Madonna and Child between St. Cosmas and St. Damian
| Reference: | S47097 |
| Author | Cornelis CORT |
| Year: | 1570 |
| Measures: | 280 x 413 mm |
| Reference: | S47097 |
| Author | Cornelis CORT |
| Year: | 1570 |
| Measures: | 280 x 413 mm |
Description
Engraving, 1570, lacking signature and editorial indications. From sculpture by Michelangelo made in the church of San Lorenzo in Florence, for the tombs of the Medici.
Example in the first state of two, before letters. In the second state captions are added under the sculptures “S. COSIMO / Sculpture by Agnolo di Montorsoli,” “MADONNA / Sculpture by Buonarroti,” “S. DAMIANO / Sculpture by Raffaello da Monte Lupo,” and at the bottom «LA VERGINE SANTISSIMA MESSA IN MEZZO DA S. COSIMO, E S. DAMIANO NELLA CAPPELLA DE SEPOLCRI MEDICEI IN S. LORENZO DI FIRENZE IN VNA DELLE / FACCIATE DI ESSA CAPPELLA SOPRA LA SEPOLTVRA DI LORENZO PADRE DI LEONE X. E DI GIVLIANO PADRE DI CLEMENTE VII. Archit. del Buonarro.ti» followed by the plate number ‘62.’
This engraving belongs to a series of four, made by Cornelis Cort in 1570 and depicting Medici tombs derived from three sculptures by Michelangelo; the fourth plate shows the Grid of the tomb of Piero and Giovanni de Medici by Andrea del Verrocchio (SELLINK, LEEFLANG, 2000, III, p. 145, no. 216). They belong to the Florentine period of the engraver (1569-1570).
Beautiful proof, printed on contemporary laid paper with watermark “shield with three mountains and cross,” trimmed to copperplate, in excellent condition.
Bibliografia
Bierens de Haan 1948 200; New Hollstein (Dutch & Flemish) n. 219, I/II; SELLINK, LEEFLANG, 2000, I, pp. XXIX-XXX; A. Alberti, d’Après Michelangelo, p. 226, n. 336, I/II.
Cornelis CORT (Hoorn, nr Alkmaar, 1533 - Roma, prima del 22 Aprile 1578)
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North Netherlandish engraver and draughtsman, active in Flanders and Italy. His first documented works are a series of engravings issued by the Antwerp publisher Hieronymous Cock, beginning c. 1553. Cort may have been an apprentice within Cock’s establishment, as none of these prints was inscribed with his name until after the plates had passed out of Cock’s hands. A letter of 1567 to Titian from the Netherlandish writer and painter Domenicus Lampsonius (1532–99) describes Cock as Cort’s master. By 1560 Cort had developed a bold and strongly modelled sculptural style of engraving, influenced in part by the Italian Giorgio Ghisi, who worked for Cock between 1550 and 1555. Cort was particularly successful in reproducing the Italianate figure compositions of Frans Floris, after whom he engraved more than 50 prints, notably the Liberal Arts (seven prints; 1565) and the Labours of Hercules (ten prints; 1565). He also reproduced compositions by Maarten van Heemskerck, Andrea del Sarto, Rogier van der Weyden and others while working for Cock.
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Cornelis CORT (Hoorn, nr Alkmaar, 1533 - Roma, prima del 22 Aprile 1578)
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North Netherlandish engraver and draughtsman, active in Flanders and Italy. His first documented works are a series of engravings issued by the Antwerp publisher Hieronymous Cock, beginning c. 1553. Cort may have been an apprentice within Cock’s establishment, as none of these prints was inscribed with his name until after the plates had passed out of Cock’s hands. A letter of 1567 to Titian from the Netherlandish writer and painter Domenicus Lampsonius (1532–99) describes Cock as Cort’s master. By 1560 Cort had developed a bold and strongly modelled sculptural style of engraving, influenced in part by the Italian Giorgio Ghisi, who worked for Cock between 1550 and 1555. Cort was particularly successful in reproducing the Italianate figure compositions of Frans Floris, after whom he engraved more than 50 prints, notably the Liberal Arts (seven prints; 1565) and the Labours of Hercules (ten prints; 1565). He also reproduced compositions by Maarten van Heemskerck, Andrea del Sarto, Rogier van der Weyden and others while working for Cock.
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