The Last Supper

Name: MARCANTONIO RAIMONDI (1480-1534) AFTER RAPHAEL (1483-1520)
Brand: The Last Supper
Price: 6000.00 GBP
Availability: SoldOut

Price Realised GBP 7,500

Estimate

GBP 2,000 - GBP 3,000

Closed: 28 Jan 2021

Loading details

Try our

MARCANTONIO RAIMONDI (1480-1534) AFTER RAPHAEL (1483-1520)

The Last Supper

Price Realised GBP 7,500

Closed: 28 Jan 2021

Price Realised GBP 7,500

Closed: 28 Jan 2021

Details Lot Essay Related Articles More from

MARCANTONIO RAIMONDI (1480-1534) AFTER RAPHAEL (1483-1520)
The Last Supper
engraving, circa 1515, on laid paper, watermark Crossbow in Circle surmounted by a Star (Woodward 215, circa 1557), a very good impression of this rare and important print, first state (of two), some defects and repairs
Sheet 287 x 434 mm.

Christie's, London, 24 April 1985, lot 230.
Eric G. Stanley (1923-2018), Oxford; acquired from the above sale (through Artemis Fine Arts, London).

Bartsch 26; Delaborde 17; Shoemaker 30
See E. H. Wouk & D. Morris (eds.), Marcantonio Raimondi, Raphael and the Image Multiplied, Manchester, 2016, no. 42, p. 182-4 (another impression illustrated).

Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.

Conditions of Sale
FAQs
This lot is offered by Christie Manson & Woods Ltd

Brought to you by

Stefano FranceschiSpecialist

A Christie's specialist may contact you to discuss this lot or to notify you if the condition changes prior to the sale.

sfranceschi@christies.com +44 (0) 20 7752 3103

Lot Essay

According to Emison (2016), the for Marcantonio's engraving may have been designed by Raphael in consultation with Leonardo da Vinci before he left Rome for France in 1516. Leonardo may have lamented the poor quality of the early anonymous engravings depicting his fresco of in Santa Maria delle Grazie, Milan (see Hind, Vol. 5, no. 9-11). However, Raphael's approach to the subject differs somewhat from that of Leonardo's: the figure of Christ is almost perfectly centred within the architecture and the landscape that can be glimpsed outside in the background. The window itself is in Bramante's style, instead of da Vinci's three windows in the manner of Sebastiano Serlio. Unlike Leonardo, Raphael also chose not to arrange the apostles in triplets, and his Judas - almost grotesquely - seems to wink seductivly at the viewer. This composition, ', must have been enormously succesful: Delaborde recorded at least six copies of this plate. There is a debate amongst scholars whether the version by Marcantonio's pupil Marco Dente may predate the present one. It may well be that the pen and brown ink drawing attributed to Raphael (Royal Collection, Windsor Castle; inv. no. RL 12745) was in fact the modelfor both engravings.

See P. Emison, in E. H. Wouk & D. Morris (eds.), , Manchester, 2016, no. 42-43, p. 182-4.