40 YEARS 40
our fortieth-anniversary show
our fortieth-anniversary show
- French School, Adoration of the Shepherds
- Mantegna, Bacchanal with a Wine Vat
- Robetta, Adoration of the Magi
- Dürer, The Virgin with the Infant Child
- van Leyden, St. Francis of Assisi
- Altdorfer, Dido
- after Raphael, Raphael and His Mistress
- Pencz, The Taking of Carthage
- Brosamer, Nude Woman in Profile
- Barocci, Madonna and Child in the Clouds
- Zucchi, Design for an Ornate Ceiling
- Goudt, Tobias with the Angel
- Della Bella, Le Reposoir du Saint Sacrement
- Rembrandt, Woman Sitting Half-Dressed Beside a Stove
- Challe, Fantasy Capriccio of a Roman Palace
- Piranesi, St. Peter’s
- Bonet, The Lady ta King Coffee; The Milk Woman
- Goya, Felipe IV, Rey de España
- Meryon, Saint-Etienne-du-Mont, Paris
- Whistler, Thames Police
- Manet, Queue Devant la Boucherie (Siège de Paris)
- Doré, Children’s Ward in a London Hospital
- Buhot, La Maison Maudite
- Guérard, Eventail: Oiseaux dans les Roseaux
- Rivière, La Village de La Chapelle
- Auriol, Bois Frissonnants
- Lepère, Les Laveuses (Les Blanchisseuses)
- Toulouse-Lautrec , La Troupe de Mademoiselle Eglantine
- Cezanne, Self Portrait at the Easel
- Sloan, Turning Out the Light
- Goodwin, Durham with the Cathedral
- Villon, Musiciens Chez le Bistro
- Kollwitz, Selbstbildnis
- McBey, Farm Scene at Hatford
- Beckmann, Umarmung (Embrace)
- Drewes, The City (Carcassonne)
- Sutherland, Number Forty-Nine
- de Chirico, Scuola di Gladiatori II
- Friedlander, 3 A.M.
- Marsh, Coney Island Beach
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3. Cristofano Robetta (1462-after 1522) Adoration of the Magi |
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(click on image to print)
Adoration of the Magi
Engraving, 296 x 271 mm., Bartsch 6, Hind 10; ex collection: unidentified partial large stamp. Fine, later impression on laid paper trimmed on the platemark, which is visible in places, and with a narrow white margin outside the borderline all around. The plate is among the most monumental of Italian early sixteenth century engravings. Although some contemporary impressions are known, the majority of those seen are, like this one, late, probably of the later eighteenth century. The printing here is meticulous and there seems no evidence of any degradation of the plate. The original plate itself is in the British Museum.
