Birds
Birds have long been a source of artistic inspiration.
MASTER OF THE DIE (ACTIVE 1530-60)
Three Putti Playing with an Ostrich
c.1530-35RCIN 853318
A print from a series of four engravings reproducing the composition of four tapestries from a twenty-piece set known as the ‘Giuochi di putti’, most likely designed by Giovanni da Udine (perhaps with Raphael's involvement in its conception) and woven in Flanders for Pope Leo X. Not in Ruland (1876). Pasted to backing sheet. Late state. Signed with engraver’s monogram (a die with the letter B, lower right). Lettered with attribution of the design to Raphael and Antoine Lafréry’s address. The inscription 'Tapezzerie del Papa' was added in occasion of the 1602 re-issue of the series by Giacomo Orlandi (whose address has been scratched off).
According to Massari (in Raphael Invenit 1985), the series dates to c.1532. Two impressions described as second states at RCINs 853316, 853317. The three other engravings from the Master of the Die’s series can be found at RCINs 853313, 853319, 853321. For further discussion about the ‘Giuochi di Putti’ tapestry set, see Bibliographic References.
According to Massari (in Raphael Invenit 1985), the series dates to c.1532. Two impressions described as second states at RCINs 853316, 853317. The three other engravings from the Master of the Die’s series can be found at RCINs 853313, 853319, 853321. For further discussion about the ‘Giuochi di Putti’ tapestry set, see Bibliographic References.
Bibliographic reference(s)
Raphael Invenit 1985 : G. Bernini Pezzini et al., Raphael Invenit. Stampe di Raffaello nelle Collezioni dell'Istituto Nazionale per la Grafica, Rome, 1985
pp.137-8, no.II.2 (entry by Stefania Massari)Cordellier/Py 1992 : Raphael : son atelier, ses copistes, 1992 / par Dominique Cordellier et Bernadette Py, Paris (Inventaire general des dessins Italiens ; V / sous la direction de Francoise Viatte)
pp.606-11Tapestry in the Renaissance 2002 : Tapestry in the Renaissance. Art and Magnificence, ed. Thomas P. Campbell, The Metropolitan Museum of Art 2002
pp.229-33
