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48 - Antonio Da Trento Andrea Andreani [attributed to], The Holy Family with Saint Margaret and Saint Petronius (?). c. 1540 [1602–1610]. Two-block woodcut, black and light green. 311 x 219 mm. Bartsch, XII, 24. Takahatake, pp. 22–23, Figs. 11–12. On the wood, lower left, is the monogram with the “A” of Andreani. Related to a drawing by Parmigianino in the Uffizi (inv. 1517E), which in turn can be compared to the Madonna of Saint Margaret. Madonna and Child with Saints Margaret, Jerome, and Petronius (1529, Bologna National Art Gallery, inv. 588). An excellent proof of this rare engraving, in the second state of two following the appearance of Andreani’s monogram, printed with a beautiful embossed pattern on the reverse on slightly thick laid paper that appears to lack a watermark. Naoko Takahatake notes that the printing characteristics point to the workshop of Niccolò Vicentino and hypothesizes that the plates were engraved by Antonio da Trento or by Niccolò Vicentino himself. The engraving was certainly produced in Vicentino’s workshop in the 1540s, but this second state, bearing Andreani’s monogram, must be dated to between approximately 1602 and 1610. (1) Complete copy up to the framing line, almost entirely visible, and mounted at two points at the top within a modern cardboard mount. Traces of some printing creases. Some tears along the lower margin have been repaired on the reverse, where there are also minimal paper residues.
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Antonio Da Trento Andrea Andreani [attributed to], The Holy Family with Saint Margaret and Saint Petronius (?). c. 1540 [1602–1610]. Two-block woodcut, black and light green. 311 x 219 mm. Bartsch, XII, 24. Takahatake, pp. 22–23, Figs. 11–12. On the wood, lower left, is the monogram with the “A” of Andreani. Related to a drawing by Parmigianino in the Uffizi (inv. 1517E), which in turn can be compared to the Madonna of Saint Margaret. Madonna and Child with Saints Margaret, Jerome, and Petronius (1529, Bologna National Art Gallery, inv. 588). An excellent proof of this rare engraving, in the second state of two following the appearance of Andreani’s monogram, printed with a beautiful embossed pattern on the reverse on slightly thick laid paper that appears to lack a watermark. Naoko Takahatake notes that the printing characteristics point to the workshop of Niccolò Vicentino and hypothesizes that the plates were engraved by Antonio da Trento or by Niccolò Vicentino himself. The engraving was certainly produced in Vicentino’s workshop in the 1540s, but this second state, bearing Andreani’s monogram, must be dated to between approximately 1602 and 1610. (1) Complete copy up to the framing line, almost entirely visible, and mounted at two points at the top within a modern cardboard mount. Traces of some printing creases. Some tears along the lower margin have been repaired on the reverse, where there are also minimal paper residues.
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Ancient, Modern, and Contemporary Art - Session IMaison de ventes
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