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TELEPHONE BEEKMAN 3-452B

WM. K. DREWES & CO.
ART APPRAISERS
100 WILLIAM STREET
NEW YORK, N.Y.

REGARDING A CANVAS ATTRIBUTED TO ANTONIO POLLAIUOLO.

7

of part of "The Rape of Proserpine by Pluto" painted by Rubens, which is now in the Blenheim Palace.

March 8th, 1937.
[[signature]]
(W.K. Drewes)

*In regard to the use of the putto in Florentine art of the Renaissance Dr. Wilhelm Bode in his work on "The Florentine Sculptors of the Renaissance" (Methuen and Co., London; page 155) expresses himself as follows: "Antonio Pollaiuolo, Verrocchio's rival as goldsmith, "sculptor, and painter, so often and so persistently "confounded with him, differs from Verrocchio in that he "concedes the putto no place in his art. When, on rare "occasions (as companion to a 'Carita' or as supporter "of an escutcheon), this figure appears in his works, it "is very unchildlike, and altogether remote from the "putto of his predecessors and contemporaries. "Pollaiuolo lacked the humorous outlook absolutely "essential to the right conception of the putto."