Collection of Prints and Drawings

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Anonymous Artist (Print made by)artist bio
Anonymous Artist

Raphael (Probably after)artist bio
Raphael [Santi, Raffaello; Sanzio, Raffaello]
b Urbino, 28 March or 6 April 1483; d Rome, 6 April 1520
Title / Description
Joseph Telling His Dreams to His Brothers
246 x 365 mm (sheet, trimmed close to platemark)
Inscribed lower centre: 'RAPH VR IN'
first state of two
visible, height: 48 mm, width: 47 mm
Stephan Delhaes (Lugt 761)
Bartsch XV.10.5 (as School of Marcantonio Raimondi
after Raphael, in a manner close to Philippe Soye) info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Passavant VI.75.5 info
Johann David Passavant, Le peintre-graveur, 6 vols., Leipzig 1860-64

Rome 1985, p. 74, no. I.14 (Anonymous Artist after
Raphael, close to Giulio Bonasone's style, first state
of two) info
Grazia Bernini Pezzini, Stefania Massari et al., Raphael invenit: Stampe da Raffaello nelle collezioni dell'Istituto Nazionale per la Grafica, exhibition catalogue, Rome, Calcografia Nazionale 1985

Davis 1988, no. 39 (School of Marcantonio Raimondi
after Raphael) info
Bruce Davis, Mannerist Prints: International Style in the Sixteenth Century, exhibition catalogue, Los Angeles, County Museum of Art 1988

Cirillo Archer in TIB 1995, 2801.005.S1 (Anonymous
Artist after Raphael, first state of two) info
Madeline Cirillo Archer, Italian Masters of the Sixteenth Century, The Illustrated Bartsch, vol. 28, Part 1 (Commentary), New York 1995

Höper 2001, no. G 6.1 info
Corinna Höper, Raffael und die Folgen: Das Kunstwerk in Zeitaltern seiner graphischen Reproduzierbarkeit, exhibition catalogue, Stuttgart, Staatsgalerie Stuttgart 2001
After the fresco in the Vatican Loggia attributed to Giovanni Francesco Penni, the lost model for which is preserved in a copy in the Albertina. According to Cirillo Archer in TIB the print is close to the fresco but has enough variations to suggest that it was not modelled directly from it. The composition was also engraved by Nicolas Beatrizet (Bartsch XV.244.9), whose print is closer to the fresco and the model. According to Davis, this Anonymous engraving is more stylized and probably derives from an earlier sketch, today lost. The landscape in both prints differs from the fresco and was probably invented by the printmakers.
Inventory Number
Prints: Italian: 16th century: Mounted I
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