Etching by Antonio Fantuzzi, 31.1 x 42.9 L (London).
Bartsch, XVI, 1818, 413, 94, as Anonymous, School of Fontainebleau, but appears to be by Fantuzzi. Herbet, II, 1896, 280 (1969, 76), 34, as Fantuzzi. Zerner, 1969, A.F.26 (Vienna, H.B.IV) as 1542-1543.
COLLECTIONS: London, 1850-5-27-120 (slight damage in lower right corner). New York, 49.50.220 (inscribed in ink in lower left corner: rossi). Paris, Eb 14d; Ed 8b Rés. Vol. II, no. 35 (upper corners added and re-drawn). Vienna, It.III.3, p.30; H.B.IV, p.76, no. 89.
Mariette, Abécédario, 1858-1859, 21, 23, as after Rosso and by the same etcher who did the Death of Adonis [E.76] and the Allegorical Scene of Rage and Madness [E.140].
Kusenberg, 1931, 165.
Barocchi, 1950, 141, Fig. 118 (Paris, Eb 14d).
Panofsky, 1958, 154, Fig. 40 (New York), 173, n. 76.
Zerner, 1964, 75, as datable in 1542.
Zerner, 1972, 113, Fig. 162 (Vienna, H.B.IV).
Béguin and Pressouyre, 1972, 129, as 1542-1543.
Zerner, IB, 33, 1979, 369 (London).
Borea, 1980, 258, no. 656 (London).
Wilson-Chevalier, 1982, 16, n. 43, as after Rosso’s fresco.
K. Wilson-Chevalier, in Fontainebleau, 1985, 209-211, no. 155 (Paris, Eb 14d).
Carroll, 1987, 238-241, no. 74, with Fig. (London).
This etched scene is in reverse of Rosso’s fresco in the Gallery of Francis I (Fig.P.22, III N a) but is based neither on it nor on Rosso’s lost drawing known from a copy in Besançon (Fig.D.59). The differences in these three images are specified in the catalogue entry of the gallery (P.22, III N). There it is stated that Fantuzzi’s etching appears to be based on another lost drawing by Rosso and preserves the earliest known version of this scene. Unlike Fantuzzi’s other etchings after the large scenes in the gallery, this print is very finely and densely drawn and may in these respects have more of the texture of Rosso’s lost drawing than do the other prints. The profile eye on the prow of one of the ships at the left is a remarkable detail of this etching.