Agostino Veneziano (1490-c. 1569 )La Carcasse (Lo Stregozzo). Engraved after Raphael (according to Bartsch). [645 x 308]. Bartsch (Raimondi) 426-1. Good proof on vellum, trimmed on the plate or slightly outside the plate, of a late 19th or early 20th century print made from the original copper, with various burin repeats in the sizes (upper left corner, full-length monogram). Perceptible vertical median fold on the reverse. Minor accidents, minute tears at the edges of the sheet, small halos of humidity and slight handling folds. An article by Christiane Wiebel in the Print Quarterly (XXXI, 1) published in 2015 sheds light on the conditions under which the copper plate was reworked for reprinting. This copper is kept in the Prints and Drawings Department of the Coburg Jacket Collection. Prince Albert, Queen Victoria's husband, always kept a link with this collection, which was built up by his grandfather Duke Franz Friedrich Anton of Saxe-Coburg-Saalfeld. He himself established the Windsor Castle collection of prints and drawings and undertook to promote the works of the Old Masters, beginning with Raphael, then Michelangelo and Leonardo da Vinci. His death in 1861 interrupted this project even as he was devoting himself to the first of these artists, particularly by collecting the engravings of Raimondi and Veneziano based on his drawings. On learning that the copper of La Carcasse was kept in Coburg, the prince asked for some proofs to be taken from it. In a letter dated June 20, 1857 to the Royal Archives in Windsor, the Prince's Privy Council, Fischer, wrote that 12 proofs would be sent to him - 6 on China, 6 on "white paper". Court painter Rothbart was commissioned to carry out the reprint. He entrusted the copper to the Nuremberg printer Carl Joseph Berg, who took over some of the weakened sizes on the plate, in the upper left corner and in the monogram, and then inscribed his own name and the date 1857 on the back of the copper. The Prints and Drawing