Bartsch, vol. XIV, pag. 132, n. 327; The Illustrated Bartsch, vol. 27, pag. 2, n. 327 (247)
Provenance: Paul Davidsohn (Lugt 654); sale C. G. Boerner, Leipzig, 22-26 November, 1920, lot no. 2157, as Prachtvoller Abdruck eines schönen Blattes…; Coll. Dr. F. Lieberg (Lugt 1681 bis); initial P in pencil, van Puten? (Lugt 2058); Coll. Dr. Albert W. Blum, sale Sotheby’s, New York, 27, February 1988, lot no. 1050.
Another really fine impression of this print, but trimmed at one side, is at the Ashmolean Museum (WA1863.1739).
The drawing from which the engraving is taken is kept at the Albertina (inv. No. 27), freely drawn from the frescoes of the Farnesina, and has been attributed to Giulio Romano.
A superb impression of this rare engraving richly inked and with velvet tones in the darkest areas. Printed on laid paper with watermark Balance in a circle, (Cfr. Briquet 2573, dated c. 1503), with the design shining through the verso, characteristic of the early impressions
In fine condition; the platemark almost always visible, light traces of fold, appreciable only on the verso.
Marco Dente da Ravenna, usually just called Marco Dente, was an Italian engraver born in Ravenna, member of a patrician family. He was a prominent figure within the circle of printmakers around Marcantonio Raimondi in Rome. Dente was likely an apprentice alongside Agostino di Musi, he and Agostino formed the first generation of Marcantonio's school of reproductive engraving. However, between the two artists, Dente was considered to have come closest to mastering the technique. Dente specialized in the printed reproduction of the works of ancient statuary and, like Marcantonio, of the paintings of Raphael.