Master of the Die, Neighboring River- Gods Consoling Peneus on the Loss of His Daughter

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Master of the Die, Gravure, Neighboring River- Gods Consoling Peneus on the Loss of His Daughter

Master of the Die Gravure Signé, Neighboring River- Gods Consoling Peneus on the Loss of His Daughter

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Artiste:	Master of the Die (1525 - 1560)
Titre:	Neighboring River- Gods Consoling Peneus on the Loss of His Daughter
Moyen:	Gravure
Taille d'image:	8 1/2 in x 7 in (21.6 cm x 17.8 cm)
Taille de feuille:	8 5/8 in x 7 1/8 in (21.9 cm x 18.1 cm)
Taille encadrée:	24 7/8 in x 23 1/4 in (63.2 cm x 59.1 cm)
Signé:	Signed in the plate with Master of the Die monogram in the lower right corner.
Edition:	This work is the fourth plate from a set of four works created after Giulio Romano [actually after Peruzzi].
Condition:	his work is in very good condition
Prix: Article# 3023	Vendu. Please visit the rest of our Master of the Die fine art collection

Description historique:
Conveyed in a state of mourning, Peneus rests on his side and leans his head against his hand as his fellow river gods pour water upon him in an attempt at consolation. This work is the fourth plate from a series of four works in which The Master of the Die depicts the tales of Apollo, Daphne, and Peneus, all of whom are inextricably linked. According to legend, Apollo, upon being shot by Cupid's arrow, falls irrevocably in love with Daphne. Daphne, who does not return his affection, prays to her father Peneus to save her. Peneus, in turn, transforms her into a laurel tree in order to rescue her from Apollo's lust. The Master of the Die here depicts the aftermath of Daphne's transformation. Peneus appears heartbroken, lying amidst flowing water that undeniably resembles Daphnes long, flowing hair. The Master of the Die creates a sense of depth and perspective, depicting Peneus in the foreground while, in the background, a winged God in the sky welcomes a female figure, perhaps Daphne, into the heavens. This work is the fourth plate from a set of four works created after Giulio Romano [actually after Peruzzi]. This work is signed in the plate with the Master of the Die monogram in the lower right corner. This artist can be understood in relation to his contemporaries Albrecht Durer, Raimunid, Beham, Northern European artists, and artists of the Italian Renaissance. Documented and Illustrated in: 1) Bartsch. The Illustrated Bartsch Vol. 29. Edited by Suzanne Boorsch. New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 22 - I (another example illustrated) on page 179. About the Framing: Conservation framed with museum quality archival materials, this work is float mounted on cream linen in an ornate black and aged gold frame. The brilliant gold of the moulding accentuates the contrasting tones in this piece. The delicate sculptural rounded leaf forms compliment the natural lines and forms in this work. Completed with a matching gold inner fillet, this work is set behind an archival Plexiglas cover.

Description historique:

Conveyed in a state of mourning, Peneus rests on his side and leans his head against his hand as his fellow river gods pour water upon him in an attempt at consolation. This work is the fourth plate from a series of four works in which The Master of the Die depicts the tales of Apollo, Daphne, and Peneus, all of whom are inextricably linked. According to legend, Apollo, upon being shot by Cupid's arrow, falls irrevocably in love with Daphne. Daphne, who does not return his affection, prays to her father Peneus to save her. Peneus, in turn, transforms her into a laurel tree in order to rescue her from Apollo's lust. The Master of the Die here depicts the aftermath of Daphne's transformation. Peneus appears heartbroken, lying amidst flowing water that undeniably resembles Daphnes long, flowing hair. The Master of the Die creates a sense of depth and perspective, depicting Peneus in the foreground while, in the background, a winged God in the sky welcomes a female figure, perhaps Daphne, into the heavens.

This work is the fourth plate from a set of four works created after Giulio Romano [actually after Peruzzi]. This work is signed in the plate with the Master of the Die monogram in the lower right corner.

This artist can be understood in relation to his contemporaries Albrecht Durer, Raimunid, Beham, Northern European artists, and artists of the Italian Renaissance.

Documented and Illustrated in:
1) Bartsch. The Illustrated Bartsch Vol. 29. Edited by Suzanne Boorsch. New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 22 - I (another example illustrated) on page 179.

About the Framing:
Conservation framed with museum quality archival materials, this work is float mounted on cream linen in an ornate black and aged gold frame. The brilliant gold of the moulding accentuates the contrasting tones in this piece. The delicate sculptural rounded leaf forms compliment the natural lines and forms in this work. Completed with a matching gold inner fillet, this work is set behind an archival Plexiglas cover.

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