By using this website you agree to our Cookie policy

Search

35 articles
Book Review
Creating Sculpture: Renaissance Drawings and Models
11/2023 | 1448 | 165
Pages: 1246-1247
related names
Reviewer:
Calogero, Marcello (Calogero, Marcello)
Subjects
art literature:
Reviewed Items
subjects:
Creating Sculpture: Renaissance Drawings and Models Edited by Michael Cole, Ana Debenedetti and Peta Motture, with Kira d’Alburquerque. 224 pp. incl. 150 col. + 5 b. & w. ills. (V&A Publishing, London, 2022), £35. ISBN 978–1–85177–998–7. | :
Illustrations
Attributed works:
3. River god, by Giambologna. c.1580. Terracotta, height 31 cm. (Victoria and Albert Museum, London).
Article
The house and collection of Giuliano, Antonio and Francesco da Sangallo
08/2021 | 1421 | 163
Pages: 668-705
related names
Author:
Röstel, Alexander (Röstel, Alexander )
Subjects
sources:
Illustrations
Attributed works:
1. Simonetta Vespucci as Cleopatra, by Piero di Cosimo. c.1480–1500. Tempera on panel, 57 by 42 cm. (Musée Condé, Chantilly).
Attributed works:
10. Ground plan of the house of the architect, from Filarete: Libro architettonico. c.1460–64. (Biblioteca Nazionale Centrale, Florence).
Attributed works:
11. Note by Leonardo da Vinci (sixth line from bottom, inverted), from a page in the Codex Arundel, probably referring to a sculpture in the Casa Sangallo. c.1500–03. Pen and ink on paper, 20.5 by 29 cm. (British Library, London).
Attributed works:
12. Statue of a Roman consul excavated in Florence in 1529. (From V. Borghini: Discorsi, Florence 1584).
Attributed works:
13. Giuliano da Sangallo and Francesco Giamberti, by Piero di Cosimo. c.1480–90. Oil on panel, each panel 47.5 by 33.5 cm. (Rijksmuseum, Amsterdam).
Attributed works:
14. Leonardo Buonafede, by Francesco da Sangallo. c.1545–50. Red chalk on paper, 32.2 by 26.1 cm. (British Museum, London).
Attributed works:
15. Building of a palace, by Piero di Cosimo. c.1480–90. Oil on panel, 77.4 by 197 cm. (John and Mable Ringling Museum, Sarasota; Scala Archives).
Attributed works:
17. Taddeo di Gaddo, Gaddo di Zanobi and Agnolo di Taddeo Gaddi, attributed to the workshop of Fra Angelico. c.1425–30. Tempera on panel, 47 by 89 cm. (Galleria degli Uffizi, Florence).
Attributed works:
19. Virgin and Child with St John and an angel, by workshop of Sandro Botticelli. c.1490. Tempera on poplar, diameter of painting 84.5 cm. (National Gallery, London).
Attributed works:
2. Detail of the Pianta della Catena, by Lucantonio degli Uberti, based on an engraving by Francesco Rosselli, showing Borgo Pinti visible behind SS. Annunziata and the Ospedale degli Innocenti. c.1490–1510. Woodcut, 57.8 by 131.6 cm. (Kupferstichkabinett der Staatlichen Museen zu Berlin– Preußischer Kulturbesitz; photograph Jörg P. Anders).
Attributed works:
20. Roman consul. First century AD, with later restorations. Marble. (Palazzo Gondi, Florence).
Attributed works:
21. Three female figures with four putti, attributed to Giuliano da Sangallo. c.1490. Pen and ink, with brown wash, heightened with lead white partly oxidised, on an orange-red ground on paper, 27.2 by 40.1 cm. (GDSU, Florence).
Attributed works:
22. Allegory of abundance or autumn, by Sandro Botticelli. c.1480–85. Pen and brown ink, with brown wash, heightened with white, over black and red chalk on an orange-red ground on paper, 31.7 by 25.2 cm. (British Museum, London).
Attributed works:
23. The rape of Europa, by Giovanni Francesco Rustici. c.1495. Glazed terracotta, 32.7 by 40.3 by 5 cm. (Victoria and Albert Museum, London).
Attributed works:
24. The rape of Europa, by the workshop of Filippino Lippi. c.1495. Black chalk with white heightening on paper, 14.5 by 15.6 cm. (GDSU, Florence).
Attributed works:
25. Acquaio, by Simone Mosca. 1527–34. Sandstone (pietra serena), height 495.3 cm. (Metropolitan Museum of Art, New York).
Attributed works:
26. Europa, formerly attributed to Giuliano da Sangallo, now attributed to Raffaellino del Garbo. c.1495. Pen, iron gall ink and white lead on paper, 14 by 19.3 cm. (Biblioteca Ambrosiana, Milan).
Attributed works:
27. Killing of a bull, by Giuliano da Sangallo. c.1490–1513, Pen and ink on paper. (Biblioteca Comunale degli Intronati, Siena).
Attributed works:
27. Killing of a bull, by Giuliano da Sangallo. c.1490–1513, Pen and ink on paper. (Biblioteca Comunale degli Intronati, Siena).
Attributed works:
29. Studies of Ionic capitals, by Antonio da Sangallo the Younger. c.1530–45. Pen and brown ink on paper, 35.7 by 28.7 cm. (GDSU, Florence).
Attributed works:
3. Plan of a proposed Medici villa on via Laura, Florence, by Giuliano da Sangallo and Antonio da Sangallo the Elder, with Borgo Pinti running vertically on the right-hand side, inscribed ‘via dapintti’ and the Casa Sangallo to the right of ‘via’, c.1512–15. Black chalk, pen and ink, brush and ink washes on paper, 69.4 by 63.9 cm. (Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi, Florence, hereafter GDSU; inv. no.282 A).
Attributed works:
3. Plan of a proposed Medici villa on via Laura, Florence, by Giuliano da Sangallo and Antonio da Sangallo the Elder, with Borgo Pinti running vertically on the right-hand side, inscribed ‘via dapintti’ and the Casa Sangallo to the right of ‘via’, c.1512–15. Black chalk, pen and ink, brush and ink washes on paper, 69.4 by 63.9 cm. (Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi, Florence, hereafter GDSU; inv. no.282 A).
Attributed works:
30. Study of an ancient vault in Rome, by Giuliano da Sangallo. c.1490–1513. Pen and ink on paper. (Biblioteca Comunale degli Intronati, Siena).
Attributed works:
31. Crucifix, by Francesco da Sangallo. c.1535–40. Wood, 184 by 178 cm. (S. Maria Nuova, Florence; photograph courtesy Gianluca Amato).
Attributed works:
32. Cosimo de’ Medici with Florentine artists, by Giorgio Vasari. 1550s. Fresco. (Palazzo della Signoria, Florence).
Attributed works:
33. Preparatory design for the cenotaph of John Hawkwood, by Paolo Uccello. c.1433–36. Silverpoint heightened in white on a prepared light green ground, squared with a stylus for transfer, on paper, 46.1 by 33.3 cm. (GDSU, Florence).
Attributed works:
34. Virgin with the Christ Child, by Francesco da Sangallo. c.1540–45. Terracotta, 84 by 98.5 by 20 cm. (Skulpturensammlung und Museum für Byzantinische Kunst, Staatliche Museen zu Berlin; photograph Jörg P. Anders).
Attributed works:
35. Self-portrait, by Francesco da Sangallo. c.1570. Bronze, diameter 9.65 cm. (National Gallery of Art, Washington).
Attributed works:
36. St John baptising, by Francesco da Sangallo. c.1535–38. Bronze, height 53 cm. (Frick Collection, New York).
Attributed works:
37. Design for the high altar of Florence Cathedral, by Francesco da Sangallo. c.1546. Pen and brown ink on paper, 22.5 by 27.4 cm. (GDSU, Florence).
Attributed works:
38. Virgin and Child with St Anne, by Francesco da Sangallo. c.1522–26. Marble. (Orsanmichele, Florence; Scala Archives).
Attributed works:
39. Giovanni dalle Bande Nere, by Francesco da Sangallo. c.1550–60. Marble, height 76 cm. (Museo Nazionale del Bargello, Florence).
Attributed works:
4. Detail of a ground plan of a house, possibly a design for the Casa Sangallo, attributed to Francesco da Sangallo. c.1510–40. Black chalk on paper. (GDSU, Florence).
Attributed works:
40. Giovanni dalle Bande Nere, by Francesco da Sangallo. c.1570. Bronze, diameter 9.29 cm. (National Gallery of Art, Washington).
Attributed works:
41. Design for an equestrian monument to Giovanni dalle Bande Nere, by Francesco da Sangallo. c.1540–60. Pen and ink on paper, 24.8 by 24.4 cm. (GDSU, Florence).
Attributed works:
42. Astrology, by Giambologna. c.1575. Red wax, height 14.6 cm. (Metropolitan Museum of Art, New York).
Attributed works:
5. Ground plan of the Casa Sangallo before 1576. (Alexander Röstel and Marta Castellini, based on a plan by Gianluca Belli, 2017).
Attributed works:
6. Palazzo Ximenes-Panciatichi, formerly the Casa Sangallo, Borgo Pinti, Florence.
Attributed works:
7. Detail of Nova pulcherrimae civitatis Florentiae topographia accuratissime delineata, by Stefano Buonsignori, showing the Sangallo property above the number 180. 1584. Etching. (Museo di Palazzo Vecchio, Florence).
Attributed works:
8. Barrel vault in the Salone di Leone X, Villa Medici, Poggio a Caiano, designed by Giuliano da Sangallo. c.1510. (Bridgeman Images).
Attributed works:
9. Barrel vault in the Palazzo Ximenes-Panciatichi, Florence, designed by Giuliano da Sangallo. c.1490–1500. Stucco. (Photograph the author).
Attributed works:
the listing is known. The contents of the scrittoio can therefore only be reconstructed tentatively. Drawings, such as those in the Codex Geymüller, initiated by Antonio the Elder and expanded by Francesco well into the 1540s, were probably stored there, and these might have included works by other artists.202 The Codex Barberiniano (Biblioteca Apostolica Vaticana), a folio volume of architectural drawings by Giuliano later annotated by Francesco, is first documented in the collection of Benedetto di Bartolomeo Gondi in 1609, just a few years after the sale of the Casa Sangallo.203 Like the existence of copies of the drawings in the Codex Barberiniano, this provenance suggests that architectural drawings by the Sangallos became coveted items for collectors and practitioners alike. It is known, for example, that Lorenzo Sirigatti, who published a book on perspective in 1596, owned a ‘framed perspectival drawing by Sangallo’.204 Francesco’s only securely attributed bronze sculpture is St John baptising, made for the holy water font of S. Maria delle Carceri, the centrally-planned church in Prato designed by his father (Fig.36).205 His second will indicates that he owned many more, mingled with ancient examples, but none has been securely identified.206 In addition to bronze sculptures, the scrittoio collection to Francesco, see Tomasso XXV: A Celebration of Notable Sales, London 2018, pp.58–59. 207 On Francesco’s medallic selfportraits, see Donetti, op. cit. (note 60), pp.103–21; see also Middeldorf, op. cit. (note 68), pp.124–28 and 138. 208 Donetti, op. cit. (note 60), p.106. For an example of the medal dated 1551 with Francesco on the obverse and his wife on the reverse, see Museo Nazionale del Bargello, Florence, inv. no.6233. 209 I. Lavin: ‘Divine grace and the remedy of the imperfect: Michelangelo’s signature on the St Peter’s Pietà’, Artibus et historiae 34 (2013), pp.277–328. 210 For an overview, including a partial translation of the Martelli letters, see P. Attwood: Italian Medals c.1530–1600 in British Public Collections, London 2003, I, pp.330–34, II, pls.166–72; for a complete transcription, see Waldman, op. cit. (note 182), pp.103–04. See also Donetti, op. cit. (note 19), pp.89–90. 211 For references to books owned by artists of the Florentine Renaissance, see Carl, op. cit. (note 200); D. Covi: ‘Four new documents concerning Andrea del Verrocchio’, Art Bulletin 48 (1966), pp.97–103; A. Decaria: ‘Un copista di classici italiani e i libri di Luca della Robbia’, Rinascimento 47 (2007), pp.243–87; and Z. Sarnecka: ‘Luca della Robbia and his books: the Renaissance artist as devotee’, Artibus et historiae 37 (2016), pp.291–301. See also F. Ames- Lewis: The Intellectual Life of the Early Renaissance Artist, New Haven and London 2000. 212 For the unlikely possibility that Giuliano and Francesco da Sangallo owned, annotated and illustrated a copy of the editio princeps of Cristoforo Landino’s commentary on Dante’s Divine Comedy in the Biblioteca Vallicelliana, Rome, see Degenhart, op. cit. (note 38), pp.101– 287; and Gamberini, op. cit. (note 185), pp.169–91, at p.174. For copies of Pliny’s Natural History available in fifteenth-century Florence, see R. Brennan: ‘Between Pliny and the trecento: Ghiberti on the history of painting’, in F. Jonietz, W.-D. Löhr and A. Nova, eds: Ghiberti Teorico: Natura, arte e coscienza storica nel Quattrocento, Milan 2019, pp.43–60, at p.43, note 12. 36. St John baptising, by Francesco da Sangallo. c.1535–38. Bronze, height 53 cm. (Frick Collection, New York).
Western art unattributed:
16. Five masters of the Florentine Renaissance. c.1490–1510. Oil on wood, 65.5 by 213 cm. (Musée du Louvre, Paris).
Letter
Modelling and mapping Flaxman’s monument to William Murray
08/2020 | 1409 | 162
Pages: 644-645
Article
‘The big Italian’: Giambologna and his model Bartolommeo di Lionardo Ginori
11/2018 | 1388 | 160
Pages: 912-919
related names
Author:
Avery, Charles (Avery, Charles)
Subjects
art literature:
dates:
museums and institutions:
places:
Illustrations
Attributed works:
1. Rape of the Sabines, by Giambologna. 1582. Marble, height (excluding the base) c.410 cm. (Loggia dei Lanzi, Florence; Bridgeman Images).
Attributed works:
10. Prometheus, cast from a model by Giambologna. c.1590. Gilt bronze, height 23 cm. (Private collection; photograph courtesy Tomasso Brothers Fine Art, UK).
Attributed works:
2. Crucified Christ, by Giambologna. 1580s. Bronze, 33.5 by 21.5 cm (Cleveland Museum of Art; Bridgeman Images).
Attributed works:
3. Portrait of Giambologna, with his model for ‘Samson and a Philistine’, by Federigo Zuccaro. 1575. Black and red chalk, 26.1 by 188 cm. (National Galleries of Scotland, Edinburgh).
Attributed works:
4. Rape of the Sabines, by Giambologna. c.1581. Clay with traces of whitewash, height c.410 cm. (Galleria dell’Accademia, Florence).
Attributed works:
5. Mars, by Giambologna. c.1581–87. Gilt bronze, height 39.4 cm. (Staatliche Kunstsammlung, Dresden; photograph Arrigo Coppitz).
Attributed works:
6. Portrait of Bartolommeo di Lionardo Ginori, by Santi di Tito. c.1583. Canvas, height c.250 cm. (Private collection, Florence; photo Galleria dell’Accademia, Florence).
Attributed works:
7. Portrait of Pietro di Cosimo de’ Medici, by Santi di Tito. c.1583. Canvas, 208 by 113 cm. (Galleria degli Uffizi, Florence).
Attributed works:
8. Mars and Prometheus, cast from models by Giambologna. c.1587 and c.1590 respectively. Bronze, heights 39.4 cm. and 23 cm. (Both private collection; photograph courtesy Tomasso Brothers Fine Art, UK).
Attributed works:
9. Man seen from three angles, by Antonio del Pollaiuolo. Fifteenth century. Stylus, pen and ink and wash on paper, 26.5 by 36 cm. (Musée du Louvre, Paris).
Exhibition Review
Encounters in Venice: Foreigners and Venetians in Late Seventeenth-Century Art. Palais Fesch-musée des Beaux-Arts, Ajaccio
09/2018 | 1386 | 160
Pages: 778-781
related names
Reviewer:
Barcham, William L. (Barcham, William L.)
Subjects
artists:
dates:
places:
Illustrations
Attributed works:
10. Finding of Moses, by Johann Liss. 1626–27. Canvas, 155 by 106 cm. (Palais des Beaux-Arts, Lille; exh. Palais Fesch-musée des Beaux-Arts, Ajaccio).
Attributed works:
11. Death of Lucretia, by Antonio Zanchi. c.1670. Canvas, 210 by 270 cm. (Musée Antoine Lécuyer, Saint-Quentin; exh. Palais Feschmusée des Beaux-Arts, Ajaccio).
Attributed works:
12. Mythological scene, by Pietro Liberi. 1655–60. Canvas, 181 by 230 cm. (Private collection; exh. Palais Feschmusée des Beaux-Arts, Ajaccio).
Exhibition Review
Artists’ mannequins
12/2014 | 1341 | 156
Pages: 840-841
related names
Reviewer:
Ayres, James (Ayres, James)
Subjects
dates:
places:
subjects:
Illustrations
Attributed works:
54. Decomposing, by Alan Beeton (Tate, London; exh. Fitzwilliam Museum, Cambridge)
Western art unattributed:
55. Neo-classical mannequin. Italian, probably early nineteenth century (Accademia Carrara, Bergamo; exh. Fitzwilliam Museum, Cambridge)
Book Review
Plaster Casts: Making, Collecting and Displaying from Classical Antiquity to the Present
07/2011 | 1300 | 153
Pages: 481
related names
Reviewer:
Compton, Ann (Compton, Ann)
Subjects
print:
Reviewed Items
subjects:
Plaster Casts: Making, Collecting and Displaying from Classical Antiquity to the Present | reviewer: Frederiksen, Rune , editor: Marchand, Eckart
Supplement
Recent acquisitions (2001–09) of design at the Victoria and Albert Museum, London
06/2009 | 1275 | 151
Pages: 433-440
related names
Author:
Bryant, Julius (Bryant, Julius)
Subjects
dates:
Illustrations
Attributed works:
I. Design for an elaborate cartouche with the Medici arms flanked by Justice and Prudence, by Bernardino Barbatelli, called 'Il Poccetti' (1548–1612). c.1600–12. Black chalk, pen and brown ink, brown wash heigthened with white, on blue paper, squared in black chalk, 32.2 by 26.1 cm. (Victoria and Albert Museum, London).
Attributed works:
II. Presentation design for the baptismal font for Canterbury Cathedral, by or after John Christmas (1599–1654). c.1638–39. Pen and watercolour on vellum, 63.5 by 44.9 cm. (Victoria and Albert Museum, London).
Attributed works:
III. Design for a pendant gas light, by Francis Skidmore (1817–96). c.1850–79. Pen and watercolour, 37.2 by 19.8 cm. (Victoria and Albert Museum, London).
Attributed works:
IV. Presentation design for a statue of the Marquess Cornwallis, by John Bacon the Elder (1740–99). c.1793. Pen and ink and wash on paper, 40 by 25.4 cm (Victoria and Albert Museum, London).
Attributed works:
IX. Elevation and section of the Victoria and Albert Museum’s Cromwell Road façade, by the office of Sir Aston Webb (1849–1930). c.1901. Pen, ink and watercolour on paper, 95 by 49.4 cm. (Victoria and Albert Museum, London)
Attributed works:
V. Presentation design for the sculptural group ‘America’ on the Albert Memorial, by John Bell (1811–95). c.1864. Brown wash over pencil, 61.5 by 74 cm. (Victoria and Albert Museum, London).
Attributed works:
VI. Design for a chessboard, by A.W.N. Pugin (1812–52). c.1830–40. Pen, ink and watercolour, 53.5 by 53.7 cm. (Victoria and Albert Museum, London)
Attributed works:
VII. Design for stained glass for St Mark’s Church, Forest Gate, by Herbert Hendrie ARCA (1887–1947). c.1919. Pen and ink and paint on paper, 49.4 by 26.4 cm. (Victoria and Albert Museum, London)
Attributed works:
VIII. Design drawing for mural decoration in the drawing room of Mulberry House, by Glyn Philpot (1884–1937). c.1929–30. Pencil, watercolour and silver paint, 27 by 19.5 cm. (Victoria and Albert Museum, London)
Attributed works:
X. Design for a sweater for the ‘Ritva Man’, by Patrick Caulfield (1936–2005). c.1972. Pencil, pen and ink on paper, 22.8 by 17.8 and 38.5 by 38.3 cm. (Victoria and Albert Museum, London)
Attributed works:
XI. Fashion illustrations for Tatler and Bystander magazine, by Frances Chapman-Mortimer (1913–2007). c.1948. Pencil and pastel on paper, 29.7 by 21 cm. (Victoria and Albert Museum, London)
Attributed works:
XII. Costume design, by Lez Brotherston (b.1961). c.1994. Pencil, pen and ink and watercolour on paper, 30.3 by 40.4 cm. (Victoria and Albert Museum, London)
Attributed works:
XIII. Selim’s Palace Garden; set model for Glyndebourne, by Oliver Messel (1904–78). c.1956. Wood, cardboard, fabric and paint, 61 by 43.5 by 63.5 cm. (Victoria and Albert Museum, London)
Attributed works:
XIV. Drawing for proposed studio block, Royal College of Art, by Sir Hugh Casson (1910–99). c.1959. Pencil, pen and ink and wash, 53 by 75.9 cm. (Victoria and Albert Museum, London)
Attributed works:
XIX. (top left) Preliminary design for a publicity card for the Edinburgh International Festival, by Hans Schleger (1898–1976). 1973. Pen and ink and cut-paper collage on acetate, 25.5 by 15.9 cm. (Victoria and Albert Museum, London)
Attributed works:
XV. Design for proposed lounge for Peter Jones department store, Chelsea, by Robin Day (b.1915). c.1978. Pencil, pen and ink, wash and collage on paper, 54.7 by 74.5 cm. (Victoria and Albert Museum, London)
Attributed works:
XVI. (upper left) Design for Pansy utility fabric, by Enid Marx (1902–98). c.1945. Gift of the estate of Enid Marx, 2007. Pencil and paint on paper, 34.4 by 30.5 cm. (Victoria and Albert Museum, London)
Attributed works:
XVII. (lower left) Design for jewellery, by Godman and Rabey. c.1960–70. Pencil, ink and watercolour on paper, 19.4 by 14 cm. (Victoria and Albert Museum, London)
Attributed works:
XVIII. (upper right) Original artwork for the propaganda poster ‘Careless Talk costs Lives’, by Cyril Kenneth Bird (‘Fougasse’) (1885–1965). c.1940. Pencil, pen and ink and watercolour on paper, 32.9 by 20.3 cm. (Victoria and Albert Museum, London)
Attributed works:
XX. (upper right) ‘Great Vienna Auto-Expander’, by Zünd-Up. 1969. Drawing and photo collage, 81 by 76 cm. (Victoria and Albert Museum, London)
Attributed works:
XXI. (lower right) Original artwork for the Rolling Stones ‘Tongue and Lips’ logo, by John Pasche (b.1945). c.1970. Gouache on paper, 56 by 82 cm. (Victoria and Albert Museum, London)
Attributed works:
XXII. Maquette for a teapot designed for the Yauatcha restaurant and café in London, by Shin Azumi (b.1968). c.2004. Paper and cardboard, 8 by 20 cm. (Victoria and Albert Museum, London)
Attributed works:
XXIII. Design for Paris 2012 Olympic landmark, by C.J. Lim (b.1964). c.2004. Cut-paper, photocopies and cotton thread on cartridge paper, 84 by 64 by 7 cm. (Victoria and Albert Museum, London)
Exhibition Review
Cold War Modern. London
02/2009 | 1271 | 151
Pages: 113-114
related names
Reviewer:
Hughes, Henry Meyric (Hughes, Henry Meyric)
Subjects
print:
print:
subjects:
subjects:
Reviewed Items
subjects:
Cold War Modern. Design 1945-1970 | institution: Victoria and Albert Museum
Illustrations
Attributed works:
37. Jested telecommunications tower and hotel, Liberec, by Karel Hubácek. 1968–73. Photograph. (Jiri Jiroutec, exh. Victoria and Albert Museum, London)
Attributed works:
38. Chair, by Ray and Charles Eames. c.1950. Grey moulded shell with rope-edges, swivel mechanism and dowel legs. (Victoria and Albert Museum, London)
Western art unattributed:
36. Vice-President Richard Nixon with USSR First Secretary Nikita Khruschev during the 'kitchen debate' at the American National Exhibition, Moscow. 1959. Photograph. (Exh. Victoria and Albert Museum).
Short Notice
Small landscapes in seventeenth-century Antwerp
03/2008 | 1260 | 150
Pages: 190-193
related names
Author:
Onuf, Alexandra (Onuf, Alexandra)
Subjects
art literature:
dates:
places:
print:
Illustrations
Attributed works:
41. Country village with church and bridge, by the Van Doetecums after the Master of the Small Landscapes. 1561. Etching and engraving, 20.2 by 29.8 cm. (National Gallery of Art, Washington)
Attributed works:
42. Spring, by Abel Grimmer. Panel, approx. 23.5 cm. diameter. (Musées royaux des Beaux-Arts de Belgique, Brussels)
Attributed works:
43. Large farm with a couple in a corn field, by the Van Doetecums after the Master of the Small Landscapes. 1561. Etching and engraving, 20.3 by 31.8 cm. (Metropolitan Museum of Art, New York)
Attributed works:
44. Summer, by Abel Grimmer. Panel, approx. 23.5 cm. diameter. (Musées royaux des Beaux-Arts de Belgique, Brussels)
Attributed works:
45. Village road with draw well, by the Van Doetecums after the Master of the Small Landscapes. 1561. Etching and engraving, 31.9 by 20 cm. (National Gallery of Art, Washington)
Attributed works:
46. November, by Abel Grimmer. 1614. Panel, 20.3 cm. diameter. (Private collection, Belgium)
Attributed works:
47. Farms and inn at the sign of the swan, by the Van Doetecums after the Master of the Small Landscapes. 1561. Etching and engraving, 31.8 by 20.3 cm. (Metropolitan Museum of Art, New York)
Attributed works:
48. December, by Abel Grimmer. 1614. Panel, 20.3 cm. diameter. (Private collection, Belgium)
load more