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    Sale 7644

    Old Master Prints

    2 December 2008, London, King Street

  • Lot 13

    Marcantonio Raimondi (circa 1470/1482 - 1527/1534) and/or Agostino Musi, called Veneziano (1490-1540), probably after Giulio Romano (circa 1499-1546)

    Lo Stregozzo (B. XIV, 426)

    Price Realised  

    Estimate

    Marcantonio Raimondi (circa 1470/1482 - 1527/1534) and/or Agostino Musi, called Veneziano (1490-1540), probably after Giulio Romano (circa 1499-1546)
    Lo Stregozzo (B. XIV, 426)
    engraving, circa 1520-27, apparently without watermark, a very good impression of Bartsch's first state, before the monogram AV on the horn of the boy riding the goat, but with the same monogram on the tablet burnished out, trimmed on or just inside the platemark, but retaining a fillet of blank paper outside the borderline, several vertical folds, partly broken through and backed, a repaired area at the lower left, a skilfully repaired tear at the lower right, other, minor defects, framed
    S. 304 x 644 mm.


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    Lo Stregozzo (The Witch's Procession) is, in Bruce Davis's words, 'one of the most magnificent yet most puzzling prints of the sixteenth century' (Davis p. 112). While for some elements of this astonishing composition the pictorial sources have been identified, the overall subject remains a mystery. The witch is clearly derived from Dürer's treatment of the subject (B. 67), which in turn is related to Mantegna's figure of Invidia in The Battle of the Sea Gods (B. 17,18) (see previous lot), while the figures of the naked youths show a close resemblance to some of the soldiers in the Sala di Constantino by Giulio Romano. This has let to the hypothesis that the entire composition might be by Giulio Romano.

    Even more so than the subject of the print and its authorship, controversy surrounds the question of who might have executed it. Considering the technical mastery, it seems most likely to have been engraved by Marcantonio Raimondi. The later addition of the initials A.V. on the trumpet and on the tablet however implies that Marcantonio's pupil Agostino Veneziano was to a certain degree involved. Whether Agostino simply obtained the finished plate and printed it, whether Marcantonio and Agostino collaborated on it, or whether the Stregozzo is entirely the work of Agostino remains the subject of debate.

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    Provenance

    A. P. F. Robert-Dumesnil (1778-1804), Paris (L. 2200)


    Literature

    Bruce Davies, Mannerist Prints - International Style in the Sixteenth Century, Los Angeles County Museum of Art (exh. cat.), Los Angeles, 1988, no. 37, p. 110.
    Werner Hofmann, Ger Luijten, La Bella Maniera - Druckgraphik des Manierismus, Bern, Berlin, 1994, no. 1, p. 30.