Niccolò Vicentino,
Italian 1510-1566-

Miraculous draught of fishes, after Rapha…

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,

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Estim. 2 200 - 2 500 GBP

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).

Estim. 2 000 - 2 500 GBP

Italian school of the first half of the 19th century. After RAFAEL SANZIO (Italy, 1483 - 1520). "The Holy Family of Francis I/The Large Holy Family". Oil on canvas. Measurements: 104 x 137 cm; 122 x 150 cm (frame). This work is a faithful continuation of the one painted by Raphael Sanzio in 1518, an oil on panel transferred to canvas now in the Louvre Museum in Paris. Raphael depicted in this canvas the Holy Family accompanied by St. John the Baptist as a child and his mother, St. Elizabeth. The placement of the different figures reflects the hierarchy of the characters in this iconography. Thus, we see St. Joseph behind almost hidden in the shadows, while the two women and the two children remain in the foreground, directly illuminated. These four figures form a typically Raphaelesque pyramidal scheme, much imitated by his followers, clearly classical, which anchors the composition and balances it. In addition, this scheme serves to focus attention on the two main characters: Jesus and Mary. Regarding the subject matter, the iconography that introduces the figure of St. John the Baptist in scenes of the Holy Family or Mary with the Child is not only due to the saint's condition as a relative of Jesus, but also has a theological meaning. These images present St. John the Baptist as a prophet who announces the redemptive mission of Christ, and that is why, despite the fact that he is represented as a child, before his retreat to the desert, he appears with the skin of a lamb or camel and, generally, accompanied by the usual iconographic attributes in his images, which allude to the Passion of Christ. However, unlike what happens in other paintings, both by Raphael and other authors, here the children appear oblivious to the dramatic fate of Jesus. Only the two women show a certain pain contained in their expressions that lets us guess the sorrow with which they contemplate the children's games.

Estim. 3 500 - 4 500 GBP

Italian school, first half of the 17th century. "Penitent Saint Jerome". Oil on canvas. Re-drawn. Leaps and restorations. Measurements: 132 x 95 cm. In this painting ascribed to the Italian Baroque, St. Jerome is represented in the foreground taking a skull in his hands and opening in front of him, in a random page, a volume of the Gospels. Both attributes are symbolically interpreted as a reflection on the vanity of earthly goods and the fleeting nature of existence (the Vanitas theme), as well as the saint's role as the first translator of the Bible. The wiry features of the face are chiselled with expressive chiaroscuro. The intense contrasts of light, rooted in the Caravaggist tradition, lend a supernatural quality to the landscape of cobalt shades in which the saint is depicted. The long beard sparkles in subtle golden locks, and the bronze tone is prolonged in the vivid flesh tones. The half-open lips and the folds of the forehead concentrate a highly emotive image, characteristic of 17th-century devotional paintings. One of the four great Doctors of the Latin Church, Saint Jerome was born near Aquileia (Italy) in 347. Trained in Rome, he was an accomplished rhetorician and polyglot. Baptised at the age of nineteen, between 375 and 378 he withdrew to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. One of the most frequent representations of this saint is his penance in the desert. His attributes are the stone he uses to beat his chest and the skull on which he meditates. Also the cardinal's cape (or a red mantle), although he was never a cardinal, and the tamed lion. The latter comes from a story in the "Golden Legend", where it is narrated that one day, when he was explaining the Bible to the monks in his convent, he saw a lion limping towards him. He removed the thorn from its paw, and from then on kept it in his service, instructing it to look after his donkey while it grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal.

Starting price 90 EUR

J. STRIXNER (1782) after LORRAIN (1600), Italian harbour city, around 1808, Johann Nepomuk Franz Xaver Strixner (1782 Altötting - 1855 Munich) after Claude Lorrain (1600 Chamagne, Lorraine - 1682 Rom): Italian harbour town with fishing boats, c. 1808, Lithography Technique: Lithography on Paper Inscription: At the lower part signed in the printing plate: "Cl: Geéle[?] | N: Strixner del:". Date: c. 1808 Description: Johann Nepomuk Strixner was a German draughtsman and printmaker who made a name for himself particularly through the print reproduction of old hand drawings. Around 1808, he worked together with the inventor of lithography, Aloys Senefelder, on the publication of a series of lithographic reproductions after Albrecht Dürer. In 1809, he enrolled at the Academy in Munich, where he deepened the technical skills he had already learnt in engraving and lithography through intensive study. He was particularly interested in the works of the Old Masters. Between 1808 and 1815, together with Johann Nepomuk Strixner, he published an extensive series of lithographs after Old Master drawings. This multifaceted work emphasises the full skill of the two artists, who copied the drawings onto the stone with a sensitive eye and convey a good impression of the original work in their reproductions. A characteristic feature of many of the sheets is the basis of a discreetly coloured clay plate with scratched-out areas, presumably intended to imitate the white heightening and different paper colours of the originals. Piloty and Strixner used the technique of lithography in all its facets and always endeavoured to give their reprints the same delicacy and depth that characterise the hand drawings of the Old Masters. Keywords: Lithograph series, Old Masters, Study, Harbour, Ships, 19th century, Romanticism, Architecture, Italy, Size: Paper: 17,4 cm x 22,7 cm (6,9 x 8,9 in), Depiction: 14,1 cm x 19,5 cm (5,6 x 7,7 in) Condition: Rather good condition. Occasional minimal foxing and age-related discolouration.

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