RECENT ACQUISITIONS
- Dürer, The Death of the Virgin
- Dürer, The Virgin with the Swaddled
- Krug, Madonna and Child
- Beham, Christ Bearing the Cross
- Beham, Cimon and Pero
- Beham, Triumph of the Noble
- Lautensack, Landscape
- Goltzius, Pietà
- Muller, Cleopatra
- Muller, The Fight
- Callot, La Petite Place de Sienne
- Bosse, Le Pâtissier
- Rembrandt, Christ and the Woman
- Rembrandt, The Goldsmith
- Della Bella, The Five Deaths
- Della Bella, Death on the Battlefield
- Falck, Vanitas (Old Coquette)
- Cantarini, St. Anthony of Padua
- Vauquer, Ornament Plate
- Everdingen, Four Mineral Springs
- Canaletto, Imaginary View of Venice
- Hogarth, Two Receipts
- Le Bas, Repas Italien
- Frye, Life-Sized Heads
- Piranesi, Veduta del Porto
- Piranesi, Veduta del Ponte
- Tiepolo, The Four Evangelists
- Dambrun, La Partie de Wisch
- Lafitte, An Amorous Couple
- Gericault, Horses Going to a Fair
- Cruikshank, “Charing Cross?”
- Decamps, Les Mendiants
- Callow, Bologna
- Malardot, La Pêche
- Malardot, Two Peasants
- Bracquemond, Le Haut
- Whistler, Annie, Seated
- Whistler, Thames Police
- Whistler, Thames Warehouses
- Carrière, Self Portrait
- Devambez, Quai de Métro
- Haskell, Caricature of Whistler
- Barlach, Die Wandlungen Gottes
- Laboureur, January in the Omnibus
- Laboureur, La Halte des Bohèmiens
- Bellows, The Black Hand
- Blampied, Nursing the Baby
 |
8. Hendrick Goltzius (1558-1617) Pietà |
 |
(click on image to print)
Pietà
Engraving, 1596, 184 x 126 mm., Bartsch 41, Hollstein 50 ii/ii, Strauss 331 ii/ii. A fine impression with a range of tone, on laid paper with a PM watermark, trimmed just inside the plate mark but with a narrow white border outside most of the image and, unusually, with the blank lower plate margin; thin spots, mostly at the corners and with tiny flaws at the lower right corner of the image and pale brown marks in the lower plate margin. The work is one of several, highly successful attempts by Goltzius to produce a “Dürer,” and the work, despite the Goltzius monogram, was originally taken by many collectors to be an actual Dürer engraving. Certainly, if one looks again at Dürer’s Virgin with the Swaddled Child (No. 2 in this exhibit), one is drawn to the (mistaken) belief that both are the work of a single artist.
