Date of Printing: 1678• Medium: Copperplate Engraving (hand colored) • Subject Category: Mythological • Signed: Plate signed, Lower Left • Period Created: Baroque (1600 - 1699)• Plate Size HxWxD cm: 32 x 20.5 • Leaf Paper Size HxW cm: 37 x 24 • Style: FOLIO Original Vintage • Print on Verso: Blank on verso • Condition: Excellent • Edition Type: 1st Edition - Limited • Paper Type: Laid Paper • Framed: Print only
The portrayal of the Antinous of the Belvedere in the first volume of the Teutsche Academie (see TA 1675, I, book 2 (sculpture), Plate d (p. 26)), is here revealed with its famous missing arm, in Sandrart's first version of his Antinous. This he would again return to in another depiciton of Antinous (please see our print no. 104) in which he includes the missing hand.
The fact that Sandrart drew the statue so often can be explained by the fact that Sandrart, according to his own statement, possessed a plaster model of the figure; S. Mazzetti di Pietralata 2011, p. 158 f., To cat.-no. 141st
The differences to the previous engraving is striking: the sculpture is shown not only on the same side, but also from a different angle, which is strongly influenced by a more complex landscape background. Furthermore, the sculpture is depicted with a complemented right arm, missing from his previous version.
The basis of this transfer of world culture was the Berliner Hof u.a. The "Teutsche Akademie", published by painter and art scientist Joachim von Sandrart in the 1670s. The work, whose third volume was devoted to the prince of the then Friedrich Wilhelm and later King Friedrich I, contained a collection of copper engravings of important sculptures and structures. Some of the sculptures created by Schlüter in the court rituals are based on the engravings of Sandrart
At bottom: "cum privil S.C.M" (sculptor) and R. Collin, Antwerp. Collin would have been the engraver, after Sandrart's direction.
Excellent condition, with some slight foxing at outer right side.