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拍品专文
The three others comprising: Marcantonio Raimondi (formerly attributed to Marco da Ravenna) after Raphael, The Massacre of the Innocents (B. 20), circa 1512–13, watermark Anchor (similar to Briquet 438, Florence 1511), a very good impression of the second, final state; Marcantonio Raimondi after Raphael, The Abduction of Helen (B. 209), circa 1520-27, indistinct watermark Crossbow (?) in a Circle, a good but slightly later impression; Saint Paul preaching in Athens (B. 44), circa 1517–20, watermark Anchor (similar to Briquet 438, Florence 1511), a very good impression.
Bartsch considers The Triumph as one of the rarest prints by the artist. A pen and ink drawing by Jacopo Ripanda of the exact same subject, in the same direction and of similar size, is in the Louvre in Paris. Both Ripanda and Raimondi came from Bologna and trained in the workshop of Francesco Francia. Landau and Parshall believe that the two artists might have been friends and may have collaborated on the creation of this print: 'In the light of the possible relationship between the two Bolognese artists, and because of the many improvements over the drawing introduced in the print, it is most likely that they discussed the project together, and that the engraving is the result of a genuine collaboration. This Triumph sets a precedent for the radical changes which took place in Roman printmaking during the following twenty years, a revolution in which Marcantonio was to play the role of the protagonist.' (David Landau, Peter Parshall, The Renaissance Print 1470-1550, New Haven & London, 1994, p. 117-118 (ill. 110 & 111).
Bartsch considers The Triumph as one of the rarest prints by the artist. A pen and ink drawing by Jacopo Ripanda of the exact same subject, in the same direction and of similar size, is in the Louvre in Paris. Both Ripanda and Raimondi came from Bologna and trained in the workshop of Francesco Francia. Landau and Parshall believe that the two artists might have been friends and may have collaborated on the creation of this print: 'In the light of the possible relationship between the two Bolognese artists, and because of the many improvements over the drawing introduced in the print, it is most likely that they discussed the project together, and that the engraving is the result of a genuine collaboration. This Triumph sets a precedent for the radical changes which took place in Roman printmaking during the following twenty years, a revolution in which Marcantonio was to play the role of the protagonist.' (David Landau, Peter Parshall, The Renaissance Print 1470-1550, New Haven & London, 1994, p. 117-118 (ill. 110 & 111).