, “Le déjeuner sur l’herbe” (Luncheon on the Grass). Although Manet appropriated this image through Titian’s appropriation of the same group of figures, Manet and Titian were not alone in their copying. Dente who copied Raimondi’s engraving was actually referencing a much earlier work by Raphael of the same grouping of figures and even Raphael was referencing an even earlier carved relief of the same group on a Roman sarcophagus in the Villa Medici.

Artists have always visually cannibalised the past. From my standpoint, this is not a problem, but hopefully the past is refreshed with current issues and sensitivities.