- New
Statue of Marcus Aurelius
| Reference: | S48468 |
| Author | Cornelis BOS |
| Year: | 1560 ca. |
| Measures: | 210 x 330 mm |
€1,000.00
- New
| Reference: | S48468 |
| Author | Cornelis BOS |
| Year: | 1560 ca. |
| Measures: | 210 x 330 mm |
€1,000.00
Description
Engraving, signed with initials at lower right: “C.B.”, circa 1560.
Inscribed on the base of the monument: «IMP[ERATORI] CAES[ARI] DIVI ANTONINI F[ILIO] DIVI HADRIANI / NEPOTI DIVI TRAIANI PARTHICI PRONEPOTI DIVI / NERVAE AB NEPOTI M[ARCO] AVRELIO ANTONINO PIO / AVG[VSTO] GERM[ANICO] SARM[ATICO] PONT[IFICI] MAX[IMO] TRIB[VNICIA] POT[ESTATE] XXVII / IMP[ERATORI] VI CO[N]S[VLI] S P Q R» [To Emperor Marcus Aurelius, Augustus, Germanicus, Sarmatius, Pontifex Maximus, invested with tribunician power 27 times, proclaimed emperor six times, consul, son of the divine Antoninus, grandson of the divine Hadrian, grandnephew of the divine Trajan Parthian, great-grandson of the divine Nerva SPQR].
At lower center: «M[arci] Avrelii Antonini piI equestris Statua aenea in area capitolina» [Bronze equestrian statue of pious Marcus Aurelius Antoninus, preserved in the Capitol].
A series of prints relating to Marcus Aurelius were engraved in the first two decades of the sixteenth century, we do not know whether they came from a single drawing depicting the group with the original quadrangular pedestal. The engravings include those by Nicoletto da Modena, Marcantonio Raimondi, and Marco Dente. Evelina Borea points out that the equestrian group of Marcus Aurelius was considered by “Nicoletto da Modena, Marco Dente, Marcello Fogolino and, perhaps second in the sequence, Marcantonio. The diversity among the four interpretations is striking: Nicoletto's knight is imagined inside a shadowy room with windows, and is dry and stentorian; that of Marco Dente, the Ravenna man who would join Marcantonio in Raphael's circle, is seen from the side in the square that has crenellated walls in the variegated background of fancy architecture; while there appears embodied in tender and vibrant paste that, depicted in tralice, of Marcello Fogolino, an artist from Vicenza whose arrival in Rome is not known if and when. Marcantonio's Marcus Aurelius is more faithful to the model, with his calibrated profile against the background of a mossy wall. The monument is pictured in its original location at St. John Lateran. It was Paul III (1534-1549) who wanted the transfer to the Capitol, who moreover had been cardinal archpriest of the basilica of St. John for a full twenty-six years. On January 12, 1538, work began on the transfer of the statue of Marcus Aurelius from the Lateran. From the diary of Biagio Martinelli da Cesena, Paul III's master of ceremonies, we learn that on Jan. 25, 1538, the pontiff went to the Capitol to admire the translocated statue. Meanwhile, a new pedestal was being prepared on the square to replace the 15th-century one in the Lateran. In the first drawing of the monument, which is attributed to Francisco de Hollanda (c. 1540), the base is elliptical in shape and the background is that of the facade of the Palazzo dei Conservatori, in fantastic elaboration.
A fine impression, printed on contemporary laid paper without watermark, with thin margins, traces of central crease, otherwise in excellent condition. Example with the address of Hendrick van Schoel.
Bibliografia
C. Hülsen, 1921, p. 152, 48e; Hollstein, F. W. H. Dutch and Flemish Etchings, Engravings, and Woodcuts, Ca. 1450-1700. 58 vols. Amsterdam: Menno Hertzberger, 1949-2001. v.3, p.126, n.73.
Cornelis BOS (1506/10 ca. — dopo il 1555)
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Cornelis [Willem] Bos was a Flemish engraver, printseller and book publisher, through whose images after paintings and reproducing ancient Roman sculptures, like the Laocoön, classic works were put in the visual repertory of Northern European artists. His work is often signed with the monogram C-B. Cornelis was born at 's Hertogenbosch, whence his surname Bos is derived, but on 1 April 1541 he was enregistered as a citizen of Antwerp, where he was therefore already established as a member of the imagemakers' Guild of Saint Luke. His earliest identified engravings (1537) reproduce Maarten van Heemskerck's Prudence and Justice (1537) and a work by Agostino Veneziano. His re-engraving of work by Marcantonio Raimondi does not necessarily indicate that he ever made a trip to Rome. Until 1544 Bos worked in Antwerp as an engraver, commissioned by publishers in the city's extensive book trade for illustrations in books. His engravings, copied from the published engravings in Italian editions, served as illustrations for a brief summary in Dutch of the treaty on architecture by Vitruvius and for a Dutch translation of Book IV of Sebastiano Serlio's architectural treatise, both published by Pieter Coecke van Aelst. Bos' engravings illustrate a text on anatomy that he produced in 1542 by the printer and publisher Antoine de Goys. In the summer of 1544 Bos was forced to flee Antwerp for his participation in an antisacerdotalist free-thinking spiritualist sect and was declared exiled by the Council of Brabant in his absence. It appears that he went to Paris, where an anatomical work published by Jérôme de Gourmont in 1545 repeats text used by Cornelis Bos and even makes use of the woodblocks formerly in his possession. A decorative patternbook also published by Jérôme de Gourmont, Livre de moresques was a pirated edition of a work published in Antwerp by Bos, c published at Paris, 1546; it served designers of mannerist scrollwork (bandelwerk) in the Low Countries. Between 1546 and 1548, from his secure refuge in Nuremberg,Cornelis Bos would publish more than a hundred engraved designs of strapwork and grotesques. Bos also produced popular engravings of religious and allegorical subjects, often dependent for their composition upon the Kleinmeister of Nuremberg, with many parallels in the output of Virgil Solis. Bos went to Groningen, where he sold paper to the city magistrate 2 December 1548. He was granted citizenship in 1550. His first wife Lijnken van Dort or van den Bos, with whom he had five children, was deceased by then and he remarried Alijdt, who came from a local family. The couple had two children. A document of 7 Mai 1555 refers to him as deceased. An inventory of his workshop and other possessions, taken 3 August 1544, which included two printing presses, and the auction of his property 3 January 1545, have been mined by historians of printmaking.
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Cornelis BOS (1506/10 ca. — dopo il 1555)
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Cornelis [Willem] Bos was a Flemish engraver, printseller and book publisher, through whose images after paintings and reproducing ancient Roman sculptures, like the Laocoön, classic works were put in the visual repertory of Northern European artists. His work is often signed with the monogram C-B. Cornelis was born at 's Hertogenbosch, whence his surname Bos is derived, but on 1 April 1541 he was enregistered as a citizen of Antwerp, where he was therefore already established as a member of the imagemakers' Guild of Saint Luke. His earliest identified engravings (1537) reproduce Maarten van Heemskerck's Prudence and Justice (1537) and a work by Agostino Veneziano. His re-engraving of work by Marcantonio Raimondi does not necessarily indicate that he ever made a trip to Rome. Until 1544 Bos worked in Antwerp as an engraver, commissioned by publishers in the city's extensive book trade for illustrations in books. His engravings, copied from the published engravings in Italian editions, served as illustrations for a brief summary in Dutch of the treaty on architecture by Vitruvius and for a Dutch translation of Book IV of Sebastiano Serlio's architectural treatise, both published by Pieter Coecke van Aelst. Bos' engravings illustrate a text on anatomy that he produced in 1542 by the printer and publisher Antoine de Goys. In the summer of 1544 Bos was forced to flee Antwerp for his participation in an antisacerdotalist free-thinking spiritualist sect and was declared exiled by the Council of Brabant in his absence. It appears that he went to Paris, where an anatomical work published by Jérôme de Gourmont in 1545 repeats text used by Cornelis Bos and even makes use of the woodblocks formerly in his possession. A decorative patternbook also published by Jérôme de Gourmont, Livre de moresques was a pirated edition of a work published in Antwerp by Bos, c published at Paris, 1546; it served designers of mannerist scrollwork (bandelwerk) in the Low Countries. Between 1546 and 1548, from his secure refuge in Nuremberg,Cornelis Bos would publish more than a hundred engraved designs of strapwork and grotesques. Bos also produced popular engravings of religious and allegorical subjects, often dependent for their composition upon the Kleinmeister of Nuremberg, with many parallels in the output of Virgil Solis. Bos went to Groningen, where he sold paper to the city magistrate 2 December 1548. He was granted citizenship in 1550. His first wife Lijnken van Dort or van den Bos, with whom he had five children, was deceased by then and he remarried Alijdt, who came from a local family. The couple had two children. A document of 7 Mai 1555 refers to him as deceased. An inventory of his workshop and other possessions, taken 3 August 1544, which included two printing presses, and the auction of his property 3 January 1545, have been mined by historians of printmaking.
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