THE ART OF COPYING IN EARLY MODERN EUROPE

Fees are subject to change. This book is printed on acid-free paper and produced in a sustainable manner.. 3565 7-9 4 0/ B93 1 4:8 2 9B6 9 D to Caterina ∵ .

The Art Book, 2004

Rome, Bibliotheca Hertziana, 10.–12.05.2023 Gernsheim Study Days: Accident or Strategy. The Collecting of Drawings in 16th and 17th Century Italy With the overriding question of whether collectors purchased strategically or amassed drawings by accident, the Gernsheim Study Days at the Bibliotheca Hertziana in May 2023 will examine the full breadth of this early moment in the history of collecting works on paper.

Nordic Journal of Renaissance Studies (https://www.njrs.dk/njrs_21_2023.htm ), 2023

Early modern authors took a keen interest in inscriptions, including the Latin examples in Medici Florence. Guidebooks quoted famous texts, travellers to Florence recorded inscriptions that they saw in the city, and the editors of collections of famous epitaphs or notable inscribed verses included plenty of Florentine examples. This article examines which texts these authors chose to reproduce and what attracted them: their selection celebrated the cultural achievements of fifteenth-century Florence at the expense of later examples, and at the expense of the Medici family who did so much to promote themselves using this medium.

Metropolitan Museum Journal, 2002

LORENTINES OF THE late fifteenth century went to the establishment of Francesco Rosselli (1448-1508/25), in his day the principal engraver of the city, to purchase series of prints that he engraved and published. As frames for these prints, Rosselli offered printed border segments, several to a sheet. The purchaser could then cut out and arrange these border segments around the images, supporting the whole framed scene on a backing. Only three examples of uncut sheets of borders by Rosselli are known to have survived to the present day. Two are in the collection of The Metropolitan Museum of Art (Figures 3, 4); the third is in the Cabinet Rothschild in the Musee du Louvre, Paris (Figure 2). Each is printed from a different plate. These three sheets were first published by Arthur Hind in 1910 and were later illustrated in his magisterial Early Italian Engraving (1938).1 A few fragments from these, or similar, border sheets also survive. This essay calls attention to one of these fragments, also in the Metropolitan Museum, which resembles but is not identical to a segment in one of the known sheets, and offers a few observations about these works. Francesco Rosselli's family, including his older brother Cosimo, the painter, was thoroughly grounded in the artistic life of Florence. During his career Francesco engraved more than one hundred

Making and Unmaking Intellectual Property, ed. M. Biagioli, P. Jaszi, M. Woodmansee, 2011

The Burlington Magazine, 2010

The article discusses two disputes that took place in Bologna in the late seventeenth and early eighteenth century over the copying of Alessandra Tiarini's Rest on the Flight into Egypt and Guido Reni's Massacre of the Innocents.

2018

Beknopte catalogus van de middeleeuwse handschriften in de Universiteitsbibliotheek te Gent verworven sinds 1852, 50 pp., Werken uitgegeven door het Rectoraat van de Rijksuniversiteit, 29 (Ghent: Rijksuniversiteit, 1971). 38. "Enkele beschouwingen over de restauratie van handschriften archaeology of the manUscript book of the italian renaissance