Arthur M. Hind: List of Impressions
|Slightly shortened and edited extract from pages 228-233 from Arthur Hind: Early Italian Engraving 1. Marks in red points to contents, which are added or which can be recognized as relevant for the research situation in 15th century. Hind's list is not complete in regard to the uptodate research situation.
(additional notes to the London engravings, the first in the list)
Dimensions: about 178-180 x 99-101 (plate) and about 176-178 x 97-98 (border, and foot of plate below), No. 24 is the only one with a border-line at the foot above the lettering, and in this case the dimensions to borderline are 173x98.
States: No impressions are known showing differences of states, or later rework,
Watermarks: 18 (London; Pavia); 46 (London); 54,76 (Paris, Cleveland)
Nail Holes: All the impressions known show the marks of four nail holes at the corners of the borders, and their purpose is by no means certain. In a long and uniform series , such as the present, it is probable that the plateswere engraved for economy on both sides, and Kollloff was possibly right in thinking that the purpose was attachment to wood to protect the other side of the plate while the engraver was at work.
Collections with complete series are given first; then follow others in order according to their number of their impressions.
- London. Nos. 1-50 (from Seratti, Ottley, Galichon and Malcolm) When acquired by the Museum in 1895 they were in an old leather volume with Count Seratti’s book-plate. They are now separately mounted. Very fine impressions with wide margins. Light bluish green ink, touvhed with gold.
- London (R.A.) Nos. 1-50 (from Cumberland) ; see G. Cumberland, Catalogue, 12827, p. 51). Early impressions, touched with golds (No. 22, without gold, is from another set); cut close, considerably rubbed and discoloured; some impressions torn.
- Paris. Nos. 1-50. Fine impressions in greenish brown ink; partly touched with gold. In book form; original XV century vellum binding. The page measures 213 x 149. The book is put together in a single gathering. Two plates are printed on each folio, the prints on each folio, the prints in the first half of the book occurring in the r. hand page, in the second half on the l. hand, and the middle opening being blank.
- Pavia. Nos 1-50. Very fine old impression . Very fine early impression, greenish brown in tint. In book form; red leather binding of the late XVI or early XVII century. The page measures 200x145. The volume put together in the same form as the Paris volume. From the collection of Don Mauro Boni.
- Rothschild. Nos. 1-50. Good impressions in light bluish tint. Duplicates from the British Museum (after acquisition of the Malcolm series in 1895).
- Florence Nos. 1-50
- Florence (Magl.E.6.7.17). Nos. 1-50. Cut. Pasted in book.
- Naples (Vol. 277). Nos. 1-50. In book form. Greenish impressions.
- Cleveland. Nos 1-50 (from Stroganoff). Weak, but early; partly covered with gold; wide margins.
- Oxford. Not 2-7, 7, 24-26, 35, 38 (from Douce). Weak impressions. Nos. 3,4,6-8,10-13,17,21,25,26,31,38,40,45,50 (from Brantwood, sale at Sotheby’s 1 June 1931). Fair impressions.
- Oxford (Rusking Drawing School). Nos 1,2,5,9,14-16,18-20,22-24,27-30,32-37,39,41-44,46-49. Fair impressions. Completing the series , originally belonging to John Ruskin, with those purchased by the Ashmolean in 1931.
- Vienna. Nos 2-50. Variable in quality, some showing plate mark, others cut close; some grey, others more greenish-grey in tone(those in the latter tone in stouter paper and touched with golds).
- Hamburg. Nos 1-40, 42-50. Probably from two sets, the better variety being coloured with gold and showing margins (i.e. Nos 2,4-8,10,11,14-18,20-22,24,27,30,33-37,43,46).
- Boston. Nos. 2-25,27-50. A mixed series, mostly showing plaste mark, some with gold.
- Chantilly. Nos. 1-4,6-50. In book form. Bound in red morocco. The page measures 275x140. The book is put together in a single gathering, all the plates being printed on the r. hand page.
- Chicago Nos. 1-8,10-25,27-50 (from J.P.Heseltine coll. Potter Palmer gift.
- Crawford. Nos. 2,3,5-7,9-12,14-19,21-25,28,29,32,34,36,37,40,42-44,46,47,50 (from Fairfax Murray)
- Darmstadt. (Nos. 1.2.4,7,8,10,19,20,22,23,28-33,41-44,46-50.
- Rosenwald (Philadelphia) Nos. 2-8,10,11,21,22,24-28,30-32,34-37 (all except Nos. 11,32,35 and 36 from Dresden, F.A.)
- Manchester (Whitworth). Nos. 17,18,20,22,30,39,48,49
- Herschel V. Jones family (Minneapolis). Nos. 18,21,30,33,37,42 (Nos. 18,30 and 33 Vienna duplicates).
- St. Gallen (Ms, Fior de Virtu, 1468). Nos 34 (at f. 86), 35 (at f.50), 36 (at f.75), 37 (f.60,v) the crane from from 37 (at f.64,v)
- New York (Public Library), Nos. 33, 35-37, 48.
- Dresden. Nos. 17,30,38,40.
- Ottawa. Nos 16,25 (B.M. duplicate), 29
- Zürich. Nos. 15,30,44.
- Baltimore. Nos 2,15 (Vienna duplicate), 48
- French (Cincinnatti). Nos. 17 (Vienna duplicate), 48
- New York, Nos 18,33
- Washington. Nos 26, 31 (from Gardiner Greene Hubbard).
- Harvard. Nr. 14 (from Gray).
- Karlsruhe. Nr. 40.
- Morgan, Miss Agnes (Cambridge, Mass.), No. 19 (from Sachs collection)
- Walker, John (Pittsburgh, Pennsylvania). Nos. 34 (from Sachs collection)
(additional notes to the Chatsworth engravings, the first in the list)
Dimensions: about 173-175 x 94-95 (plate) and about 171-173 x 92-94 (border)
States. The only differences appear in the rework which was apparently done at a fairly early period, probably in the XVI century. Impressions in the British Museum showing rework are Nos. 4,5,29,35,37-42,44-47. Nos. 39 is the most heavily reworked. The British Museum has both early and reworked impressions of Nos. 44-46, which offer good opportunity for comparison. The rework chiefly consists of heavy reinforcements of the outlines and ather principal lines of the design, the delicate shading being largely left in its worn condition.
Watermarks: None found.
Collections with complete collections are given first; then follow others in order according to the number of their impressions.
Early Copies in various Forms.
- Chatsworth. Nos. 1-50. Very fine early impressions in dark greenish grey ink.
- Rothschild. Nos 1-50. Fair early impressions with wide margins.
- Vienna. Nos 1-50. Very good impressions in greenish black ink, all showing the plate marks exept No. 45, which is in greyer ink, from another set and inscribed G. Storck.
- London. Nos. 2-48. Rather late impressions. Also duplicates of Nos. 8,44, 45 and 46 in good early impressions.
- Dresden. Nos. 2-49
- Crawford. Nos. 3,4,6,8,10-48. Impressions in light coloured ink.
- Harvard. Nos. 12,16,18,19,23,34,35,38,39,41,43,44.
- Boston. Nos. 2,16,19,22,23,28.
- Hamburg. Nos. 12,13,38,41-43.
- Rosenwald (Philadelphia). Nos. 17 (from A. Morrison), 47,48.
- Berlin. Nos. 30,34.
- New York. Nos. 7,22.
- Swope (St. Louis). Nos. 41,49.
- Washington. Nos 22,26.
- Zürich. Nos. 13,30.
- Cambridge. No. 11.
- Detroit. No. 25
- French (Cincinnatti). No. 44.
- Manchester (Whitworth). No. 29.
- Ottawa. No. 27 (cut)
- Rotterdam. No. 19 (from Firmin Didot and Louis Galichon).
- Anon. Probably XV century,. Trivulzio, Milan. Codex 2143 (Codice delle Sybille). There were fragments of early pen copies from some of the Tarocchi (e.g. No. 11, Calliope, and No. 17 Melpomene) on the old guarde paper. The volume was probably bound in the late XV or early XVI century. The prints in the volume are now dispersed.
- Anon. XV century Pen copies of the series from the S series, (1) King, copied from Apollo, No. 20; (2) Emperor, copied from Emperor, Nr. 9. The Emperor slightly touched with colour. In the blank spaces within borders of the copy of Petrarch, Libro degli uomini famosi, Pojano 1476 (Hain 12808) in the Henry Walters collection, Baltimore. See Descriptive catalogue of the books printed in the XV century in the library of Henry Walters, Baltimore 1906, p. 312. (This is probably the volume referred to by Kristeller, Mitteilungen, 1907, p.5, as in the hands of Jacques Rosenthal in Munich.)
- Dürer .... (shortened: Hind knows 20 pictures of Dürer at 4 different locations)
- Hans Ladenspelder. B.xiii.138, Copies B. Line engravings. Fairly close copiesfrom the E Series, in the same direction as the originals. London (lacking 26 and 50); Paris (lacking 43,44,50); Ocford (lacking 25,26,43 and 49); Berlin (only Nos. 24,25,26,28,29,30,32,39,40,41,44).
- Bologna, Archivio di Stato. Constituzioni e Privilegio dello Studio Bolognese. MS of 1467. After No. 9 (Emperor) and No. 10 (Pope, the Emperor certainly from the E series (Nos. 11-20).
- Lazzarelli manuscript ...... (shortened)
- Liechtenstein. Plate, with figure after Nr. 34 (Temperance).
- Pierpont Morgan (formerly). Dish with figure based on Nr. 32 (Chronico) in same directionas E series.
- Victor and Albert Museum, London. Caffigiolo dish, c. 12127-1910 (Salting Collection), with figure after 28 (Philosophy). Probably after the E series. ---- Faenza Drug-Jar, about 1540, c. 2108-1910 (Salting Collection), with figure probably after Nr. 28 (Philosophy).
- Widener Collection (Philadelphia). Gubbio dish (attributed to Maestro Giorgio, c. 1520-30), with figure after No. 19 (Clio) (from the collection of Sir >>Francis Beaufort Palmer, Burlington Fine Arts Club, Exhibition of Picturesand other works od Art, 1910, p. 48).
- Roman School, attributed to Lysippus. Medal of Fabrizio Varano, as pronotary apostolic. The design on the reverse after Nr. 18 (Euterpe) and in the same direction to the E series. The medal must date before Varano was made Bishop of Camerino, i.e. between 1471 and 1482. G.F. Hill Corpus of Italian Medals of the Renaissance, 1930, No. 818.
(Editor's note: Fabrizio Varano is a friend of Ludovico Lazzarelli)
- Victoria and Albert Museum, 428-1889. Painted ceiling from an old house in the Via Belvedere, Cremona. About 1500. Apollo and the Seven Muses, with reminiscences of the Tarocchi most clearly seen in relation to Nos. 12 (Urania), 14 (Erato), 15 Polyhymnia) 18 (Euterpe), 19 (Clio).
- Bologna, Museo Civico, 615. Relief with figures after Nos 1 (Beggar) and 5 (Gentleman).
- Milan San Ambrogio. Wood carving in the choir; the eight seat on the left. After No. 1 (Beggar).
- Michel Wolgemut. Copies of adaptations of Nos. 11,12,13,15,17,18,19,22,27,28,29,42, in the series of cuts made for an unpublished work, Peter Danhauser Archetypus Triumphantis Romae, between the years 1493-97. See Valerian von Loga, Beiträge zum Holzschnittwerk M.W.s Pr. Jahrbuch, XVI, 236.
- Hans Burgmair, the Elder. Adaptations of details from E series Nos. 8, 25, 39, 42 and 47 in his Planets (Bartsch 41-47) and Virtues (B. 49-54).
- Lübeck 1519. Mercury and Saturn. The Mercury follows the Burgmair print in reverse . See: A Warburg, Über Planetengötterbilder im niederdeutschen Kalendar von 1519. Erster Bericht der Gesellschaft der Bücherfreunde zu Hamburg, 1910 (reprinted in Warburg, Gesammelte Schriften, Leipzig 1932, ii, pp. 483 and 645).