Sixteenth Century Northern Engraving & Etching
- Master MZ: Aristotle and Phyllis
- Dürer: Virgin & Child
- Dürer: Virgin & Child Crowned
- Dürer: Frederick the Wise
- Dürer: Saint Philip
- van Leyden: Triumph of David
- Zundt: Arrest of Baumgartner
- Hopfer: Charles V
- Beham: The Expulsion
- Beham: Mask Held by 2 Genii
- Beham: Mask Held by 2 Genii
- Brosamer: The Lute Player
- Pencz: Artemisia Preparing to Drink
- Pencz: Johann Friedrich
- Monogrammist CP : Dido
- Aldegrever: Dagger Sheath Design
- Aldegrever: Ornament with a Bat
- Hirschvogel: David's Triumph
- Hirschvogel: The Defeat and Death
- Claesz: Allegory with a Woman
- Massys: Two Crippled Musicians
- Cock: Colossaei
- Cock: Landscape with a Castle
- Ladenspelder: The Four Evangelists
- Brun: Two Turkish Men
- Suavius: Saint Paul Seated
- Delaune: Combat of the Centaurs
- Davent: Alexander Mastering Bucephalus
- Davent: Un Marais
- Thibaud: Hagar Gives Ishmael a Jug
- Woeiriot: Battaile de Constantin
- Galle: Solomon Building
- Sadeler: St. Paul at Corinth
- Wierex: Henry III
- Goltzius: Arnoud van Beresteyn
- Goltzius: Mercury and Argus
- Goltzius: A Young Man
- Collaert : January
- Collaert : Musical Celebration
- Collaert: David Playing the Harp
- van de Passe: Christian IV
- Muller: Belshazzar's Feast
28. Leon Davent (fl. 1540-to 1565) after Francesco Primaticcio Alexander Mastering Bucephalus |
(click on image to print)
Alexander Mastering Bucephalus
Etching, ca. 1546, Bartsch XVI-314-12 i/ii, Zerner L.D. 50 i/ii, Herbet 75 i/ii.
Provenance: Hyatt Mayor (not in Lugt).
Very fine impression of this superb and rare etching, showing the vertical polishing scratches and printing drily only in a small area at the bottom, on laid paper with the watermark of a bunch of grapes, trimmed along or just inside the oval platemark but with ample blank plate margin outside the etched borderline. The plate is signed with the etched monogram and with the designation Bol, for Bologna, the alternative designation for Primaticcio on whose design the print is based. The composition exists in painted form by Primaticcio in the chamber of Mme. d'Etampes at Fontainebleau, but Zerner states that Fontainebleau etchings, in general, were made after drawings, probably preliminary drawings, rather than from the paintings.