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Last updated: 8-15-12
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Marcantonio Raimondi (Italian, c. 1480-c. 1527): Engravings after Durer's Small Woodcut Passion

Dürer 1 / Dürer 2 / Dürer 3 / Dürer 4 / after Marcantonio Dürer 1 / after Marcantonio Dürer 2 / after Marcantonio Dürer 3

North Italian Illuminated Manuscript / Italian Old Master Drawings: An Overview / Italian School, 16th-Century Drawings
Michelangelo Buonarotti (After) / Raphael / Giulio Romano / Perino del Vaga / Marcantonio Raimondi / Parmigianino
Titian (after) / Andrea Schiavone / Tintoretto / Veronese / Taddeo Zuccaro / Federico Zuccaro / Alessandro Casolani
Jacopo Palma il Giovane / Cherubino Alberti / Luca Cambiaso / Annibale Carracci / Ludovico Carracci

Italian School, 17th-Century Drawings / Bolognese School / Giovanni Baglione / Matteo Rosselli / Ercole Bazzicaluva
Baldassare Franceschini called Il Volterrano / Pier Francesco Mazzuccelli, il Morazzone / Odoardo Fialetti / Simone Cantarini
Domenichino / Francesco Albani / Giovanni Lanfranco / Guercino / Pier Francesco Mola / Antonio Busca

Italian School Printmakers, 15th-17th Centuries: Venetian School, c. 1497 / 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
Agostino 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, Abraham de Bruyn, Hans (Jan) Collaert, Adriaen Collaert, Karel de Mallery, Theodore Galle, Hendrik Goltzius
Julius Goltzius, Jacob Matham, Jan Sanraedam, Maarten 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 / Joseph 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

French Drawings: Charles de La Fosse / Etienne Parrocel / François Boucher / Jean-François de Neufforge / Mouricault
French printmakers: Etienne Delaunne / Rene Boyvin /Thomas de Leu / Jean Cousin the Younger / Jacques Callot
Abraham Bosse / Sebastien Bourdon / Claude Gelle "le Lorraine" / Jean LePautre
Claudine Bouzonnet Stella / Antonette Bouzonnet Stella / Gabriel Perelle

19th-Century Drawings / 20th-Century Drawings
Marcantonio was the object of one of the earliest lawsuits by an artist against those appropriating his work as their own. As Giorgio Vasari (1511-1574) tells it in his Lives of the Painters, Sculptors and Architects, 4 volumes, trans. A. B. Hinds (London: Everyman's Library, 1970; the first edition was published in 1550, the revised version appeared first in 1568), 3: 68-86, Marcantonio discovered a set of Albrecht Dürer's Small Woodcut Passion in Venice, spent all of his money to purchase it, and proceeded, much to Vasari's disgust, to make engraved copies of each the pieces including Dürer's monogram. (Vasari makes it clear that he thinks everyone ought to be imitating Italians, not vice versa.) Dürer made a trip to Venice and complained to the Venetian Senate that Marcantonio was stealing his work and misrepresenting it (since Dürer had made woodcuts, not engravings). The Senate decided that since the images belonged to all of Christianity, Dürer could not claim ownership, but that his name belonged to him, and so it ordered Marcantonio not to use Dürer's monogram in his own works (3.71-73). Vasari seems to have gotten some of the details wrong—it was Dürer's Life of the Virgin that Marcantonio was publishing with Dürer's monogram, not his Small Woodcut Passion, which is never found in Marcantonio's engravings with the monogram—but the mistake is understandable, since Marcantonio did subsequently make engraved copies of the Small Woodcut Passion as well.

After leaving Venice, Marcantonio went first to Florence, then on to Rome, which became his home and where he found success working with Raphael as the head of a workshop of engravers (including Marco Dente da Ravenna and Agostino dei Musi (called Agostine Veneziano) whose copies made Raphael's work known through Europe. After Raphael's death from the plague in 1520, Marcantonio continued to work with the surviving members of Raphael's studio until the Sack of Rome in 1527, during which, according to Vasari, Marcantonio was taken prisoner and forced to sell everything he owned to ransom himself. Although his actual date of death, like his birthdate, is unknown, none of his works can be dated after 1527, and it is presumed that his death probably occurred soon after he was released from captivity.

Bibliography: There two volumes in The Illustrated Bartsch devoted to the work of Marcantonio and several more to his his followers. For modern criticism, see Evelyn Lincoln, The Invention of the Italian Renaissance Printmaker (New Haven, Yale University Press, 2000), Lisa Pon, Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print (New Haven, Yale University Press, 2004), Innis H. Shoemaker and Elizabeth Broun, The Engravings of Marcantonio Raimondi (Lawrence KS: Spencer Museum of Art, 1981), the catalogue of a show that travelled from the Spencer Museum of Art to The Ackland Art Museum at The University of North Carolina.

In the pages that follow, we are happy to present 35 of Marcantonio's 36 engravings after Dürer's Small Woodcut Passion. All are in generally good condition, all generally have either thread margins or are cut on or just within the platemark. The plates represent typical early sixteenth-century aesthetics: sharp with a tonal range on the dark side (with a very few specified exceptions which are more richly printed); in order to accurately reproduce these plates, I had to print these as colored, not black and white, using the saturation control to match the color range of the originals. The set was clearly popular. The Illustrated Bartsch notes 3 states: State 1: the cartouche empty, no numbers elsewhere; State 2: the cartouche empty, one or more numbers outside the cartouche; State 3: the cartouche has a number in addition to the numbers outside the cartouche, often not agreeing. As one of the most important of the early 16th-century Italian engravers and a pioneer in running a large workshop that put itself at the service of one of the greatest master painters of all time, Marcantonio anticipates the great master printers of our own times like Stanley William Hayter and Kenneth Tyler. He is also a great engraver in his own right. At the moment, his prints are drastically undervalued, but we feel that his work needs to be known to understand the traffic in images in the Renaissance.
The Fall of Man (Bartsch 585 iii/iii). Engraving after Dürer's Small Woodcut Passion, c. 1512. Good impression on laid paper with thread margins; "1" in cartouche lower right. Image size: 127x99mm. Price: SOLD.
The Expulsion from Paradise (Bartsch 586 i/iii). Engraving after Dürer's Small Woodcut Passion, c. 1512. A Very rich impression of the first state on laid paper with thread margins; cartouche empty, no number at bottom of print. Image size: 126x99mm. Price: $3500.
The Annunciation (Bartsch 587 ii/iii). Engraving after Dürer's Small Woodcut Passion, c. 1512. A very good impression on laid paper with thread margins. cartouche empty, numbered "3" and "4" lower right. Repaired paper loss at lower left margin. Image size: 123x99mm. Price: $2500.
The Nativity (Bartsch 588 iii/iii). Engraving after Dürer's Small Woodcut Passion, c. 1512. Good impression on laid paper with thread margins. "5" in cartouche lower left; "4" lower right at bottom of print. Image size: 125x97mm. Price: $2000.
Jesus' farewell to his mother (Bartsch 589 iii/iii). Engraving after Dürer's Small Woodcut Passion, c. 1512. Good impression on laid paper with thread margins. "5" in cartouche. Irregularly trimmed at bottom of print. Image size: 126x100mm. Price: $2500.
Jesus' entry into Jerusalem on Palm Sunday (Bartsch 590 i/iii). Engraving after Dürer's Small Woodcut Passion, c. 1512. A very good impression of the first state on laid paper with thread margins. Cartouche upper right empty. Irregularly trimmed at top of print. Image size: 128x100mm. Price: $3000.
Jesus driving the moneychangers from the Temple (Bartsch 591 i/iii). Engraving after Dürer's Small Woodcut Passion, c. 1512. A very good impression on laid paper with thread margins. Cartouche empty, numbered "7" lower right. Image size: 132x100mm. Price: $3000.
The Last Supper (Bartsch 592 ii/iii). Engraving after Dürer's Small Woodcut Passion, c. 1512. Good impression on laid paper with thread margins. Cartouche empty; numbered "8" and "7" lower right by pitcher. Image size: 125x101mm. Price: $2500.
Jesus washing St. Peter's feet (Bartsch 593 iii/iii). Engraving after Dürer's Small Woodcut Passion, c. 1512. Good impression on laid paper trimmed on or within platemark. "9" in Cartouche, "10" lower right. Image size: 125x96mm. Price: SOLD.

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