notes 1
A. Bartsch, Le peintre-graveur, Vienna 1803–1821, XVI.101.8.
2
M. Catelli Isola ed., Immagini da Tiziano: Stampe dal sec. XVI al sec. XIX dalle collezioni del Gabinetto Nazionale delle Stampe, Rome 1976, no. 49.
3
Bartsch XVI.118.2; S. Mason Rinaldi ed., Da Tiziano a El Greco: Per la storia del Manierismo a Venezia 1540–1590, Milan 1981, under no. 151; see www.printsanddrawings.hu /search/prints/7978/.
4
J. Martineau and C. Hope eds., The Genius of Venice 1500–1600, London 1984, no. P44.
5
Etching, 330 × 450 mm (sheet, trimmed close to platemark); watermark: arrow crossed under star (fig. 5); provenance: Nikolaus Esterházy (Lugt 1966), Museum of Fine Arts, Budapest, inv. no. 7978; see www.printsand drawings.hu /search/prints/7033/.
6
H. Zerner ed., The Illustrated Bartsch 32, New York 1979, 152, no. 8. A fine impression of this rare print is preserved at The Metropolitan Museum of Art, New York (fig. 2): etching, first state of two, 330 × 440 mm (sheet, trimmed close to platemark); watermark: anchor in double outline in circle (fig. 6); inv. no. 62.602.419.
7
Valentin Lefèvre’s etching (U. Ruggeri, Valentin Lefèvre: Dipinti, disegni, incisioni, Manerba 2001, 219, no. I.28), an unpublished drawing in the Statens Museum for Kunst, Copenhagen (inv. no. KKS6741), and another drawing sold at the Galerie Bessenge (Berlin Auction, 25 November 2011, lot 5868) seem to be copies after the Bartsch version. A pen-and-ink drawing in the British Museum, London (inv. no. 1895,0915.831), related also to the engraving but differing in several details, is probably a later imitation inspired by the print (www.britishmuseum.org/ collection; accessed 8 January 2014).
8
It is also supported by the inscription of an etching in reverse by Claude Macé in the Recueil de 283 estampes gravées à l’eau forte d’après les dessins originaux […] que Mons. Evrard Jabach de Cologne […] possédait, reproducing Titian’s original drawing or most likely a later copy of the Bartsch version; see A. P. Robert-Dumesnil, Le PeintreGraveur Français, Paris 1842, vol. 6, 257, no. 4.
9
Pen and brown ink, 149×210 mm, Courtesy of the Trustees of the Chatsworth Settlement, Chatsworth, inv. no. 749A; see H. E. Wethey, Titian and His Drawings: With Reference to Giorgione and Some Close Contemporaries, Princeton (NJ) 1987, nos. 34 and 34a, figs. 70–73.
10
For a good summary on Franco’s printmaking activity with recent literature, see G. J. Van Der Sman, Le Siècle de Titien: Gravures vénitiennes de la Renaissance, Zwolle 2002, 136–41.
11
Bartsch XVI.129.29.
12
Bartsch XVI.118.2.
13
Bartsch XVI.154.2.
14
S. W. Reed and R. Wallace, Italian Etchers of the Renaissance and Baroque, Boston, 1989, 57.
15
See note 4. It is important to note, however, that the impression at The Metropolitan Museum does not bear these letters.
16
Franco used the initials “BFVF” on Bartsch XVI.118.2; XVI.119.4; XVI.120.6; XVI.121.8; XVI.123.11; XVI.125.17, while the “FPF” monogram appears on Bartsch XVI.125.22; XVI.127.23 and 25; XVI.130.33; XVI.133, 42; XVI.134.44.
17
Bartsch XVI.99.5 – 100.7; for the related drawings, see Wethey 1987, nos. 45–47.
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