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Last updated: 1/25/2017
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Old Master Drawings & Prints: Cherubino Alberti (Borgio San Sepulchro 1553-1615 Rome)

North Italian Illuminated Manuscript / Italian School, 16th and early 17th-Century Drawings
Michelangelo Buonarotti (After) / Raphael / Parmigianino / Marcantonio Raimondi
Giulio Romano / Titian (after) / Andrea Schiavone / Tintoretto / Veronese / Federico Zuccaro
Jacopo Palma il Giovane / Cherubino Alberti / Luca Cambiaso / Annibale Carracci

Italian School, 17th-Century Drawings / Drawings2 / Odoardo Fialetti / Simone Cantarini / Domenichino
Francesco Albani / Guercino / Pier Francesco Mola

Italian School Printmakers, 15th-17th Centuries: Venetian School, c. 1500 / Raphael School / Giovanni Jacopo Caraglio
Marcantonio Raimondi / The Master of the Die / Anea Vico / Agostino Veneziano / Nicholas Beatrizet
Michelangelo Buonarotti (After) / Giulio Bonasone / Giovanni Battista Franco /Girolamo Fagiuoli / Cherubino Alberti
Titian (after) / Tintoretto (after) / Parmigianino / Giorgio Ghisi / Diana Scultori / Annibale Carracci / Ludovico Carracci
Simone Cantarini / Elisabetta Sirani / Gerolamo Scarsello

Netherlandish School 15th-17th-Century Drawings / Flemish School, 17th-Century
Bernaert van Orley / Lucas van Leyden / Maarten de Vos / Jan Baptiste de Wael / Abraham Bloemaert
Peter Paul Rubens / Philipp Sadeler / Nicolaes Maes / Rembrandt School

Netherlandish Printmakers 16th-17th Centuries: Lucas van Leyden, Maarten van Heemskerck, Cornelis Cort
Philips Galle, Hans (Jan) Collaert, Adriaen Collaert, Karel de Mallery, Theodore Galle, Hendrik Goltzius
Julius Goltzius, Jacob Matham, Jan Sanraedam, Marten de Vos, Jan Sadeler, Aegidius Sadeler, Raphael Sadeler
Crispin de Passe, Magdalena de Passe, Wierix Brothers, Rembrandt, Rembrandt School, Jan Lievens, Jan Joris van Vliet,
Ferdinand Bol, Govert Flinck

German Drawings: Hans Sebald Beham / Virgil Solis / Hans von Aachen / Johann Heinrich Roos
German 16th century printmakers: Heinrich Aldegrever, Jost Amman, Hans Sebald Beham, Hans Brosamer, Hans Burgkmair,
Lucas Cranach, Albrecht Durer, Albrecht Durer (After), Hans Holbein (After), Hopfer Brothers, Georg Pencz, Hans Schäufelein,
Virgil Solis, Wolfgang Stuber

18th-Century Drawings / 19th-Century Drawings / 20th-Century Drawings
According to the Grove Art Dictionary, Cherubino was active as both a painter and a printmaker. The best known of the three sons of Alberto Alberti, he distinguished himself as a printmaker at an early age. One of his earliest prints, an etching of the Virgin and Child (1568; B. 149) shows his interest in Raphael as well as in contemporary Mannerist art. In Rome he studied with Cornelius Cort, whose swelling burin line he adopted to create pictorial effects of strong chiaroscuro. Between 1571 and 1575 he made several prints after Federico Zuccaro and Taddeo Zuccaro (B. 131, 136, 140, 159, 171, 176). During the next ten years he reached the height of his fame as a printmaker, producing engravings after Raphael, Michelangelo, Polidoro da Caravaggio and of ancient statues. His prints of Polidoro are particularly valued as documents of lost works. He also made prints from paintings by Andrea del Sarto, Rosso Fiorentino, Marco Pino, Pellegrino Tibaldi and Cristofano Gherardi. He also made numerous original engravings and etchings, among them an Angel Supporting the Body of Christ (B. 139), which exemplifies his concern with graceful postures and ornamental draperies. In his later years he designed elaborate presentation prints, such as a portrait of Henry IV of France in an ornamental cartouche (B. 248) and a large Adoration of the Shepherds (B. 129) for Pope Clement VIII. His oeuvre includes over 180 prints.

Bibliography: Sebastian Buffa, ed.,The Illustrated Bartsch 34: Italian Masters of the Sixteenth Century: Barocci, de Santis, Facchetti, Potenzano, Scarsellino, Passari, Riccio, Casolani, Alberti (NY: Abaris Books, 1978); Luigi Servolini, Cherubino Alberti, Italian Engraver of the Sixteenth Century (Kansas City, Mo.: Inter-Collegiate Press, 1940).
Cherubino Alberti (Borgio San Sepulchro 1553-1615 Rome), Hercules killing the Hydra. Pen and brown ink and wash on cream laid paper mounted on laid paper. The Hydra was one of the "impossible tasks" indirectly imposed on Hercules by Juno, who hated him because he was Jove's illegitimate son. The Hydra had the property of growing multiple new heads each time one was cut off. Hercules solved the problem by strangling its heads. There are two similar drawings in the Farnesia, Rome. See Kristina Hermann-Flore, 1983, nos. 106r and 174 v. Image size: 124x146mm Price: SOLD.
Two Young Tritons, One with a Pan Flute (Bartsch 90). Original etching, 1579, on cream laid paper mounted on laid paper. Brilliant etching in very good condition on thin laid paper with collector's stamp VRBANIA (from Dukes of Urbino?). Image size: 200x110mm. Price: $2750.
Adam, Eve, Cain, and Abel after the Expulsion from Paradise (Bartsch 3). Engraving after Polidoro da Caravagio on cream laid paper mounted on laid paper. First state before the inscription. Signed in the plate: "POLIDORVS DE CARACAGIO INVENT" on rock at left; "for. Rome G ALbertus" center at bottom margin. A beautiful impression on laid paper laid down on laid paper with a colletor's stamp on the support sheet. Image size: 208xz167mm. Price: SOLD.
The Rape of the Sabine Women, Part 2 (TIB 34.159). Etching after Polidoro da Caravaggio. A very good impression on laid paper of the second part of this frieze depicting the Rape (in the old sense of "carrying away") of the Sabine Woman since the Trojan survivors who were to found Rome had almost no women of their own. The Sabine men try to regain their wives and daughters, the Sabine women force a peace between the Trojans and the Sabines, and the growth of Rome is assured. Plate 2 of the etching is dedicated to Francesco I de' Medici, Grand Duke of Tuscany. Published "Cum Priuilegio Summi Pontificis." This middle section of what would have been a 1460mm (57-1/2 inch) paper frieze is designed to impress viewers with the imagination and variety of the figures. In place of the dedications, the first plate of the series has the inscription "Sabinarvm Raptvm a Polidoro Caravagien Celeber Pictore Delineatvm." Image size: 170x481mm. Price: $1750.
The Rape of the Sabine Women, Part 3 (Bartsch 1159). Etching after Polidoro da Caravaggio. A very good impression on laid paper of the second part of this frieze depicting the Rape (in the old sense of "carrying away") of the Sabine Woman into captivity after the fall of Troy. The etching is dedicated to Duke Cosimo II Medici. Published "Cum Priuilegio Summi Pontificis." This right-hand section of what would have been a 1460mm (57-1/2 inch) paper frieze is designed to impress viewers with the imagination and variety of the figures. Image size: 170x481mm. Price: $1750.
Winged Genius Gesturing and Holding a Palm Branch (TIB 34.140), reverse copy after Cherubini Alberti, c. 1650. A very good reverse copy of Alberti's 1628 etching originally published in Rome with a privilege from the Pope designed both to license and grant exclusive rights to the image to Alberti. Our impression is a reverse copy inscribed "Mariette excudit" bottom center. ("Mariette excudit" appears some prints published in Paris during the mid-17th century.) Image size: 232x164mm. Price: $1250.

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