Collection of Prints and Drawings

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Production People
Marcantonio Raimondi (Print made by)artist bio
Raimondi, Marcantonio
b ?Argini, nr Bologna, c. 1470-82; d ?Bologna, 1527-34

Raphael (After)artist bio
Raphael [Santi, Raffaello; Sanzio, Raffaello]
b Urbino, 28 March or 6 April 1483; d Rome, 6 April 1520
Title / Description
Neptune Calming the Tempest which Aeolus Raised against Aeneas' Fleet, the so-called Quos Ego
 
Date
c. 1515-16
 
Technique
engraving
Material
paper
Dimensions
430 x 330 mm (sheet, trimmed around the arched top)
Inscriptions
Inscribed upper left: 'AEOLVS IMMITTIT/VENTOS IVNONE / PRECANTE', below: 'TROIANOSQ VAGOS/LIBYCAS EXPELLIT/IN ORAS', at centre: 'CVI VENVS/ASCANII SVB/IMAGINE/MITTIT/AMOREM', upper right: 'SOLATVR VENEREM/DICTIS PATER IPSE/DOLENTEM' and lower right: 'AENEAM RECIPIT PVL- /CHRA CARTHAGINE/DIDO'
State
first state of two
 
WatermarkWatermark
visible, height: 76 mm, width: 44 mm
Provenance
Nikolaus Esterházy (not stamped)
 
References
Vasari 1568 (ed. Milanesi), vol. IV, p. 354, vol. V, p.
411 info
Giorgio Vasari, Le vite de' più eccellenti pittori, scultori ed architettori. Scritte da Giorgio Vasari (Firenze 1568). Con nuove annotazioni e commenti di Gaetano Milanesi, 9 vols, Firenze 1878-85

Daret 1651, p. 71, no. 4 info
Giorgio Vasari, Abregé de la vie de Raphael Sansio d'Urbin, trésexcellent peintre & architecte: où il est traitté de ses oeuvres, des stampes qui en ont esté gravées, tant par Marc-Antoine Bolognois qu'autres excellent graveurs: de l'origine de la graveure en tailledouce: Avec une adresse des lieux où les principaux peintres italiens, d'escrits par Vasari, ont travaillé / Giorgio Vasari. Traduit d'italien en français, par P. Daret, Paris 1651.

Bellori 1695, p. 193 info
Giovanni Pietro Bellori, Descrizioni delle immagini dipinte da Raffaello d'Urbino nel Vaticano e di quelle alla Farnesina, 1695 / di Gio. Pietro Bellori. ... Si aggiungono per opera di Melchior Missirini: La descrizione delle altre pitture di Raffaello poste al pubblico in Roma ... Infine la nota dissertazione del Bellori intorno le belle arti, Roma 1821

Le Comte 1702, vol. III, p. 231, 459-60 info
Florent Le Comte, Cabinet des Singularitez d'Architecture, Peinture, Sculpture et Gravure, ou Introduction a la Connaissance des plus Beaux Arts, figurés sous les Tableaux, les Statues et les Estampes, 3 vols., Brussles 1702

Basan 1767, vol. I, p. 303 info
Francois Basan, Dictionnaire des graveurs anciens et modernes depuis d'origine de la gravure, 3 vols., Paris 1767

Heinecken 1768-1769, vol. II, p. 470, no. 5 info
Karl Heinrich von Heinecken, Nachrichten von Künstlern und Kunst-Sachen, 2 vols., Leipzig 1768-69

Strutt 1785-1786, vol. II, p. 258 info
Joseph Strutt, A biographical dictionary: containing an historical account of all the engravers, from the earliest period of the art of engraving to the present time ; and a short list of their most esteemed works, 2 vols., London 1785-1786

Gori Gandellini 1808-1816, vol. III, p. 96, vol. X, pp.
57-58, no. 17, vol. XIII, p. 224, no. 17 info
Giovanni Gori Gandellini, Notizie istoriche degli intagliatori, 15 vols., Siena 1808-1816

Bartsch XIV.264.352 (first state of two) info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Tauriscus 1819, pp. 227-28, no. 6 info
Tauriscus Euboeus, Catalogue des Estampes, Gravées d'apres Raphael, Frankfurt 1819

Malaspina 1824, vol. II, pp. 63-64 info
Luigi Malaspina, Catalogo di una raccolta di stampe antiche, 5 vols., Milan 1824

Cumberland 1827, pp. 278-80, no. 237 info
George Cumberland, An essay on the utility of collecting the best works of the ancient engravers of the Italian school; accompanied by a critical catalogue, with interesting anecdotes of the engravers, of a chronological series of rare and valuable prints, from the earliest practice of the art in Italy to the year 1549, now deposited in the British Museum and Royal Academy, in London, London 1827

Nagler, Künstler-Lexicon vol. 12, pp. 256-57, no. 294 info
Georg Kaspar Nagler, Neues allgemeines Künstler-Lexicon, 22 vols., Munich 1835-52

Ferrario 1836, p. 283 info
Giulio Ferrario, Le classiche stampe dal cominciamento della calcografia fino al presente compresi gli artisti viventi descritte e corredate di storiche e critiche osservazioni ... scelte e proposte a dilettevole ed instruttivo ornamento di una galleria, Milano 1836

Vallardi 1843, p. 183 info
F. S. Vallardi, Manuele del Raccoglitore e del Negoziazione di Stampe contenente le Stampe Amnichi e Moderne, Milan 1843

Heller 1850, p. 576 info
Joseph Heller, Praktisches Handbuch für Kupferstichsammler oder Lexicon der vorzüglichsten und beliebtesten Kupferstecher, Formschneider, Lithographen... nebst einem chronologischen Verzeichnisse der Kupferstecher, etc. und dem Porträt des Verfassers, Leipzig 1850

Mariette 1851-60, vol. IV, pp. 327-28 info
Pierre Jean Mariette, Abecedario de P. J. Mariette et autres notes inédites de cet amateur sur les arts et les artistes, 1719 ff: ouvrage publié d'apres les manuscrits autographes, conservés au Cabinet des Estampes de la Bibliothèque Impériale, annoté par Ph. de Chennevières et A. de Montaiglon, 6 vols., Paris 1851-60

Le Blanc III.279.222 info
Charles Le Blanc, Manuel de l'amateur d'estampes, 4 vols., Paris 1854-90

Passavant 1860, vol. II, pp. 576-77, no. 39 info
Johann David Passavant, Raphaël d'Urbin et son père Giovanni Santi, 2 vols., Paris 1860

Passavant VI.26.138 info
Johann David Passavant, Le peintre-graveur, 6 vols., Leipzig 1860-64

Gruyer 1864, vol. II, pp. 85-94 info
François-Anatole Gruyer, Raphael et l'antiquité, Paris 1864

Engelmann 1866, p. 69, 107, no. 39 info
Wilhelm Engelmann, Beschreibendes Verzeichniss einer Privatsammlung von Kupferstichen, Leipzig 1866

Andresen 1870-1873, vol. II, p. 355, no. 57 info
Andreas Andresen, Handbuch für Kupferstichsammler oder Lexicon der Kupferstecher, Maler-Radierer und Formschneider aller Länder und Schulen nach Massgabe ihrer geschätzten Blätter und Werke, Leipzig 1870-1873

Ruland 1876, p. 126, no. C.I.1 info
Charles Ruland, The Works of Raphael Santi da Urbino as Represented in the Raphael Collection in the Royal Library at Windsor Castle, London 1876

Thode 1881, pp. 25-26, no. 13 info
Henry Thode, Die Antiken in den Stichen Marcanton's, Agostino Veneziano' und Marco Dente's, Leipzig 1881

Delaborde 1888, no. 102 info
Henri Delaborde, Marc-Antoine Raimondi: Étude historique et critique suivie d'un catalogue raisonné des oeuvres du maitre, Paris 1888

Hirth 1898, p. 34 info
Herbert Hirth, Marcanton und sein Stil: Eine kunstgeschichtliche Studie, Diss., Munich 1898

Oberhuber 1966a, no. 140 info
Konrad Oberhuber, Renaissance in Italien. 16. Jahrhundert, exhibition catalogue, Vienna, Albertina 1966

De Witt 1968, no. 55 info
Antony de Witt, Marcantonio Raimondi: Incisioni, Florence 1968

Bianchi 1968, p. 684, note 191 info
Lidia Bianchi, La fortuna di Raffaello nell'incisione, in Mario Salmi, Raffaello: L' opera, le fonti, la fortuna, Novara 1968, vol. 2, pp. 647-89

Cambridge 1974, no. 17 info
Rome and Venice: Prints of the High Renaissance, ed. Konrad Oberhuber, exhibition catalogue, Cambridge/Mass., Fogg Art Museum 1974

Nees 1978 info
Lawrence Nees, 'Le Quos Ego de Marc-Antoine Raimondi,' Nouvelles de l'estampe 40-41 (1978), pp. 18-29

Gardey, Lambert, and Oberthür 1978, no. 102 info
Françoise Gardey, Gisèle Lambert, and Mariel Oberthür, ’Marc-Antoine Raimonde: Illustrations du catalogue de son oeuvre gravé par Henri Delaborde, publié en 1888,’ Gazette des beaux-arts 92 (1978), pp. 7-15

Du Bois-Reymond 1978, pp. 99-115 info
Irena Du Bois-Reymond, Die römischen Antikenstiche Marcantonio Raimondis, München 1978

Landau 1979, pp. 2-6 info
David Landau, 'Notes from Oxford,' I quaderni del conoscitore di stampe 42 (1979), pp. 2-9

Kühn-Hattenhauer 1979, p. 293 info
Dorothee Kühn-Hattenhauer, Das grafische Oeuvre von Francesco Villamena, Berlin 1979

Shoemaker 1981, no. 32 info
Innis H. Shoemaker, The Engravings of Marcantonio Raimondi, exhibition catalogue, Kansas, Spencer Museum of Art 1981

Stuttgart 1982-83, no. 105 info
Meisterwerke alter Druckgraphik aus der Staatsgalerie Stuttgart: Zum 100. Geburtstag des Stifters Max Kade, ed. Heinrich Geissler, exhibition catalogue, Stuttgart, Graphische Sammlung Staatsgalerie 1982-83

Jones and Penny 1983, pp. 180-83 info
Roger Jones and Nicholas Penny, Raphael, New Haven 1983

Lord 1984, pp. 83-84 info
Carla Lord, 'Raphael, Marcantonio Raimondi, and Virgil,' Source 3/4 (1984), pp. 81-92

Geneva 1984, no. 84 info
Raphäel et la seconde main: Raphäel dans la gravure du XVIe siècle, simulacres et prolifération, Genève et Raphäel, ed. Rainer Michael Mason, exhibition catalogue, Geneva, Cabinet des Estampes 1984

Emison 1985, pp. 174-78 info
Patricia Anne Emison, Invention and the Italian Renaissance Print: Mantegna to Parmigianino, Ph.D. Diss., Columbia University 1985

Rome 1985, p. 244, no. IV.1 (first state of two) info
Grazia Bernini Pezzini, Stefania Massari et al., Raphael invenit: Stampe da Raffaello nelle collezioni dell'Istituto Nazionale per la Grafica, exhibition catalogue, Rome, Calcografia Nazionale 1985

Davis 1988, no. 36 info
Bruce Davis, Mannerist Prints: International Style in the Sixteenth Century, exhibition catalogue, Los Angeles, County Museum of Art 1988

Emison 1989, pp. 174-78 info
Patricia A. Emison, Invention and the Italian Renaissance print, Mantegna to Parmigianino, Phil. Diss. New York, N.Y., Columbia University 1985

Cordellier and Py 1992, pp. 316-17 info
Dominique Cordellier and Bernadette Py, Inventarie Général des Dessins Italiens V: Raphaël son Atelier, ses Copistes, Paris 1992

Landau and Parshall 1994, pp. 122-24 info
David Landau and Peter Parshall, The Renaissance Print: 1470-1550, New Haven and London 1994

Gnann in Mantua and Vienna 1999, no. 53 info
Achim Gnann in Raphael und der klassische Stil in Rom: 1515-1527, eds. Konrad Oberhuber and Achim Gnann, exhibition catalogue, Mantua, Palazzo Te and Vienna, Albertina 1999

Höper 2001, no. A 89.1 info
Corinna Höper, Raffael und die Folgen: Das Kunstwerk in Zeitaltern seiner graphischen Reproduzierbarkeit, exhibition catalogue, Stuttgart, Staatsgalerie Stuttgart 2001

Pon 2004a, ??? info
Lisa Pon, Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print, New Haven and London 2004

Viljoen 2004, pp. 245-47 info
Madeleine Viljoen, 'Prints and False Antiquities in the Age of Raphael,' Print Quarterly 21 (2004), pp. 235-47

Di Marco 2004 info
Maria Pia Di Marco, 'Quos Ego di Marcantonio Raimondi: Papa guerriero e pacificatore,' Arte e dossier 19 (2004), pp. 42-47
 
Comment
The design for this print had been attributed to Perino del Vaga or Raphael. According to Bruce Davis, the latter's authorship is supported by his sketches for the side panels, preserved at Chatsworth, Devonshire Collection (see John Gere and Nicholas Turner, Drawings by Raphael, exhibition catalogue, London, British Museum 1983, nos. 124-125). Lawrence Nees demonstrated that the compositional format of the engraving was inspired by a type of small Roman relief called tabula iliaca (Nouvelles d'estampe, no. 40-41, 1978, pp. 18-29). The cenral scene is thought to be based upon a lost Raphael drawing, preserved in a copy in Bergamo, Accademia Carrara. For the print's iconography, see recently Marco Tabusso, 'Decido io, forse. Anzi, no. La stampa del Quos Ego' in Grafica d'arte, suppl. 71 (2007), pp. 4-7.
 
Inventory Number
5595
 
Classification
Prints: Italian: 16th century: Mounted II
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