E.72 Fantuzzi, Funeral of Hector
Etching by Antonio Fantuzzi, 26.3 x 40.4 L (London). Inscribed at lower left with a monogram composed of joined letters: .ATF ..
Fig.E.72 (London)
Bartsch, XVI, 1818, 348, 26, as Fantuzzi after some artist of the School of Fontainebleau. Herbet, II, 1896, 281 (1969, 77), 41, as after Rosso, pointing out that the attribution goes back to Mariette. Zerner, 1969, A.F.21 (London), after Rosso.
COLLECTIONS: Berlin, 956-19. London, W,3.115. Los Angeles (Ruiz; Schab, 1986, 85, no. 69, 86, Fig.). New York, 49.97.587 (cut on all sides); 49.95.1900 (damaged). New York, Hill-Stone (in 1985). Paris, Ba 12; Eb 14d (inscribed in ink in the margin at the bottom: Sardanapale brulé dans son palais gravé par Antoine Fantuzzi). Vienna, It.III.3, p.25.
LITERATURE:
Kusenberg, 1931, 164, Pl. LXXIX, 1 (Paris, Eb 14d), as Fantuzzi, after Rosso?
Zava Bocazzi, 1962, 62, no. 20.
School of Fontainebleau, Fort Worth, 1965, 53 (New York), as suggesting the style of Primaticcio of the early 1540s.
Zerner, IB, 33, 1979, 246 (London).
Borea, 1980, 261, no. 606 (Paris, Eb 14d), as thought to be after Rosso.
K. Wilson-Chevalier, in Fontainebleau, 1985, 107, 225-228, no. 174 (Paris, Ba 12), its subject, perhaps that indicated by the inscription on one impression, related to the burning of heretics and homosexuals in the sixteenth century.
Carroll, 1987, 31, 242-244, no. 75, with Fig. (Berlin).
Davis, 1988, 190-191, no. 80, Fig. (Los Angeles), as after Rosso.
Boorsch, 1989, 189.
Béguin, 1989, 836, n. 50, seems to accept my identification of the subject of this print.
This print is related to, but in reverse of, a lost drawing by Rosso known from copies in Weimar (Fig.D.58A) and Montpellier (Fig.D.58B), which may have been intended for the space in the Gallery of Francis I where the Death of Adonis was actually painted. As suggested in the catalogue entry of the gallery (P.22, III S), Fantuzzi could have worked from that lost drawing but the puffs of smoke around the edges of these copies that are not in the print indicate that he may have had as his model a slightly later drawing by Rosso.