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46 - Giovanni Antonio da Brescia Amico Aspertini, Five Dancing Angels. 1515–1520. Engraving. 94x189 mm. Bartsch, XIII, 19. Hind (1910), 25. Levenson/Oberhuber/Sheenan (1973), 13. Faietti/Oberhuber (1988), 2. Marzia Faietti was the first to point out that this engraving by Giovanni Antonio da Brescia is derived from another by Amico Aspertini (with slight differences, such as the drummer’s headdress, the object held by the second putto on the left, and the shadows cast on the ground); the scholar also notes that Popham had already hypothesized that the print in question was derived from Aspertini. In the lower right corner, beneath the foot of the last cherub, the tops of the two small mounds are visible; beneath them, in complete copies, the signatures “AB” and “IO A BX” can be read. The print is still legible on thin laid paper without a watermark. On the reverse, the mark of the Jean Cantacuzène collection (Bucharest 1863–1934), (Lugt, 4030). A plate of great rarity, albeit in a precarious state of preservation. (1) The print is mounted with two staples at the top within a modern cardboard mount; trimmed within the copperplate’s impression by 18 mm in height and 16 mm in width; there is a very short tear at the lower right margin, along with halos and traces of old dust. Defects.
Starting price
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Estimation
€340 - 680Sale fees
Giovanni Antonio da Brescia Amico Aspertini, Five Dancing Angels. 1515–1520. Engraving. 94x189 mm. Bartsch, XIII, 19. Hind (1910), 25. Levenson/Oberhuber/Sheenan (1973), 13. Faietti/Oberhuber (1988), 2. Marzia Faietti was the first to point out that this engraving by Giovanni Antonio da Brescia is derived from another by Amico Aspertini (with slight differences, such as the drummer’s headdress, the object held by the second putto on the left, and the shadows cast on the ground); the scholar also notes that Popham had already hypothesized that the print in question was derived from Aspertini. In the lower right corner, beneath the foot of the last cherub, the tops of the two small mounds are visible; beneath them, in complete copies, the signatures “AB” and “IO A BX” can be read. The print is still legible on thin laid paper without a watermark. On the reverse, the mark of the Jean Cantacuzène collection (Bucharest 1863–1934), (Lugt, 4030). A plate of great rarity, albeit in a precarious state of preservation. (1) The print is mounted with two staples at the top within a modern cardboard mount; trimmed within the copperplate’s impression by 18 mm in height and 16 mm in width; there is a very short tear at the lower right margin, along with halos and traces of old dust. Defects.
Auction details
Ancient, Modern, and Contemporary Art - Session IAuction house
Gonnelli Casa d'Aste +39 0 55 26 82 79 aste@gonnelli.itDelivery is optional. You can use the carrier of your choice. The stated price does not include the lot price or the auction house fees.