Collection of Prints and Drawings

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Production People
Anonymous Artist (Print made by)artist bio
Anonymous Artist

Andrea Schiavone (Formerly attributed to)artist bio
Schiavone, Andrea [Meldolla; Meduli?, Andrija]
b ?Zara [now Zadar], ?c. 1510; d Venice, 1 Dec 1563

Titian (After)artist bio
Titian [Vecellio, Tiziano]
b Pieve di Cadore, c. ?1485-90; d Venice, 27 Aug 1576
Title / Description
The Mocking of Christ
c. 1556-57
324 x 223 mm (sheet, trimmed close to platemark)
Signed lower right with monogram: 'AM'
only state
Nikolaus Esterházy (Lugt 1966)
Nagler, Monogr. vol. 1, pp. 391-92, no. 907 (as
Monogrammist AM) info
Georg Kaspar Nagler, Die Monogrammisten, 6 vols., Munich 1858–79

Karpinski 1976, p. 272 (as copy) info
Caroline Karpinski, 'Some Woodcuts after Early Designs of Titian,' Zeitschrift für Kunstgeschichte 39 (1976), pp. 259-74

Rosand and Muraro 1976a, no. 98 (as Andrea Schiavone) info
David Rosand and Michelangelo Muraro, Tiziano e la silografia Veneziana del cinquecento, exhibition catalogue, Venice, Fondazione Giorgio Cini 1976

Rosand and Muraro 1976b, no. 91 (as Andrea Schiavone) info
David Rosand and Michelangelo Muraro, Titian and the Venetian Woodcut, exhibition catalogue, Washington D.C., National Gallery of Art 1976

Richardson 1980, no. 130 (as copy) info
Francis L. Richardson, Andrea Schiavone, Oxford 1980

Landau in London 1983, no. P49 (as copy) info
David Landau, 'Printmaking in Venice and the Veneto' in The Genius of Venice 1500-1600, eds. Jane Martineau and Charles Hope, exhibition catalogue, London, Royal Academy of Arts 1983, pp. 303-54

Bury 2001, no. 136 (as Andrea Schiavone) info
Michael Bury, The Print in Italy 1550-1620, exhibition catalogue, London, The British Museum 2001

Matile 2003, no. 22 (as copy) info
Michael Matile, Italienische Holzschnitte der Renaissance und des Barock, Bestandskatalog der Graphische Sammlung der ETH, Zürich, Basel 2003

Callegari 2005, pp. 74-75, fig. 17 (as copy) info
Chiara Callegari, Disegni stampati a Venezia nel Cinquecento: cronologia, bibliografia, glossario, Venice 2005
Caroline Karpinski was the first to suggest that it was a reverse version of Schiavone's original and classified this monogrammed version a copy. A reverse version without monogram was thought to have survived in a single impression in Berlin, inv. no. 136-1927, but is also included in the Budapest collection, see inv. no. L.94.1. Rosand and Muraro considered the latter as a copy, while Richardson 1980 thought it was closer to Schiavone's style, and Landau in London 1983 argued it was cut by Schiavone himself. According to Bury 2001, the monogrammed version is the most credible from a naturalistic pont of view, but a rather more telling point is the presence of the monogram that strongly suggests the primacy of this version. The woodcut is an adaptation of Titian's altarpiece of the Crowning with Thorns, painted in 1540-42 for Santa Maria delle Grazie, Milan, today in the Louvre.
Inventory Number
Prints: Italian: 16th century: Mounted I
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