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Annibale Carracci - Arti di Bologna: Keymaker and Bird Catcher - 1646
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Beschreibung
Annibale Carracci - Arti di Bologna: Keymaker and Bird Catcher - 1646 / Description: Diverse figure al numero di ottanta, disegnate di penna nell'hore di recreatione da Annibale Carracci intagliate in rame, e cavate dagli originali da Simone Guilino', more commonly called by the titles in the later reprints, 'Le Arti di Bologna': The occupations of the Bolognese). Here excellent early impressions, with the little scratsches in the plates still visible, from the first edition of 1646 with traces of an earlier number erased in the bottom left corner also noticeable on the first editions in Paris and Washington, but before the captions with the identification of the showed occupations in later states. It is assumed that Annibale Carracci would have drawn the figures of the Trades of his city, almost for fun, during the breaks in the work for the Farnese Gallery. The painter would have decided to collect these drawings in an album. Knowledge of this work by Annibale Carracci is due to the prelate Giovanni Antonio Massani, a relative of Pope Urban VIII and previously secretary of Giovanni Battista Agucchi. Massani, having found himself in possession of Annibale's drawings, as he himself narrates, had them engraved by the Frenchman Simon Guillain (1618-1658) and printed them in a volume entitled Diverse Figures al numero di ottanta, Disegnate di penna Nell'ore di raccolta da Annibale Carracci intagliate in copper, e scavate dagli Originali da Simone Guilino Parigino, dedicato a tutti i Virtuosi et Intendenti della Professione della Pittura, e del Disegno, printed in Rome in 1646. Here a pair of etchings from this famous work, mainly known by the later editions with title of the subject (here before...). The subjects here in this lot have later bein identified as: 'Magniano, ó Chiauaro' (A key cutter, seen from behind, stands holding a number of tools over his shoulder, including a large ring of keys.) and 'Ucellatore con la civetta' (bird catcher with an owl) Special for these etchings is that they have the title written in sepia ink beneath the print, only in later editions they were added to the copperplate etching itself. Also noticable is these plates are signed respectively ' A C I --- S. g S' and 'An. Ca Inv. --- S.G. Sc'' The number is also etched bottom middle, in later reworked editions it was set at the left or right corner to make space for the etched title. Our example is 100% identical as the first edition kept in the Library of Congres (In Roma : Nella Stamperia di Lodovico Grigniani, 1646). The British Museum holds only an etdition from 1740 with name of the profession etched in the image and other differences as described for later states. A pair of rare and original impressions from the first edition from 1646. / Dimensions: 27,00 x 16,00 cm / Condition: Outstanding early impressions on crown watermarked laid paper with good margins. Subject titled in brown ink in lower margin. Excellent untouched condition. / Literature: IFF / Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes (3) ----- BNF: catalogue.bnf.fr/ark:/12148/cb42564351j ----- Perfect Deformity, Ideal Beauty, and the "Imaginaire" of Work: The Reception of Annibale Carracci's "Arti di Bologna" in 1646 Author by Sheila McTighe in Oxford Art Journal , 1993, Vol. 16, No. 1 (1993), pp. 75-91). / Medium: Pair of Etchings /Circa: 1646
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Annibale Carracci - Arti di Bologna: Keymaker and Bird Catcher - 1646 / Description: Diverse figure al numero di ottanta, disegnate di penna nell'hore di recreatione da Annibale Carracci intagliate in rame, e cavate dagli originali da Simone Guilino', more commonly called by the titles in the later reprints, 'Le Arti di Bologna': The occupations of the Bolognese). Here excellent early impressions, with the little scratsches in the plates still visible, from the first edition of 1646 with traces of an earlier number erased in the bottom left corner also noticeable on the first editions in Paris and Washington, but before the captions with the identification of the showed occupations in later states. It is assumed that Annibale Carracci would have drawn the figures of the Trades of his city, almost for fun, during the breaks in the work for the Farnese Gallery. The painter would have decided to collect these drawings in an album. Knowledge of this work by Annibale Carracci is due to the prelate Giovanni Antonio Massani, a relative of Pope Urban VIII and previously secretary of Giovanni Battista Agucchi. Massani, having found himself in possession of Annibale's drawings, as he himself narrates, had them engraved by the Frenchman Simon Guillain (1618-1658) and printed them in a volume entitled Diverse Figures al numero di ottanta, Disegnate di penna Nell'ore di raccolta da Annibale Carracci intagliate in copper, e scavate dagli Originali da Simone Guilino Parigino, dedicato a tutti i Virtuosi et Intendenti della Professione della Pittura, e del Disegno, printed in Rome in 1646. Here a pair of etchings from this famous work, mainly known by the later editions with title of the subject (here before...). The subjects here in this lot have later bein identified as: 'Magniano, ó Chiauaro' (A key cutter, seen from behind, stands holding a number of tools over his shoulder, including a large ring of keys.) and 'Ucellatore con la civetta' (bird catcher with an owl) Special for these etchings is that they have the title written in sepia ink beneath the print, only in later editions they were added to the copperplate etching itself. Also noticable is these plates are signed respectively ' A C I --- S. g S' and 'An. Ca Inv. --- S.G. Sc'' The number is also etched bottom middle, in later reworked editions it was set at the left or right corner to make space for the etched title. Our example is 100% identical as the first edition kept in the Library of Congres (In Roma : Nella Stamperia di Lodovico Grigniani, 1646). The British Museum holds only an etdition from 1740 with name of the profession etched in the image and other differences as described for later states. A pair of rare and original impressions from the first edition from 1646. / Dimensions: 27,00 x 16,00 cm / Condition: Outstanding early impressions on crown watermarked laid paper with good margins. Subject titled in brown ink in lower margin. Excellent untouched condition. / Literature: IFF / Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes (3) ----- BNF: catalogue.bnf.fr/ark:/12148/cb42564351j ----- Perfect Deformity, Ideal Beauty, and the "Imaginaire" of Work: The Reception of Annibale Carracci's "Arti di Bologna" in 1646 Author by Sheila McTighe in Oxford Art Journal , 1993, Vol. 16, No. 1 (1993), pp. 75-91). / Medium: Pair of Etchings /Circa: 1646
MEISTERGRAFIKEN XV
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Izegem
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Belgium
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The Live Online autumn auction at Old Master Print will take place on Thursday 12 December from 6 pm.CET. Eye-catchers are some ten Rembrandt etchings including the very rare set 'T'is koud, geeft niet' which makes us think about our temperament, and the mysterious print of Faust in his study. Durer is also represented with a dozen works ranging from religious to secular subjects such as a rustic couple walking in a landscape. The auction includes more than three hundred lots of high-quality old master graphics that provide an overview of graphic production from the mid-15th to the end of the 17th century. There is a wide selection of manuscripts and very early woodcuts from the Low Countries, but the Flemish, Dutch, German and Italian schools are also well represented. No viewing days, extensive catalogue with high-resolution images available on oldmasterprint.net. Bidding is possible live online via the platform or by prior written bid. Telephone bidding on request and according to availability. The items are all shown with several high resolution photo's. There is no viewing organized on location. Please do not hesitate to ask questions about condition or other aspects of the items. More images on www.oldmasterprint.net
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OLD MASTER PRINT is not responsible for the lots if they are not paid, picked up or mailed within the prescribed period. OLD MASTER PRINT can not be held responsible for damage or loss of the goods after a period of two months after the date of the sale.
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Shipping:
Buyer pays shipping costs.
All customs charges, import taxes, other taxes and costs must be paid by the buyer.
We organize all shipping, worldwide at fixed prices:
Europe: 35 €
Outside Europe: 58 €
All Items must be paid in full before they will be shipped.
Items will be send insured. An insurance fee might be added to the invoice.
Claims for lost or broken items during transport are handed over to the insurance policy of the shipper and be reimbursed according to their terms. Old master print cannot be held responsible for any additional compensation for the loss or damage of the item.
The buyer is free to organize his own shipping at his own expense.
The items can only be released after full payment.
If the buyer arranges his own shipment or pick-up, OLD MASTER PRINT can not be held responsible for damage or loss of the goods after a period of two months after the date of the sale.
