Collection of Prints and Drawings

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Production People
Giovanni Antonio da Brescia (Print made by)artist bio
Brescia, Giovanni Antonio da
b ?Brescia, c. 1460; d ?Rome, c. 1520

Andrea Mantegna (Copy after)artist bio
Mantegna, Andrea
b Isola di Carturo, nr Padua, 1430-31; d Mantua 13 Sept 1506
Title / Description
Flagellation with a Landscape
c. 1500-05
466 x 308 mm (sheet, trimmed)
visible, h: ?, w: ?
Nikolaus Esterházy (not stamped)
Hind V.18.8a info
Arthur Mayger Hind, Early Italian Engraving: A Critical Catalogue with Complete Reproduction of All the Prints Described, vols. 1-4 (part 1, Florentine Engravings and Anonymous Prints of Other Schools), London 1938; vols. 5-7 (part 2, Known Masters Other Than Florentines, Monogrammists and Anonymous), London 1948

Bartsch XIII.227.1 (copy) info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Levenson, Oberhuber, and Sheehan 1973, p. 205 info
Jay A. Levenson, Konrad Oberhuber, and Jacquelyn L. Sheehan, Early Italian Engravings from the National Gallery of Art, exhibition catalogue, Washington, National Gallery of Art 1973

Zucker in TIB 1984, 2506.010 (attributed to Giovanni
Antonio da Brescia) info
Mark J. Zucker, Early Italian Masters, The Illustrated Bartsch, vol. 25, Part 2 (Commentary), New York 1984

London and New York 1992, no. 37 (entry by David
Landau, as Giovanni Antonio da Brescia) info
Andrea Mantegna, ed. Jane Martineau, exhibition catalogue, London, Royal Academy of Arts and New York, The Metropolitan Museum of Art 1992

Matile 1998, no. 31 (attributed to Andrea Mantegna) info
Michael Matile, Frühe Italienische Druckgrafik 1460-1530, Bestandskatalog der Graphische Sammlung der ETH, Zürich, Basel 1998
Belongs to the eight Mantegna School engravings representing scenes from the Passion, for which see inv. no. 5007. Here the scene is placed in a landscape instead of an architectural setting as in its model, The Flagellation: with the Pavement, TIB 2506.009, inv. no. 5007. This is the larger of the two versions, more similar to the rest of the group. Zucker in TIB comments this print was possibly engraved by altering the previous version to integrate it with the series. Considering the unsuccessful details of this print, the alterations must have been made without Mantegna's supervision. David Landau in London and New York 1992 pointed out that Giovanni Antonio da Brescia must have realised that the unfinished original would be inattractive for buyers so the setting needed to be completed.
Inventory Number
Prints: Italian: 15th century: Mounted I
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