{"id":4331,"date":"2012-04-05T16:20:00","date_gmt":"2012-04-05T20:20:00","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4331"},"modified":"2013-05-30T11:18:53","modified_gmt":"2013-05-30T15:18:53","slug":"e-133-anonymous-annunciation","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-133-anonymous-annunciation\/","title":{"rendered":"E.133 Annunciation"},"content":{"rendered":"
\"\"<\/a>

E.133 Anonymous, Annunciation<\/p><\/div>\n

Engraving, Anonymous, possibly by Ren\u00e9 Boyvin?, 25.5 x 47.3 L (New York).\u00a0 Inscribed on the cornice of the base of the central column: \u2022ROVS \u2022 FL_\u2022 INVEN \u2022<\/em>; on the ring supporting the lamps above the Virgin\u2019s head: Kkk Gabriel Fesis zz<\/em> [ex?]; and in the lower left corner, a monogram composed of the letters A and C or G and possibly also F (on the last two inscriptions see below).<\/p>\n

Fig.E.133<\/a> (Vienna, F.I.3)<\/p>\n

Brulliot, 1832, 27, under no. 199, as by Gaspare Osello.\u00a0 Robert-Dumesnil, VIII, 1850, 19, no. 5, as Boyvin, after Rosso.\u00a0 Le Blanc, 1854-1890, I, 506, 5, as Boyvin, after Rosso. Levron, 1941, 19, 74, no. 162, as shop of Boyvin, after Rosso.<\/p>\n

COLLECTIONS: Florence, 13660ss.\u00a0 London, W3-123 IMP. SIZE. (spotted).\u00a0 New York, 32.92.27 (2).\u00a0 Paris, Ed 3 (with note that the wm. is a fleur de lys); SNR (right fourth cut off).\u00a0 Vienna, F.I.3, p.2, no. 3; It.II.21, p.64.<\/p>\n

LITERATURE:<\/p>\n

Vasari, 1568, II, 308 (Vasari-Milanesi, V, 433), as \u201cuna Nunziata bizarra\u201d by Boyvin after Rosso.<\/p>\n

Mariette, Ab\u00e9c\u00e9dario<\/em>, 1858-1859, as Boyvin after Rosso.<\/p>\n

Destailleur, 1895, 276, no. 1145, as Boyvin after Rosso.<\/p>\n

Kusenberg, 1931, 160, as Boyvin after Rosso.<\/p>\n

Linzeler, 1932, 167.<\/p>\n

Carroll, 1961, 452, Fig. 14 (Paris, Ed 3), 454, as by Boyvin or his shop after Rosso.<\/p>\n

Carroll, 1964 (1976), II, Bk. II, 436-437, 440f., n. 1, Bk. III, Fig. 136, as by an unknown printmaker.<\/p>\n

B\u00e9guin, in EdF<\/em>, 1972, 187, under no. 212, and in Fontainebleau<\/em>, 1973, II, 65, under no. 212, as by Boyvin.<\/p>\n

Zerner, in EdF<\/em>, 1972, 251, under no. 267, and in Fontainebleau<\/em>, 1973, II, 79, under no. 287, mentioned.<\/p>\n

Borea, 1980, 262, no. 673 (Paris, Ed 3), as Boyvin.<\/p>\n

Carroll, 1987, 44, 186-187, no. 61, with Fig. (Vienna, F.I.3, p.2, no. 3).<\/p>\n

Carroll, 1989, 19-20, Fig. 38 (F.I.3, p.2, no. 3).<\/p>\n

Acton, in French Renaissance<\/em>, 1994, 308-309, under no. 74, as after Rosso by an artisan of the School of Fontainebleau.<\/p><\/blockquote>\n

This engraving very closely reproduces, in reverse, Rosso\u2019s drawing of the same size in the Albertina, done possibly in 1531 or 1532 (Fig.D.43a<\/a>).\u00a0 It is also related to the very accurate copy of that drawing in the Ensba, Paris (Fig.D.43 Copy<\/a>).\u00a0 However, certain details, such as the Virgin\u2019s profile and the precise character and placement of the five flaps of the canopy above her head, seem to indicate that the model from which the print was directly made was Rosso\u2019s original drawing and not the copy of it.\u00a0 The original drawing shows the pressure marks of a stylus along its major outlines, which could have been made to transfer the design to the engraver\u2019s plate, although they could also have been made to produce the copy in Paris.<\/p>\n

Rosso\u2019s authorship of the design of this engraving is assured by his authentic drawing in the Albertina.<\/p>\n

However, the attribution of the print itself to Boyvin is not so certain.\u00a0 It goes back at least as far as Robert Dumesnil\u2019s catalogue of 1850, where he gives the inscription on the chandelier as Kkk Gabriel Fesis ex<\/em>.\u00a0 He makes no comment on this inscription but suggests that the monogram in the lower left corner refers to the name of the editor of the print.\u00a0 Le Blanc repeated this opinion.\u00a0 Levron, 1941, 19, 74, gives the print to Boyvin\u2019s shop and indicates that it is datable before his conversion to Protestantism, which, apparently, took place in the mid-1560s.\u00a0 The Uffizi has catalogued its impression of this engraving as by Antoine or Augustin Garnier, and in 1832 Brulliot indicated that the monogram may indicate the engraver Gaspare Osello.\u00a0 Nagler, Monogrammisten<\/em>, I, 1858, 936-937, no. 2212, suggests that the monogram could refer to Osello, to Gabriel Fesis, or to Jacques Androuet Du Cerceau.<\/p>\n

The cutting of this print, especially the extensive use of stippling and the somewhat ragged way that the feathers and hair are engraved, does not seem very close to Boyvin\u2019s manner, either in his signed prints or in those most closely related to the latter.\u00a0 Furthermore, the inscription and the monogram on the print would seem to indicate a connection with another engraver.\u00a0 It is true that the print appears to be the \u201cNunziata bizarra\u201d that Vasari knew and gave to Boyvin.\u00a0 But we also know that Vasari was not well informed on that engraver\u2019s activity.\u00a0 However, it can be concluded that the print was done before Vasari concluded the writing of the 1568 edition of his Lives<\/em>.<\/p>\n

Of the suggestions that have been made as to its authorship, Du Cerceau is not really possible because his style is so different and he seems only to have been an etcher.\u00a0 Antoine Garnier (1611-1654) was active too late to be the engraver of this scene.\u00a0 His father, Augustin, was born too late, in 1579.\u00a0 Osello was active at the right time, but his St. Roch <\/em>(Fig.E.106<\/a>), after Rosso\u2019s Empedocles-St. Roch <\/em>(Fig.D.80a<\/a>) by way of Boyvin\u2019s engraving (Fig.E.16<\/a>), does not, in its execution, resemble the Annunciation<\/em>.\u00a0 Gabriel Fesis, whose name may appear on the print, was, according to Nagler, an artist active in Paris.\u00a0 This needs to be investigated.<\/p>\n","protected":false},"excerpt":{"rendered":"

Engraving, Anonymous, possibly by Ren\u00e9 Boyvin?, 25.5 x 47.3 L (New York).\u00a0 Inscribed on the cornice of the base of the central column: \u2022ROVS \u2022 FL_\u2022 INVEN \u2022; on the ring supporting the lamps above the Virgin\u2019s head: Kkk Gabriel Fesis zz [ex?]; and in the lower left corner, a monogram composed of the letters […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":143,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4331","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4331","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/comments?post=4331"}],"version-history":[{"count":13,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4331\/revisions"}],"predecessor-version":[{"id":9259,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4331\/revisions\/9259"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/824"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=4331"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}