Collection of Prints and Drawings

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Production People
Andrea Mantegna (School of)artist bio
Mantegna, Andrea
b Isola di Carturo, nr Padua, 1430-31; d Mantua 13 Sept 1506

Giulio Campagnola (Attributed to)artist bio
Campagnola, Giulio
b Padua, c. 1482; d Venice, after 1517
Title / Description
The Elephants, from the Triumph of Caesar
c. 1498
277 x 265 mm (sheet, trimmed close to platemark)
Nikolaus Esterházy (without stamp)
Bartsch XIII.235.12 info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Hind V.22.14 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

Zucker in TIB 1984, 2506.017a info
Mark J. Zucker, Early Italian Masters, The Illustrated Bartsch, vol. 25, Part 2 (Commentary), New York 1984

London and New York 1992, no. 118 (attributed to Giulio
Campagnola, entry by Suzanne Boorsch) 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. 43 (as Anonymous Artist) info
Michael Matile, Frühe Italienische Druckgrafik 1460-1530, Bestandskatalog der Graphische Sammlung der ETH, Zürich, Basel 1998
Belongs to a group of seven School engravings related to Mantegna's painting cycle today at Hampton Court, containing nine separate canvases.The Elephants is related to the fifth canvas and exists in two versions. For a detailed analysis of the cycle, see Andrew Martindale, The Triumphs of Caesar by Andrea Mantegna, London 1979. Zucker in TIN summarizes that the paintings represent Caesar's actual triumphal entry into Rome after his victory over the Gauls in 46 BC, and were perhaps intended to glorify the military power of the Gonzaga. They must have been located in a setting available for most possible visitors, perhaps in the Corridoio del Passerino of the Mantuan Palace. The paintings, deriving from various written and visual antique sources, were executed over a longer period, from around 1486 and still unfinished in 1492. Engraved versions exist only for three of the survived canvases, but they show considerable differences. According to Zucker, the prints derive from lost drawings by Mantegna, from the early phase of the preparation of the compositions. There is a related drawing for the Elephants in a private collection in Paris, but it is undecided whether it is a copy after or made in preparation for the print. Zucker ascribed this print to the same engraver that made the first version of Trophies, TIB 2506.018a, and the quality of these two are superior to the rest of the series. On the basis of their delicate and free handling, Suzanne Boorsch in London and New York 1992 attributed these two prints to the young Giulio Campagnola. There is an almost identical version by Giovanni Antonio da Brescia, see Bartsch XIII.235.12 (copy), see London and New York 1992, no. 117.
Inventory Number
Prints: Italian: 15th century: Mounted I
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