Copy of Durer`s painting in the Albertina Vienna from 1502

The painting is identified with a hare, considered at the time to be Dürer's autograph, which belonged to the Florentine sculptor and br–1696) recounts an anecdote about him, according to which Tacca refused to sell the painting in 1631, even though a Venetian nobleman offered him 300 sequins for it. Tacca said he knew how to earn his sequins, but if the hare disappeared, he would never get it back. The hare is listed in the inventory of Tacca's workshop in Borgo Pinti and is said to have been inherited by the sculptor from his former teacher, Giovanni da Bologna (1529–1608, a contemporary of Hans Hoffmann). The painting was a gift from Cardinal Giovanni Antonio Guadagni (1674-1759) to the Corsini family. References: Filippo Baldinucci: Notizie dei professori del disegno da Cimabue in qua, edited by Filippo Ranalli, vol. 4, Florence 1846, p. 100; Jessica Mack-Andrick: Pietro Tacca, Court Sculptor of the Medici (1577-1640), Weimar 2005, p. 132, note 987. For further depictions of hares by Hans Hoffmann based on Dürer's model, see: Hans Hofmann. A European Artist of the Renaissance, exh. cat. Nuremberg, Germanisches Nationalmuseum 2022, cat. no. 53.

Copy of Durer`s painting in the Albertina Vienna from 1502

The painting is identified with a hare, considered at the time to be Dürer's autograph, which belonged to the Florentine sculptor and br–1696) recounts an anecdote about him, according to which Tacca refused to sell the painting in 1631, even though a Venetian nobleman offered him 300 sequins for it. Tacca said he knew how to earn his sequins, but if the hare disappeared, he would never get it back. The hare is listed in the inventory of Tacca's workshop in Borgo Pinti and is said to have been inherited by the sculptor from his former teacher, Giovanni da Bologna (1529–1608, a contemporary of Hans Hoffmann). The painting was a gift from Cardinal Giovanni Antonio Guadagni (1674-1759) to the Corsini family. References: Filippo Baldinucci: Notizie dei professori del disegno da Cimabue in qua, edited by Filippo Ranalli, vol. 4, Florence 1846, p. 100; Jessica Mack-Andrick: Pietro Tacca, Court Sculptor of the Medici (1577-1640), Weimar 2005, p. 132, note 987. For further depictions of hares by Hans Hoffmann based on Dürer's model, see: Hans Hofmann. A European Artist of the Renaissance, exh. cat. Nuremberg, Germanisches Nationalmuseum 2022, cat. no. 53.

Copy of Durer`s painting in the Albertina Vienna from 1502

The painting is identified with a hare, considered at the time to be Dürer's autograph, which belonged to the Florentine sculptor and br–1696) recounts an anecdote about him, according to which Tacca refused to sell the painting in 1631, even though a Venetian nobleman offered him 300 sequins for it. Tacca said he knew how to earn his sequins, but if the hare disappeared, he would never get it back. The hare is listed in the inventory of Tacca's workshop in Borgo Pinti and is said to have been inherited by the sculptor from his former teacher, Giovanni da Bologna (1529–1608, a contemporary of Hans Hoffmann). The painting was a gift from Cardinal Giovanni Antonio Guadagni (1674-1759) to the Corsini family. References: Filippo Baldinucci: Notizie dei professori del disegno da Cimabue in qua, edited by Filippo Ranalli, vol. 4, Florence 1846, p. 100; Jessica Mack-Andrick: Pietro Tacca, Court Sculptor of the Medici (1577-1640), Weimar 2005, p. 132, note 987. For further depictions of hares by Hans Hoffmann based on Dürer's model, see: Hans Hofmann. A European Artist of the Renaissance, exh. cat. Nuremberg, Germanisches Nationalmuseum 2022, cat. no. 53.