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Last updated: 5-17-13
Home / Gallery Tour 1 / Old Master Drawings and Prints / Gallery Tour 2 / Artists
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Old Master Prints: Titian (Tiziano Vecelli, Venice, c. 1480-1576)

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 Delaune / 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
Tintoretto had a sign in his workshop saying that here could be found "the drawing of Michelangelo and the color of Titian," and it is clearly Titian's color that most 16th-century viewers found overwhelming. Vasari, in his "Life of Titian" (in Part III of The Lives of the Painters, Sculptors, and Architects) reports that Sebastiano de Piombo remarked that "if Titian had gone to Rome and seen the works of Michelangelo, Raphael, and the ancient statues there, and had studied design ("disegno" in Italian combines the meanings of both "drawing" and "design"), he would have produced stupendous things, seeinig his skill in coloring, in which he deserves to be called the best maser of our day for his imitation of natural tints; and with a foundation of great draughtmanship he would have overtaken the Urbinate [Raphael] and Buonarroto [Michelangelo] (Everyman edition, III: 200-201)." Vasari later confirms Sebastiano's judgment by telling of a visit that he and Michelangelo made to Titian's studio in Rome: "After they had gone, Buonarroti criticized Titian's methods, prasing him a good deal, and saying that he liked his coloring and style, but that it was a pity that good design was not taught at Venice from the first, and that her best painnters did not have a better method of study. If this man, he said, were aided by art and design as he is by Nature, especially in copying from life, he would not be surpassed, for he has ability and a charming and vivacious style" (Everyman edition, III: 206-207). Very few of Titian's drawings survive, partly because he worked in oil not fresco and drew directly on his canvases, but despite the criticism of his drawing or lack of it, Titian did not lack noble patrons including the Emperor Charles V, his son, Philip II, the King of Spain, various princes and dukes, popes and cardinals, and a lifetime worth of Venetian Doges. With such a widespread group of admireres, it is not surprising that engravers stepped forward to spread his fame by reproducing his most famous paintings and that a woodcutter followed his example in his 1508 epic woodcut of The Triumph of the Faith, a work Vasari categorizes as "displaying vigor, style, and knowledge." The engravings and woodcut below reflect part of the widespread demand for works designed by Titian.
Cornelis Cort (Belgian, 1553-1578), The Holy Family with John the Baptist, Saints, and Angels. Engraving after Titian, 1570. Very good impression on laid paper with thread margins except at lower left, where it is cut within the platemark, annotated on the verso: first state before signature in plate. After spending several years in Italy (including time in Titian's workshop), he returned to the Netherlands where he introduced Italian Mannerism to the north and was one of the leading Mannerist engravers working in the Netherlands during the formative years of the Antwerp School. Cut on or within platemark. Signed and dated in the plate. Image size: 202x163mm. Price: $1750.
Martino Rota (Italian, c. 1520-1583), Penitent Magdalene (B. 22). Engraving after Titian. Rota worked principally in Rome and Venice,where he engraved works after Michelangelo, Raphael, and Titian, among others. Titian's famous painting of the Penitent Magdalene was engraved and travelled from Italy to Northern Europe. Ours is a good impression on laid paper with small margins (it looks to be a better imipression than the one reprinted in the volume of the Illustrated Bartsch that includes Rota's works). Watermark: Scale within a circle with a clover leaf (Briquet 2465: Venice, 1495 and later). Signed in the plate. Small paper loss top left not affecting image. Image size: 194x153mm. Price: SOLD.
Titian (after), Venus and Adonis. Engraving after Titian. Edition unknown. Good impression of this large print on laid paper with large margins. Image size: 414x323mm. Price: $2650.
Follower of Titian, The Assumption of the Virgin. Woodcut, late 16th-early 17th century. A good impression on laid paper of this large print. Paper loss at lower corners, several printing creases. Image size: 442x340mm. Price: $2250.
Valentin LeFebre (Brussels, 1642-Venice, c. 1680), Virgin and Child with Saint Joseph. Etching after Titian, c. 1670. Edition unknown. Impression on antique laid paper. Remains of old glue on verso. Image size: 170x240mm. Price: $950.

Spaightwood Galleries, Inc.

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