{"id":7297,"date":"2012-10-24T18:01:29","date_gmt":"2012-10-24T22:01:29","guid":{"rendered":"http:\/\/pages.vassar.edu\/rosso\/?page_id=7297"},"modified":"2013-06-07T09:30:50","modified_gmt":"2013-06-07T13:30:50","slug":"re11","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/rejected-paintings-sculpture\/re11\/","title":{"rendered":"RE.11, 1-9 Nine Sheets of Designs of Various Objects for the Table"},"content":{"rendered":"

Nine engravings by Ren\u00e9 Boyvin?, for measurements see impressions below.\u00a0 Inscribed (except the ninth, Robert-Dumesnil, 79, 179) in the middle at the bottom: Cum priuilegio Regis<\/em>.\u00a0 The appearance of numbers on some of the impressions of these prints in New York would seem to indicate a second numbered state of this series.<\/p>\n

Robert-Dumesnil, VIII, 1850, 76-79, 171-179, as Boyvin.\u00a0 Le Blanc, 1854-1890, I, 507, 163-171.\u00a0 Destailleur, 1895, 95, no. 411, 2 (9 prints).<\/p>\n

LITERATURE:<\/p>\n

Kusenberg, 1931, 105, 157, 162, 203, ns. 259-261 (six mentioned but nine catalogued), Pl. LVIII, lower right (Paris), as Boyvin after Rosso.<\/p>\n

Linzeler, 1932, 200-201, as Boyvin.<\/p>\n

Collijn, 1933, 27, no. 31, with bibliography, and list of collections that have these prints.<\/p>\n

Levron, 1941, 80, 287-295, as Boyvin although not signed and as after Rosso.<\/p>\n

For individual prints see LITERATURE below.<\/p><\/blockquote>\n\n\n\n\n\n\n\n\n\n\n\n
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\"RE.11,2<\/a>

RE.11,2 Boyvin?, Two Covered Dishes<\/p><\/div>\n

RE.11, 2. (Robert-Dumesnil, 172). Two Covered Dishes on High Bases, the One on the Left with a Bacchanal of Putti on the Lid, the One on the Right with Two Sleeping Satyrs and a Peeing Putto, 14.2 x 18.1 S (Vienna).<\/p>\n

Fig.RE.11,2<\/a> (London)<\/p>\n

COLLECTIONS: Amsterdam (De Jong and de Groot, 1988, 285, 632.2, as Boyvin after Rosso).\u00a0 Berlin, Kunstbibliothek, OS 1040.\u00a0 London, 1887,1010.14.2. \u00a0New York, 49.95.198 a and b (cut in two).\u00a0 Paris, Ed 3, in-folio, and Supp.n.rel.\u00a0 Stockholm, 111.\u00a0 Vienna, F.I.3, p.36c, no. 131.<\/p>\n

LITERATURE: Kusenberg, 1931, Pl. LVIII, upper left (Paris).<\/p>\n

RELATED DRAWING: Edinburgh, National Gallery of Scotland, D. 2566 (Fig.RE.11,2, Edinburgh<\/a>).\u00a0 Pen, brown ink and wash, over traces of black chalk, 14.4 x 9.2.\u00a0 Andrews, 1968, I, 154, II, Fig. 1069.\u00a0 This drawing of two halves of two dishes separated by a margin shows the left half of the right engraved dish and the right half of the left one, in the same direction as the print.\u00a0 However, a number of small details, such as the bald head of the seated figure at the lower left, indicate that the drawing was not copied from the print.\u00a0 It is very likely that the drawing was copied from two drawings that served as the model for the print.\u00a0 Graphically the drawing resembles that of the Design for a Covered Cup<\/em> inscribed: Leonard Thierry<\/em>, in the Victoria and Albert Museum (Fig.RD.22<\/a>).\u00a0 Andrews commented that the drawing resembles the table pieces attributed to Rosso and Thiry.\u00a0 Given its resemblance to the drawing in London, it would seem to be a copy of a drawing by Thiry.\u00a0 It should be noted that while the two dishes are exactly the same height in the engraving, in the drawing the left one – the right in the print – is larger because at the bottom the seated figure and the animal are considerably bigger.\u00a0 The change in the sizes of the dishes was probably made because the engraver wished to put them together in one print.\u00a0 Such alterations as appear in the print could have been made by someone in the engraver\u2019s shop when preparing from the original drawings the model from which the engraving was actually made.<\/p>\n

At the right of the drawing is the blurred depiction in chalk of a papal tiara.\u00a0 On the verso<\/em> is a drawing of a reclining River God (Fig.RE.11,2, Edinburgh verso<\/em><\/a>) with a papal tiara and a lion\u2019s head at its feet, set over an arch, the underside of which is ornamented.<\/td>\n<\/tr>\n

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RE.11,5 Boyvin?, Large Boat-Like Container<\/p><\/div>\n

RE.11, 5. (Robert-Dumesnil, 175). Large Boat-Like Container with a Lid Open Showing Folded Cloth Inside, 14 x 18.2 P (New York, 25.24.6).<\/p>\n

Fig.RE.11,5<\/a>\u00a0(London)<\/p>\n

COLLECTIONS: Amsterdam (De Jong and de Groot, 1988, 286, 632.5, Fig., as Boyvin after Rosso).\u00a0 London, 1887,1010.14.5.\u00a0 London, Victoria and Albert Museum, E.1027-1908.\u00a0 New York, 49.95.201 (inscribed in ink above center: acrvra<\/em>) and 25.24.6.\u00a0 Paris, Ed 3, in-folio, and Le.50.a.R\u00e9s., in-80.\u00a0 Vienna, F.I.3, p.136c, no. 134.<\/p>\n

LITERATURE:<\/p>\n

Hayward, 1963, I, 240, Fig. 1, 242-243, as Boyvin after Rosso.<\/p>\n

Ward-Jackson, 1967, Fig. 11, as Boyvin perhaps after Rosso.<\/p>\n

Zerner, in EdF<\/em>, 1972, 332-333, no. 438, ill. p.334 (Paris, Ed 3), as Anonymous, perhaps by Milan, suggesting as after Thiry, and questioned Levron\u2019s identification of it as a \u201cnef for napkins.\u201d<\/p>\n

Pope-Hennessy, 1985, 113, Fig. 38 (Paris), as Boyvin or Milan, probably after Rosso.<\/p>\n

Acton, in French Renaissance<\/em>, 1994, 315-317, no. 80, Fig. (Paris, Ed 3, vol. 2), as Boyvin or Milan, after Rosso or Thiry.<\/p>\n

RELATED DRAWING: B\u00e9rard Collection, no. 51 of 1891 catalogue.\u00a0 Pen and ink, 13 x 26.\u00a0 This drawing is mentioned by Levron, 1941, 62, no. 28, as a preliminary drawing for this print.\u00a0 The B\u00e9rard Collection was dispersed in 1891 (Levron, 1941, 61) and the present whereabouts of this drawing are unknown.<\/p>\n

Robert-Dumesnil (VIII, 1850, 78, n. 1) identified this object as a nef to hold the napkins of the King and Queen.\u00a0 This was questioned by Zerner.\u00a0 But the object does show some folded linen within it.\u00a0 Pope-Hennessy recognized it as a nef.\u00a0 Acton said it is certainly a nef, for ceremonial purpose and for persons of high rank, in which one placed napkins, knife and fork to protect from poison, hence the form of a ship untouched by storms.<\/td>\n<\/tr>\n

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RE.11,9 Boyvin?, Table Fountain<\/p><\/div>\n

RE.11, 9. (Robert-Dumesnil, 179). A Table Fountain with Two Scenes in Relief from the Story of Diana and Acteon, 14.1 x 18.3 (Vienna, F.I.3, p.36d).<\/p>\n

Fig.RE.11,9<\/a>\u00a0(Vienna)<\/p>\n

COLLECTIONS: Berlin, Kunstbibliothek, OS 1040.\u00a0 London, 1887,1010.14.9.\u00a0 Paris, Ed 3, in-folio.\u00a0 Vienna, F.I.3, p.36d, lower right.\u00a0 Dr. Vadim Cotlenko Collection (see below).<\/p>\n

LITERATURE:<\/p>\n

Thirion, 1971, 46, Fig. 44, 47, as Boyvin, implying as after Rosso.<\/p>\n

K. Wilson-Chevalier, in Fontainebleau<\/em>, 1985, 95-96, no. 44 (Cotlenko), as Boyvin after Thiry.<\/p>\n

Acton, in French Renaissance<\/em>, 1994, 319-320, no. 82, Fig. (Paris, Ed 3, vol. 2), as Boyvin or Milan after Rosso or Thiry.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

These nine prints, representing eighteen objects for table use, are all of the same size and manner of engraving and hence would seem to form a set, and as such they have been catalogued several times.\u00a0 Stylistically they are also very similar, and sufficiently so in so many details that it is most likely that all were designed by the same artist.\u00a0 Kusenberg\u2019s suggestion that that artist was Rosso was accepted by Levron and Hayward and thought to be possible by Thirion.\u00a0 However, this attribution has not always been recognized.\u00a0 Robert-Dumesnil made no mention of Rosso, nor of any other designer.\u00a0 Jessen, in 1920 (71), attributed them to Thiry, and Lieure, in 1928 (131), suggested Cellini.\u00a0 Barocchi, in 1950 (252), thought that except for an unspecified few their designs were closer to Cellini than to Rosso.\u00a0 Zerner, in 1972, again brought up the name of Thiry, indicating that Oberhuber, 1967-1968 (169), also made this suggestion, although the latter\u2019s comment on Thiry\u2019s decorative style is not made specifically about these prints.\u00a0 But Raggio, in 1974 (74), thought they reflected projects by Rosso.<\/p>\n

In 1568, Vasari (II, 211; Vasari-Milanesi, V, 170) reported that Rosso made such designs of objects for the table, which Francis I then had executed in silver; Vasari also stated (1568, II, 308; Vasari-Milanesi, V, 433-434) that Boyvin engraved them.\u00a0 However, none of the engravings bears Rosso\u2019s name, nor Boyvin\u2019s name or monogram, for that matter.\u00a0 Vasari may have heard that Rosso had made such designs and the prints, which for some reason he believed were related to Boyvin, would, in the style of the objects they represent, have affirmed for him they were designed by Rosso.\u00a0 But Vasari would not have been able to know if these designs were merely Rossoesque rather than actually by Rosso himself, as he probably would not have been in a position to know if the prints were actually by Boyvin himself.\u00a0 He thought the engravings were done after Rosso\u2019s death.<\/p>\n

There would seem to be no reason not to believe the report that Vasari probably had heard that Rosso made designs for table objects.\u00a0 No document specifically mentions him in this regard but one of 15 September 1537 (Laborde, 11, 1880, 234) records a payment to the goldsmith, Thibault Hotman, for the making of a \u201cvaisselle d\u2019argent\u201d as a gift of Francis I to the King of Scotland, James V, who married Francis I\u2019s daughter, Madeleine, in Paris on 1 January 1537.\u00a0 This object, very likely a wedding gift, may have been made late in 1536, although it could also have been made after the wedding, and it could have been designed by Rosso.\u00a0 That Rosso designed objects for Francis I\u2019s own table, as Vasari indicated \u2013 see L.51<\/a> \u2013 is suggested by a drawing inscribed with Rosso\u2019s name in St. Petersburg (Fig.D.49<\/a>), which seems to be a copy of a lost design by Rosso for a candlestick.\u00a0 It is decorated with salamanders, one of the King\u2019s devices (Kusenberg, 1931, 203, n. 259, stated that Florent Le Comte, in his Cabinet des Singularitez, III, Brussels, 1702, 9-11, mentioned that the table service designed by Rosso was used at the banquet given by Francis I on the occasion of Charles V\u2019s visit to Fontainebleau late in 1539, but whether or not this is a piece of information derived from a contemporary source is not known.)\u00a0 Of the eighteen objects of the engravings catalogued here, two – the two dishes with high bases (Fig.RE.11,4<\/a>) – are also decorated with salamanders.\u00a0 But they need not specifically reproduce designs by Rosso; they may only reflect the kinds of designs he made.<\/p>\n

Of all these engraved designs, only the two dishes with high bases come close to what might be expected of Rosso, as seems presented by the candlestick design in St. Petersburg, the draughtsmanship of which seems also to reflect his.\u00a0 But certain details of the dish with a high base at the right – the masks with their corrugated extended chins and the reliefs of cupid with bow and arrow and of a cupid embracing a figure – do not seem to indicate Rosso\u2019s decorative vocabulary as we know it from the Gallery of Francis I and from such a work as the Petrarch drawing at Christ Church (Fig.D.47a<\/a>).\u00a0 There is a mock pathos about the putti of the other dish that is not characteristic of his art.\u00a0 All the other designs of the other eight engravings are even further removed from Rosso\u2019s style in their high elaboration, in their naturalistic detail, and in their anecdotal individual figures and figured scenes.\u00a0 In spite of the obvious relation of the decorative language of these objects to Rosso\u2019s, their style is much more specifically related to what appears in Thiry\u2019s Story of Jason<\/em> designs, engraved by Boyvin (RE.15<\/a>).\u00a0 So close are they, in fact, that it can be suggested with some confidence that these engraved designs are based on drawings by that Flemish follower of Rosso, as proposed also by Kathleen Wilson-Chevalier (see first LITERATURE above).\u00a0 He seems also to be the author of the two dishes with high bases and the other three dishes that accompany them for the same reason and because of a certain doleful quality of their figures that is quite unlike Rosso\u2019s mordant expressiveness.<\/p>\n

That the designs of these objects very probably reflect the kind that Rosso invented cannot be altogether ignored but in these prints whatever is derived from Rosso has been reformulated by a quite different imagination.\u00a0 However, it must also be recognized that even Thiry\u2019s designs may not be absolutely faithfully reproduced in these engravings.\u00a0 The evidence of the Edinburgh drawing related to the Two Covered Dishes on High Bases<\/em> indicates that even his drawings, if they were used as models, could sometimes, at least, be modified because of the exigencies of turning them into prints.<\/p>\n

Because they bear neither Boyvin\u2019s name nor monogram Levron catalogued these engravings as products of his shop.\u00a0 Zerner preferred to recognize them as by an anonymous engraver but suggested that they could be by Milan because he is known to have made prints of such objects.\u00a0 Metman (1941, 206) did list some such prints engraved by Milan before 25 October 1549: \u201cVingt-quatre vases en 4 planches\u201d and \u201cdeux flacons.\u201d\u00a0 But these references cannot be specifically related to any known prints.\u00a0 As it is very likely that it is the nine prints catalogued here, or some of them, that Vasari knew or had heard of as by Boyvin, it is reasonable, until certain evidence to the contrary is forthcoming, to continue to associate them with that engraver.<\/p>\n

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<\/a>1<\/sup> Robert-Dumesnil, VIII, 1850, 70, 142 (Fig.Pitcher with Apollo<\/a>), Paris, Hd 101, in-folio, p.43, no. 8.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Nine engravings by Ren\u00e9 Boyvin?, for measurements see impressions below.\u00a0 Inscribed (except the ninth, Robert-Dumesnil, 79, 179) in the middle at the bottom: Cum priuilegio Regis.\u00a0 The appearance of numbers on some of the impressions of these prints in New York would seem to indicate a second numbered state of this series. Robert-Dumesnil, VIII, 1850, […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":1357,"menu_order":211,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-7297","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/7297","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=7297"}],"version-history":[{"count":31,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/7297\/revisions"}],"predecessor-version":[{"id":7465,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/7297\/revisions\/7465"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/1357"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=7297"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}