ANGOLO DEL MORO, Marco (ca. 1537-after 86), attr. to:

The Battle of the Milvian Bridge, after the left half of the fresco by Giulio Romano and Raphael’s workshop after his cartoons, in the Sala di Constantino at the Vatican

Etching with engraving, ca. 1550-70, published by Giovanni Francesco Camocio. Bartsch variously listed the print under G.B. d’Angolo del Moro, XVI “douteuse”, and either Paolo or Orazio Farinati, VI, 6, twice commenting on the skill of the unidentified engraver. TIB 32, 311, 200
Watermark: Crossed Arrows surmounted by a Star (similar to Briquet 6291)
Provenance: Johann Georg I Zobel von Giebelstadt (1543 - 1680), Bamberg, from an important album he assembled ca. 1568-70

A very good impression, strongly printed except for some dryness at the far left, with a little wiped tone upper right. Trimmed on or just inside the platemark, retaining a fillet of blank paper outside the borderline at right and below, trimmed to the subject above. A little very pale glue-staining at the print’s edges, some ink-stains at the edges of the very wide mounted margins, generally in very good condition. 408 x 551 mm
$12,500

 

 

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The remarkable 16th C. album of which this print formed a part consisted of at least 166 etchings and engravings, Venetian and Roman prints contemporary with the collector, distributed over at least 124 folios. Albums of this kind surviving to recent times are of the greatest rarity and after some of it had already been dispersed in 1999, including our sheet, over half of the album was acquired by the Rijksmuseum. An article analyzing the album’s contents and context written by Joyce Zelen was published in the Rijksmuseum Bulletin vol. 63, no. 1 (2015). She suggests that the diversity of subject matter and publishers among these prints could indicate that Zobel made the selection himself, rather than purchasing a publisher’s stock compilation. This print is listed as Folio 2, its whereabouts at that time unknown. Marco Angolo del Moro, to whom this print is here attributed, was occupied chiefly as a painter. In the only ten etchings firmly attributed to him his technique resembles that of his father Battista. His delicate tonalities and open etching style reveal the influence of Venetian prints and paintings.
Like many large prints from this album mounted with four laid paper strips to create a median size when folded vertically, with a paper guard on the verso. Very rare.