122:; in some of the examples coats of arms have been added in ink, which was evidently the intention. Those with two spaces suggest they were related to a marriage. The space for heraldry suggests these prints, which must have been expensive, were intended for elite customers. Several have elaborate "self-borders" of garlands and flowers in the latest Renaissance styles, suggesting that they may have been pasted to card and hung on a wall, and also possibly used as patterns by artisans in more permanent materials.
349:
293:
1852 by his heirs. Albert Evans of the London printsellers A E Evans & Sons was present, authorized to spend £150 on behalf of the
British Museum. He used this to buy 6 of the Otto prints (now catalogued as BM 1852,0301.1 to 6), also buying a further 8 for his firm. These were later sold to the museum for £200 (now catalogued as BM 1852,0424.1 to 8), bringing their holding to 14 of Otto's original group of 24. The others went to various other buyers, and are now in several museums.
373:
337:
20:
361:
225:
200:
108:
69:
278:
172:. The motif of the "chastisement" or torture of Cupid is found in various contexts in Italian art of the period; it is supposed to stand for the conquest of lust, but in these rather light-hearted images may represent the revenge of women who had suffered in love, as in the poetry of the Late Roman
292:
bought them as a group of (at least) 24 in
Florence in 1731. After his death in 1757 they were owned by Wilhelm Muzel, and then bought at auction by Ernst Peter Otto, still as a group of 24. He gave or sold 6 of them, leaving a group of 18. After his death these were sold at auction in Leipzig in
250:, published between 1803 and 1821 in 21 volumes, catalogues in Volume XIII (pp. 142–151 in the Degen reprint), the 24 prints then in Otto's collection in Leipzig. Bartsch explains that he had personally only seen one of them, in another impression, which then as now is in the
46:. Between 24 and slightly over 40 prints are usually included in the group, depending on the scholar. Most are only known in a single surviving impression (copy), despite many showing clear signs of wear and reworking of the plate. They are often rather tentatively attributed to
215:
The prints are "characterized by rather sharp, often deeply incised outlines; similar deeply-cut graver work for the features, for the ample ornament of the costumes, and for the architecture; and extremely fine lines, organized into rather fuzzy cross-hatching, for the shading".
61:. Many have elaborate borders of fruit, and sometimes figures. Hunting is another subject, and there are a few religious figures. They are probably designed to appeal to female tastes, unlike most secular art of the period, and "reveal a Renaissance voice husky from reveling".
91:
buying the largest group. Scholars are mostly agreed that the surviving examples were from an album of samples held by a retailer, who sold them for use decorating the lids of other objects, "the covers of round or oblong toilet-boxes or work-boxes for ladies" as
207:
The Otto prints are leading exemplars of the "fine manner" in early
Florentine engraving, distinguished from the "broad manner" initially by the width of the typical engraved line. The "fine manner" is associated with Baccio Baldini almost entirely on the word of
482:, who say: "The Chastisement of Cupid; in the centre Cupid, blindfolded with arms behind his back, bound to a trunk and attacked by a group of four women with shears, a sword and a mace; the sleeves of one woman are inscribed: 'AMOR VUOL FE
134:
and hunting dogs and their prey; "the prints share a certain thematic consistency found at the intersection between popular songs, pseudochivalric patrician culture, and love". Religious subjects, narrative rather than iconic, include a
330:), a form not used by the family before 1465. This is often taken as indicating the start of the date range for the prints. Another unique print with this form of the Medici arms inked in reached the Harvard Museums in 1857.
235:
Although many were printed in probably several hundred impressions, requiring the plates to be reworked, most only survive in a single impression as "prints pasted on the outside of boxes have almost always disappeared".
167:
or "the cruelty of Love", not entirely seriously. At least three show handsome male figures tied to a tree and being abused or menaced by women; two of the males are winged, and so considered as rather grown-up
719:
372:
775:, 2008, Exhibition catalogue (New York, The Metropolitan Museum of Art, and Fort Worth, Kimbell Art Museum, in 2008/09), Metropolitan Museum of Art and Yale University Press,
348:
212:, who only arrived in Florence forty years after Baldini's death in 1487 (the date of his death is otherwise the only documentary information we have about Baldini).
319:, survives in three known impressions: Otto's impression in the British Museum, that in the Louvre, and a further one sold at auction for $ 27,500 in 2015.
336:
203:
Reclining semi-naked nymph(?); the inscription "love desires loyalty, and where no loyalty is, neither is there love". Unique impression, 98 mm wide.
87:(1731–1757) and then Ernst Peter Otto (1724–1799), both Germans, after which the original group of 24 prints was auctioned and divided, with the
53:
Unusually, they are all circular or oval, and their mostly secular subjects often feature themes of love, romance and courtship. Cherubs or
26:, 101 mm across, with blank shields at sides. The man is tied to the tree and the woman has cut out his heart through a gash in his chest.
269:(1910), adding similar examples in other collections. A small number of further additions have been made or claimed by later scholars.
835:
360:
877:
821:
410:"The Cruelty of Love; a woman showing the heart just plucked from the chest of a young man who is bound to a tree"; Bayer, 92
191:
of the prints and the trays, while the carved marriage caskets also often have blank shields for heraldry to be painted in.
882:
104:
given as presents at weddings, betrothal ceremonies or the like, after which they might be reused by the recipient.
588:
Randolph, 227–238; two of the three are illustrated here, and the other at
Randolph, 225 as Fig. 5:12. It is in the
793:
Aristotle and
Phyllis, surrounded by a Young Man and Woman with Eros, and a reclining nude Woman with two Children
179:
Other types of secular
Italian Renaissance art designed for female tastes are the marriage caskets made by the
421:
855:
308:
300:, was given by Otto to Pietro Zani and later entered the British Museum in 1866 as BM 1866,1013.900.
137:
65:
remarked that "Florence, like Japan, has for centuries graced daily life with delightful trinkets".
708:
163:
topos, showing famous women dominating or controlling men, and some of the Otto prints illustrate
152:. Some subjects show figures from classical mythology, including the legendary medieval story of
262:
180:
93:
84:
50:
or his workshop, and dated to c. 1465–80. A few are "clearly by different hands" from the rest.
731:
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555:
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479:
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839:
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817:
304:
289:
776:
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243:
43:
97:
561:; the other is illustrated as Mayor, 89; see also Randolph's Chapter 6, especially p. 271
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782:
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184:
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88:
62:
47:
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Most of the group, 24 prints, were part of the collections of "the infamous spy and
757:
258:, and he relied on information already published by another scholar, Michel Huber.
247:
533:
354:
Busts of a couple, with dogs hunting. BM 1852,0424.5, with another in the Louvre
828:
Engaging
Symbols: gender, politics, and public art in fifteenth-century Florence
188:
19:
796:
342:
Pair of Lovers
Dancing, with putti. BM 1852,0301.1, with another in the Louvre
791:, "Circle of Baccio Baldini, the Master of the Otto Prints (circa 1436–1487):
149:
322:
The example in the
British Museum has the two shields inked in, one with the
265:
expanded the number of "Otto prints" from the 24 Otto had owned to 42 in his
589:
281:
251:
153:
80:
35:
229:
Two kneeling warriors supporting a shield decorated with a female figure...
173:
119:
58:
39:
849:
816:, Metropolitan Museum of Art/Princeton, 1971, (illustration numbers),
570:
Christie's. This unique impression realized £12,500 at auction in 2009
389:(still alive) at bottom. Inked-in coat-of arms, BM 1852,0301.4, unique
255:
143:
118:
Many of the prints have one or two blank shields or other spaces for
806:, National Gallery of Art, Washington (Catalogue), 1973, LOC 7379624
277:
224:
199:
107:
68:
159:
Both Judith and
Phyllis were among the most common subjects in the
382:
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276:
223:
198:
169:
131:
106:
67:
54:
18:
419:
Levinson, 15, later supported by Mark J. Zucker in his volume of
619:
Hind's translation of "AMOR VUOLFE EDOVE FENONNE AMOR NON PUO".
315:, which has the largest holding after the British Museum. One,
797:
Lot 1, Live Auction 7781, Old Master Prints, 8 December 2009
742:
267:
Catalogue of Early Italian Engravings in the British Museum
187:
or "birthing tray". Connections have been made between the
804:
Early Italian Engravings from the National Gallery of Art
722:; this was at the lower end of the estimated price range.
434:
Levinson, 15, note 5 (quoted); Randolph, 225; Christie's
366:
Grotesque male face, BM 1852,0424.4, unique impression
802:
Levinson, Jay A. (ed. – entries by Konrad Oberhuber)
130:
The typical subject matter includes pairs of lovers,
73:
Two Cupids supporting a shield...with a blinded Cupid
857:
Sex Role Reversal Imagery in Fifteenth-century Italy
303:Some of the other prints were bought by the French
57:feature in many, and there are some rather vague
261:The British Museum curator and print historian
231:, perhaps Hope; 167 mm wide, unique impression.
8:
317:A Bear Attacked by Dogs in a Rocky Landscape
844:Schmidt, Suzanne Karr. “A New Otto Print.”
848:, vol. 25, no. 2, 2008, pp. 162–66,
16:15th-century engravings made in Florence
400:
332:
679:Randolph, 224, in 2002 still uses 42.
288:The prints first surfaced when Baron
7:
785:online database, by catalogue number
764:, Volume XIII, 1811, Degen, Vienna,
720:Swann Galleries, Sale 2381 – Lot 57
148:, brandishing the severed head of
34:are a group of small 15th-century
14:
773:Art and Love in Renaissance Italy
371:
359:
347:
335:
830:, 2002, Yale University Press,
623:; Bartsch, 1 – "perhaps Venus".
524:Stermole, 75–77; Randolph, 224
1:
307:and after the death of Baron
795:(Hind A.I.26; Bartsch 29)",
183:and others, and the painted
860:, 2000, Queens University,
899:
854:Stermole, Krystina Karen,
461:Randolph, 224–225 (quoted)
273:Provenance and collections
242:, the great catalogue of
112:The Chastisement of Cupid
826:Randolph, Adrian W. B.,
878:15th-century engravings
504:Levinson, 15; Mayor, 89
422:The Illustrated Bartsch
698:BM "Acquisition notes"
285:
232:
204:
115:
76:
27:
771:Bayer, Andrea (ed.),
557:Judith and Holofernes
280:
227:
202:
110:
71:
22:
309:Edmond de Rothschild
298:Tobias and the Angel
296:A further print, of
141:and two versions of
138:Tobias and the Angel
96:puts it, or perhaps
883:Culture in Florence
610:Randolph, Chapter 6
326:arms of six balls (
24:The Cruelty of Love
762:Le Peintre Graveur
425:, see Schmidt, 162
286:
263:Arthur Mayger Hind
240:Le Peintre Graveur
233:
205:
181:Embriachi workshop
116:
100:or small boxes of
85:Philipp von Stosch
77:
28:
862:Kingston, Ontario
814:Prints and People
601:Randolph, 227–238
452:Randolph, 224–225
305:Rothschild family
290:Philip von Stosch
244:old master prints
44:Fine Manner style
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745:
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709:BM 1866,1013.900
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114:, 165 mm across.
98:marriage caskets
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846:Print Quarterly
810:Mayor, Hyatt A.
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732:BM 1852,0424.3
724:
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621:BM 1852,1211.1
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535:The Frame blog
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210:Giorgio Vasari
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185:desco da parto
161:Power of Women
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89:British Museum
63:A. Hyatt Mayor
48:Baccio Baldini
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546:Randolph, 225
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387:golden fleece
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324:Medici family
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313:Louvre Museum
311:given to the
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156:and Phyllis.
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102:confectionery
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840:google books
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688:Schmidt, 162
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670:Bartsch, 142
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641:Levinson, 15
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632:Levinson, 13
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579:Bayer, 91–92
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495:Schmidt, 162
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248:Adam Bartsch
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165:amor crudele
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78:
72:
52:
31:
29:
23:
864:(MA thesis)
766:pp. 142–151
189:iconography
32:Otto prints
872:Categories
822:0691003262
789:Christie's
752:References
592:in Vienna.
150:Holofernes
146:Triumphant
59:allegories
36:engravings
661:Mayor, 89
590:Albertina
470:Mayor, 89
284:of putti.
282:Bacchanal
252:Albertina
220:The group
154:Aristotle
81:antiquary
174:Ausonius
126:Subjects
120:heraldry
83:" Baron
40:Florence
38:made in
42:in the
834:
820:
781:"BM",
385:, the
256:Vienna
170:Cupids
144:Judith
850:JSTOR
395:Notes
383:Medea
379:Jason
328:palle
195:Style
132:putti
55:putti
832:ISBN
818:ISBN
559:, BM
381:and
94:Hind
30:The
254:in
246:by
874::
838:,
812:,
760:,
176:.
799:.
768:.
486:"
484:'
75:.
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