Null Niccolò Vicentino,
Italian 1510-1566-

Miraculous draught of fishes, after …

Description

Niccolò Vicentino, Italian 1510-1566- Miraculous draught of fishes, after Raphael; chiaroscuro woodcut from three blocks in tan brown, inscribed and dated 'Raphael urb / inven / AA / in mantoua / 1609' (within the plate, lower left), 23.3 x 34.3 cm. Provenance: Private Collection, UK. Note: The British Museum notes how 'This woodcut was attributed by Bartsch to Ugo da Carpi [1480-1523], but has been re-attributed to Vicentino by Naoko Takahatake: see 'The chiaroscuro woodcut in Renaissance Italy', Los Angeles 2018, cat.41, and dated to the 1540s. There is a Raphael drawing in the Royal Collection, which may have been the source of this print.' The monogram 'AA' to the lower left of the plate refers to the printmaker Andrea Andreani (1558/9-1629), who republished the 1540s design in 1609.

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Niccolò Vicentino, Italian 1510-1566- Miraculous draught of fishes, after Raphael; chiaroscuro woodcut from three blocks in tan brown, inscribed and dated 'Raphael urb / inven / AA / in mantoua / 1609' (within the plate, lower left), 23.3 x 34.3 cm. Provenance: Private Collection, UK. Note: The British Museum notes how 'This woodcut was attributed by Bartsch to Ugo da Carpi [1480-1523], but has been re-attributed to Vicentino by Naoko Takahatake: see 'The chiaroscuro woodcut in Renaissance Italy', Los Angeles 2018, cat.41, and dated to the 1540s. There is a Raphael drawing in the Royal Collection, which may have been the source of this print.' The monogram 'AA' to the lower left of the plate refers to the printmaker Andrea Andreani (1558/9-1629), who republished the 1540s design in 1609.

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Jacob de Heusch, Italian River Landscape Colourful, summery hustle and bustle on the river with a fishing boat moored, in front of an imposing mountain landscape with partly ruinous architecture, in the light of the late summer sun, the exquisitely composed romantic landscape transports the viewer of the painting into a tranquil world of contemplation and sublime grace and still today evokes a longing for Arcadian southern climes, Heusch's stay in Italy was of formative importance for the artist, as it suited his carefree nature very well, as Houbraken reported in 1719 "... He was a versatile young man, brilliant, not lacking in understanding, he spoke well, was bold and witty in his answers, always cheerful in character and popular in every society. ... After practising art in Venice and Rome for several consecutive years and spending many cheerful evenings with the Bentvogels, he returned to Utrecht ...", the same carefree cheerfulness can also be seen in the present painting, which was probably created after his time in Rome as a reminiscence; Heusch drew on his wealth of Italian motifs until the end of his life, as Nagler notes (1838): "... He came to Rome early on, where the Schilderbent gave him the nickname "Affdruck" (Contre Épreuve), because his works perfectly resemble those of Wilhelm de Heusch. Only Jacob is even more perfect, both in the drawing and in the truth of the depiction. His colouring is vivid, and his figures, animals, etc. reveal a witty artist. He painted many pictures in Rome and Venice, and after his return he still painted mostly for Italian lovers. ...", his paintings found their way into important art collections, so there is a great similarity to the painting of almost the same size in the St. Petersburg Hermitage by Heusch. Petersburg Hermitage by Heusch, "Italian Harbour", from 1697, which mirrors the present motif and shows a morning river landscape as a counterpart, finely glazed landscape and genre painting in finely coordinated colours, oil on canvas, signed and dated "JdHeusch f. 1696", older printed label "Jacob de Heusch ..." verso on stretcher, minor craquelure, relined, old retouching, in need of minor restoration, framed in a beautiful Wilhelminian-style gilt stucco frame, rebate dimensions approx. 53 x 72 cm. Artist information: also Jakob de Heusch resp. de Heus, called Giacomo de Heusch in Italy, Dutch genre and landscape painter, draughtsman and etcher (1656 Utrecht to 1701 Amsterdam), pupil and faithful imitator of his uncle, the landscape painter and etcher Willem de Heusch (1625-1692), like the latter, Heusch was a follower of the art of Jan Both and an "Arcadian", travelling to Rome in 1675 and becoming a member of the Dutch artists' society "Bentvueghels" [Bentvueghels] there under the nickname "Afdruk", "Afdruck" or "Affdruck".Gleich und gleich gesellt sich gern]" also known as "Schildersbent [Engl.: Painters' Clique]", with whose members he also painted in Venice, influenced in Italy by Salvator Rosa and collaboration with Pieter van Bloemen, registered in Rome until 1692, later returned to Utrecht and probably in 1698, through the mediation of his Bentvueghel friend Johan Teyler, Appointed to the court in Berlin, where he only stayed for a short time, then freelanced in Utrecht, represented in collections in Vienna, Helsingborg, Brunswick, Venice, Rouen, Meiningen, London, Mainz, Stuttgart, Frankfurt/Main and St. Petersburg. Petersburg, active in Utrecht, died on a trip to his Amsterdam Bentvueghel friends Albert van Spiers and Jan van der Keere as a result of an accident in Amsterdam, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Wurzbach, Müller-Singer, Müller-Klunzinger, Seubert, Nagler, Houbraken "De groote schouburgh der Nederlantsche konstschilders en schilderessen", Walther Bernt "Die Niederländischen Maler des 17. Jahrhunderts" and Wikipedia.

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BANDELLO (Matteo). XVIII histoires tragiques, extraictes des oeuvres Italiennes de Baudel, & mises en langue Françoise. Les six premières, par Pierre Boisteau, surnommé Launay natif de Bretaigne. - The next twelve, by Franc. de Belle-Forest, Comingeois. Turin, Cesare Farina, 1582. In-16, 436 ff, [3] ff, fawn calf, ornate spine, triple gilt fillet framing the boards, gilt edges, inner lace (Thompson). Reprint of Bandello's first translation by Pierre Boaistuau (1517-1566), which appeared in 1559 at the Paris address, with Belleforest's continuation, first published in 1560 and constituting the first French translation of Romeo and Juliet. The 214 Novelle del Bandello were first published in Italian in 1554 (first three parts, addressed to Lucca) and 1573 (fourth part, addressed to Lyon). Boaistuau and Belleforest were only interested in a small part of the corpus - including the story of ROMEO ET JULIETTE, which makes its FIRST APPEARANCE IN FRENCH "Histoire troisième de deux amans, dont l'un mourut de venin, l'autre de tristesse". The play is part of a tradition of tragic love stories dating back to Antiquity. The plot is based on an Italian tale by Luigi da Porto, translated into English verse by Arthur Brooke in 1536 as The Tragical History of Romeus and Juliet. In 1582, William Painter proposed a prose version in his Palace of Pleasure. Shakespeare borrowed from both, but deepened the plot by developing the secondary characters, notably Mercutio and Count Paris. Probably written between 1591 and 1595, the play was first published in quarto in 1597. Bishop of Agen since 1550, Matteo Maria Bandello (1480-1561) was both an Italian and French literary and social figure: having visited the French court as early as 1510, he also frequented the Sforza family in Milan, and had resided in our country since his appointment to the bishopric of Agen. He died at Château de Bazens, owned by the bishop's mense. (Brunet I, 638. Cioranescu, XVI, 4092 (for the first edition). A fine copy from the library of M. F. Clicquot de Reims n° 602 (handwritten bookplate) and the Heirisson brothers (bookplate).

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