E.70 Fantuzzi, Cartouche Framing a Landscape
Cartouche with a Large Female Nude at the Left and a Large Male Nude at the Right Framing a Landscape
Etching by Antonio Fantuzzi, 24.2 x 49.4 L (London, 1850-5-27-38). Inscribed with a monogram in the lower left corner: A.
Fig.E.70 (London, 1850-5-27-40)
Bartsch, XVI, 1818, 352, 33, as Fantuzzi, and perhaps of his own invention. Herbet, II, 1896, 270 (1969, 66), 4, and V, 1902, 81 (1969, 233), as Fantuzzi, as after one of the frames in the Gallery of Francis I. Zerner, 1969, A.F.36 (London, 1850-5-27-38), as probably 1543.
COLLECTIONS: Berlin, 140-22; 957-19. London, 1850-5-27-38 IMP. SIZE; 1850-5-27-40 IMP. SIZE. Paris, Ba 12; Eb 14d (2 impressions, one in reddish-brown ink, the other inscribed in pencil in the small framed area at bottom: De Pierre / Courteys). Vienna, Vol. XIII, Suppl. (in dark brown ink).
LITERATURE:
Berliner, 1925-1926, I, Pl. III, 1, Text Volume, 40.
Kusenberg, 1931, 165.
Zerner, 1964, 77, as late 1542-1543.
Golson, 1969, 95, 96, Fig. 1.
Zerner, in EdF, 1972, 266, 267, Fig., no. 314 (London, 1850-5-27-38).
Zerner, 1972, 113, Fig. 168 (London, 1850-5-27-38).
Béguin and Pressouyre, 1972, 125.
Zerner, IB, 33, 1979, 252 (London).
Adelson, 1980, 162.
Carroll, 1987, 228-231, no. 71, with Fig. (London, 1850-5-27-40).
Rubin, 1987, 93, Pl. 19a, as an example of Rosso’s Fontainebleau style influential on Salviati’s frames in the chapel in the Cancelleria, Rome.
This etching is related to, but in reverse of, the framing of the Venus and Minerva in the Gallery of Francis I (Fig.P.22, I N a). As proposed in the catalogue entry of the gallery (P.22, I N), the print would seem to be after a lost drawing by Rosso of an early conception of the framing of this wall. It is even possible that the small scene above the large central area goes back to the lost drawing. That scene shows a triton kneeling on the shore, with a large ship behind him, before a reclining nude woman. The triton appears to be pointing to the ship with his left hand. Whatever subject it may represent, this scene does bear some relation in its depiction of water and a nude woman to the Venus and Minerva fresco in the gallery.
COPY, PRINT: E.57,5. Du Cerceau, etching. Herbet, IV, 1900, 305 (1969, 155), VI (Petits Cartouches), 17. In the same direction as Fantuzzi’s etching, but without the landscape.
METALWORK: Ecouen, Musée Nationale de la Renaissance, Cl. 544a (formerly Paris, Musée de Cluny). Lock plate with the arms of Anne de Montmorency and Madeleine de Savoie, 25 cm. width. LITERATURE: Ferdinand de Lasteyrie, “Un Grand Seigneur du XVIe Siècle, Le Connétable de Montmorency,” Part I, G.d.B.-A., 2nd series, XIX, 1879, 316, 319, Fig. Du Sommerard, 1883, 463, no. 5836. Herbet, V, 1902, 80, (1969, 232), no. 4.
Because of a variety of details such as the complete visibility of the right foot of the male figure at the right, it seems that this lock plate is derived from Fantuzzi’s print rather than from Du Cerceau’s copy or from Moro’s copy of Du Cerceau (see under E.57,5).