Antonio Fantuzzi (actif vers 1540) Artémis, Athéna et Aphrodite quittant l Olympe. 1543. Eau-forte d après F. Primatice. [508 x 355]. Bartsch 21 ; Hollstein 18 ; Zerner 55 ; Jenkins AF 55. Exceptionnelle épreuve d essai tirée en sanguine recto-verso. Petite inscription « 126 » dans l angle inférieur droit de l image. Au verso en pied, petit bandeau d ornement gravé tiré de guingois dans la marge. Traces de plis dont plis de tirage, le pli vertical médian de séchage anciennement restauré en tête au verso. Petites amincissures ou épidermures en surface, minuscules trous visibles par transparence. Petit manque dans l angle inférieur droit. Montée par deux onglets sous passe-partout, ces onglets collés au bord supérieur en tête au verso, à l intérieur de l image. « This etching, together with other prints and drawings, records a lost cycle by Primaticcio. [ ] It is not known where at Fontainebleau these scenes illustrating the Story of Troy were represented. Fantuzzi s etching is unusual in showing both the central image and surrounding frame in a single print, providing important evidence on the appearance of the decorative scheme. Primaticcio s preparatory drawing for the central narrative was formerly in the collection of Ian Woodner [ ], and his study for the female figure with the lion is in the Berlin Kupferstichskabinett. » (Catherine Jenkins, Prints at the Court of Fontainebleau, c. 1542-47, « Studies in Prints and Printmaking, vol. VII, Oudekerke aan den Ijsell, Sound Vision Publishers, 2017, II, p. 198). « There are, however, a few ways in which the artists did seek to achieve original effects, most strikingly with the use of coloured inks, Fantuzzi in particular but also Davent, Mignon and a few anonymous hands experimented with the use of red inks, which range from oranges to deep burgundies and browns. The approximately sixty coloured Fontainebleau etchings I have recorded are all on contemporary paper and appear to have been printed about 1542-43. Only a few earlier artists had produced intaglio prints in colour, and when they did, it tended to be in more muted tones such as browns. » (Ibid., p. 43).