definition: stampa

identification: SATURNO

: SATURN

title: Saturno e Cupido

Boston, Museum of Fine Arts, Bequest of W. G. Russell Allen, Europe, Prints and Drawings

type of acquisition: donazione

first name: W.G. Russell Allen

1964

, Collezione William Goodwin Russell Allen (Lugt 3593)

data uscita: 1964

, Collezione Federico Augusto II di Sassonia (Lugt 971)

sec. XVI, prima metà

1540 ca. - 1549 ca.

• Sacchis Giovanni Antonio detto il Pordenone (1483-1484/ 1539) (inventore)

  vedi scheda autore

• Niccolò Vicentino (1510 ca./ post 1566) (incisore)

  vedi scheda autore

Other attributions: Ugo da Carpi (incisore)

Niccolò Vicentino, 1510 ca./ post 1566 (bottega)

Veneto

primo stato

xilografia; chiaroscuro; mm 322 x 441 ca.

medium material: carta

watermark: presente: ancora entro un cerchio sormontata da una stella

buono

Chiaroscuro woodcut from 4 blocks, taupe/medium blue-gray/ dark blue-gray/black, i state

state i/iii: with the arms of the scale described by the third-darkest block
state ii/iii: the third darkest block in the arms of the scale cut back; they are now described by white line reserves only
state ii/iii: with Andreani's address, added with a plug at bottom right: “AA in mantoua 1604”

See comment in ALU.0196.1
from
Naoko Takahatake, The Chiaroscuro Woodcut in Renaissance Italy, exhibition catalogue, Los Angeles County Museum of Art, June-September 2018, National Gallery of Art, Washington D.C, October 2018-January 2019, DelMonico Books/Prestel, Munich-London-New York, 2018, pp. 150-154.

Other Vicentino workshop impressions of state i/iii:

-BM 1858,0417.1577: taupe/medium blue-gray/ dark blue-gray/black (wmk:
Anchor in a Circle Surmounted by a Star) https://www.britishmuseum.org/collection/object/P_1858-0417-1577 (ALU.0196.1)
-BnF Réserve EA 39: light tan/gray-tan/dark gray-tan/black
-NGA 1982.11.1: three blues/gray https://www.nga.gov/collection/art-object-page.61110.html
-NGA 1982.10.2: violets/black https://www.nga.gov/collection/art-object-page.61109.html
-Albertina DG2002/506: taupe/medium blue-gray/ dark blue-gray/black https://sammlungenonline.albertina.at/m?queryid=ad972e8d-bba5-4d24-9c96-a05d330f38a4
-BM 1860,0414.113: lime/green/dark green/black
-Albertina DG2013/13: lime/green/dark green/black https://sammlungenonline.albertina.at/m?queryid=1c47eb05-5765-4cd8-a805-eaae7890309c
-ETH D 323: verdigris greens/black https://doi.org/10.16903/ethz-grs-D_000323
-Munich 25130D: mustard/brown/black

Impressions of state ii/iii:

-MFA 64.1111: red/medium red/red-brown/black (Anchor in a Circle Surmounted by a Star) https://collections.mfa.org/objects/4351/saturn
-MFA 64.1112: browns/black https://collections.mfa.org/objects/168268/saturn
-Albertina DG2002/505: browns/black https://sammlungenonline.albertina.at/m?queryid=5f0648df-1e6c-4d88-a2c8-14558a7bc2fc
-PMA 1985-52-169: red/medium red/red-brown/black https://www.philamuseum.org/collections/permanent/30068.html?mulR=617166277|1
-AIC 1988.561: browns/black https://www.artic.edu/artworks/73392/saturn
-BnF BD 5A: lavender/purple/black [check state if state I or II]
-Uffizi 14027 st. sc.: browns [check state if state I or II]
-Frankfurt 34584: lavender/purple/black [check state if state I or II]

Example of state iii/iii (issue by Andreani):

-LACMA M.88.91.49: https://collections.lacma.org/node/170916

Bartsch A., Le peintre graveur, Vienne, 1803-1821, XII, 125, 27, I

Mosser D.E/ Sullivan II E.W. with Hatfield L./ Radcliffe D.H., The Thomas L. Gravell Watermark Archive, n.d. 
https://www.gravell.org/

Takahatake N., The Chiaroscuro Woodcut in Renaissance Italy, Los Angeles, 2018, pp. 150-154 (Stiber Morenus L./ Takahatake N.), p. 151 
https://www.thelacmastore.org/products/the-chiaroscuro-woodcut-in-renaissance-italy?_pos=1&_sid=ce2a0cc2a&_ss=r

Tietze-Conrat E., "Pordenone - and not Parmiggianino", The Burlington magazine for connoisseurs, 1939, pp. 87, 91

Mošin V., Anchor watermarks, Amsterdam, 1973, p. 25

Landau D., "Printmaking in Venice and the Veneto", The Genius of Venice, 1500-1600, London, 1983, pp. 335-336, n. 35

Cohen C.E., The art of Giovanni Antonio da Pordenone between dialect and language, Cambridge University Press, 1996, v. 2, pp. 394, 396, 710, 713, n. 79

Matile M., Italienische Holzschnitte der Renaissance und des Barock, Basel, 2003, n. 69

, Ugo da Carpi. L'opera incisa. Xilografie e chiaroscuri da Tiziano, Raffaello e Parmigianino, Carpi, 2009, p. 168, n. 39 (Rossi M.)

Takahatake N., "Niccolò Vicentino's Miraculous Draught of Fishes", in Print Quarterly, London, 2011, XVIII, 2011, 3, pp. 256-260, pp. 256-260

Stiber Morenus L., "The chiaroscuro woodcut printmaking of Ugo da Carpi, Antonio da Trento and Niccolò Vicentino: technique in relation to artistic style", Printing colour 1400 - 1700, Leiden, 2015, 123-139, pp. 130–39

Johnson J., "Linking chiaroscuro woodcuts through physical features", Myth, Allegory and Faith. The Kirk Edward Long Collection of Mannerist Prints, Cinisello Balsamo, 2015, pp. 137-159, pp. 153–56

Price, B.A./ Ash, N./ Dine, H.A., "A technical study of sixteenth-century Italian chiaroscuro woodcuts", Printing colour 1400 - 1700, Leiden, 2015, pp. 140-150, pp. 148–149

Barryte B., Myth, Allegory, and Faith: The Kirk Edward Long Collection of Mannerist Prints, Stanford University, 2016, p. 498, n. 106

Chiaroscuro Woodcut in Renaissance Italy Los Angeles County Museum of Art, Los Angeles, CA., June - September 2018 National Gallery of Art, Washington, D.C., October 2018 - January 2019, 2018-2019

Stiber Morenus L./ Takahatake N., 2020

Stiber Morenus L./ Takahatake N., Atlante delle xilografie italiane del Rinascimento, ALU.0196.2, https://archivi.cini.it/storiaarte/detail/51071/stampa-51071.html, ISBN 978-88-96445-24-2