| 001 | $ 03/2455 | ||
| 003 | $ UK-LoRAA | ||
| 005 | $ 20231105105458.9 | ||
| 041 | 0 | # | $a lat |
| 044 | # | # | $a gw |
| 245 | 0 | 0 | $a Salvator Rosa Has ludentis otii Carolo Rubeo Singularis Amicitiæ pignus D. D. D. |
| 246 | 3 | # | $a Has ludentis otii |
| 246 | 3 | # | $a Salvator Rosa Banditti |
| 246 | 3 | # | $a Banditti |
| 246 | 3 | # | $a Figurine |
| 260 | # | # | $a Norimbergæ $b apud Ioan. Iacobum de Sandrart $c [after 1675?] |
| 300 | # | # | $a 61 pl. (incl. t.-pl.); $c 244 mm. |
| 500 | # | # | $a Plate 61 is pasted onto the verso of plate 60. |
| 508 | # | # | $a Plate 3 is signed 'Salvador Rosa invenit'; plate 42 'S. Rosa invenit'; plate 46 'S. Rosa inc.'; the others, 'SR' (or variants); plates 1, 4, 8, 31 and 60 are unsigned. Plate 61 is signed 'EQ' and 'ABacx excudit'. |
| 510 | 0 | # |
$a M. Vallora, O. Theodoli and A. Griffiths, Salvator Rosa, 1615-1673: acqueforti (1992); R.W. Wallace, The etchings of Salvator Rosa (1979), p.310 (on Sandrart's copy), p.12-36, 135-229 (on Rosa's original series). R.W. Wallace, 'Salvator Rosa's Figurine in the Museum of Fine Arts, Boston', in Print Quarterly, 6:1 (1989), p.45-9. J. Sunderland, 'The legend and influence of Salvator Rosa in England in the eighteenth century', in Burlington magazine, 115 (1973), p.785-9; J. Sunderland, 'John Hamilton Mortimer and Salvator Rosa', in Burlington magazine, 112 (1970), p.520-31; E.W. Manwaring, Italian landscape in eighteenth-century England: a study chiefly of the influence of Claude Lorrain and Salvator Rosa on English taste (1925). |
| 520 | 2 | # |
$a No publication-date is carried by the title-plate or other plate. The compilation is a reverse-copy by J.J. von Sandrart of etchings from Salvator Rosa's Figurine (probably originally published in 1656 or 1657) together with copies of six of his larger plates. R.W. Wallace mentions an earlier issue in which Sandrart's imprint read, 'Norimbergae aput Joannem Jacobum de Sandrart Pictorem et Calcographum'. In the eighteenth century the series were often referred to as Banditti, but Rosa himself called them simply Figurine. The plates show men, women, soldiers, singly or in groups, reclining, seated, kneeling, standing or walking, and wearing the most various clothing. Their romantic and slightly exotic appearance led to their being called 'banditti', and they were much in vogue in eighteenth-century Britain, where they influenced several engravers such as John Hamilton Mortimer, A.R.A. |
| 561 | # | # | $a Recorded in RAA Library, Catalogue, 1802. |
| 562 | # | # | $a Imperfect; lacking plate 16. |
| 563 | # | # | $a 20th-century half calf; marbled-paper boards; brown morocco spine-label, lettered, 'Salvator Rosa Banditti'. |
| 600 | 1 | 4 | $a Rosa |
| 653 | # | # | $a Figures (representations) - Brigands and robbers - Drawings, Italian |
| 655 | # | 4 | $a Pattern drawings - 17th century |
| 655 | # | 4 | $a Pictorial works - Germany - 17th century |
| 700 | 1 | # | $a Rosa, Salvator $e source artist |
| 700 | 1 | # | $a Rossi, Carlo de' $e dedicatee |
| 700 | 1 | # | $a Sandrart, Johann Jakob von $e publisher |
| 852 | 8 | # | $d 1802: C-4-08; 1821: B-2-13. |