Collection of Prints and Drawings

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Production People
Giovanni Jacopo Caraglio (Print made by)artist bio
Caraglio, Giovanni Jacopo
b Verona or Parma, c. 1500–05; d ?Kraków, 26 Aug 1565

Rosso Fiorentino (After)artist bio
Rosso Fiorentino [Giovanni Battista di Jacopo Rosso]
b Florence, 8 March 1494; d ?Fontainebleau, 14 Nov 1540

Antonio Salamanca (Published by)artist bio
Salamanca, Antonio (Martínez [Martini; Martino] de)
b ?Salamanca, Spain, 1478; d Rome, 5 July, 1562
Title / Description
The Rape of the Sabine Women
c. 1527
engraving, etching
358 x 501 mm (sheet, trimmed close to platemark)
Inscribed upper centre: 'RAPTVS/SABINARO', lower left: 'ROMVLE MILITIBVS SEISTI/DARE CONMODA TVIS' and with publisher's address lower right: 'Ant. Sal. exc.'
fourth state of four
visible, height: 84 mm, width: 43 mm
Nikolaus Esterházy (without stamp)
Bartsch XV.96.63 (as after Baccio Bandinelli, second
state of two) info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Washington 1987, no. 47 info
Rosso Fiorentino: Drawings, Prints, and Decorative Arts, ed. Eugene A. Carroll, exhibition catalogue, Washington, National Gallery of Art 1987

Cirillo Archer in TIB 1995, 2802.063.S4 (fourth state
of four) info
Madeline Cirillo Archer, Italian Masters of the Sixteenth Century, The Illustrated Bartsch, vol. 28, Part 1 (Commentary), New York 1995
Giorgio Vasari mentioned this engraving as the last produced by Jacopo Caraglio after Rosso Fiorentino's design, shortly before the painter left Rome after the Sack in 1527. He added that the unfinished plate fell into the hands of "print dealers" and was completed crudely by an engraver who produced a "poor thing" (Lives, vol. 5, p. 425). According to Carroll in Washington 1987, Caraglio did not finish the plate after the Sack probably because Rosso's design was destroyed or the painter took it away with him when he left Rome, or simply because Caraglio was occupied with the Loves of the Gods. The print was not commissioned by Baviera, who ordered all other engravings designed by Rosso. The second printmaker clearly did not have Rosso's model at hand. Therefore only the two unfinished states indicate Rosso's and Caraglio's original intentions. For a detailed description of the states, and for the interpretation of the subject, see Carroll in Washington 1987. Carroll notes that the size of the print and reflections to Raimondi's and Dente's similar compositions may reflect a competition with them, and in spite of Michelangelesque and Raphaelesque allusions, this is Rosso's highly individual invention. For a detailed inscription of the states, see Washington 1987, p. 143, note 2.
Inventory Number
Prints: Italian: 16th century: Mounted II
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