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SILVER Seller in Milano, Italy
Etching by Giulio Carpioni (Venice, 1613 – Vicenza, 1678) depicting St. Anthony of Padua. Italian painter and engraver, pupil from 1631 of Alessandro Varotari known as il Padovanino (Padua, 1588 – Venice, 1649). He then moved to Vicenza where he worked in churches and palaces. He developed a style resulting from the study of both the classical style of Titian and Poussin, as well as the taste for truth of Lombard artists and the Venetian naturalism of Carlo Saraceni (Venice, 1579 – Venice, 1620). In the last period of his production he was influenced by the Baroque. He made around thirty engravings with sacred and profane subjects. Among a swirl of clouds and angels, in the center of the sheet the Baby Jesus appears astride a cherub to Saint Anthony. The Saint, kneeling, receives the apparition with open arms; at his feet, like still lifes, books and a lily, iconographic attributes of him. A clear and discontinuous line frames the composition, rich in chiaroscuro contrasts. The use of a long, parallel and sparse stroke gives airiness to the composition. Typical recurring composition in baroque religious iconography emphasized by intense emotion. Critics link the print with the painting Madonna with Child, St. Joseph and St. Anthony of Padua preserved in Vicenza in the church of San Lorenzo and dating back to 1650; with the autograph drawing of the same subject preserved in Stuttgart and with an engraving by Guido Reni depicting St. Anthony of Padua. At the bottom left engraved "CARPIONI VENETO", beyond the image in the center "S. Antonio de Padua", on the left "Matia Cadorin For. Bellini". In the illustrated Bartsch he mentions IV states, however no examples are known in the I state whose existence was hypothesized by Andersen, i.e. without the writing "Carpioni Veneto". Exemplary in III/IV with the addition of Mattia Cadorin's address but before the writing N° 175 (Remondini edition). Mattia Cadorin, known as Bolzetta, was a publisher and printer documented in Padua in 1639; his nickname derives from the name of his wife belonging to a family of Paduan booksellers and publishers. He was the editor of numerous Carpioni engravings. Fresh and well-contrasted impression with some cleaning scratches on the plate; laid paper dating back to the second half of the 17th century. Perfect state of conservation, small margins beyond the edge. Collection stamp on the reverse, Wagner-Museum/Wurzburg dubl. (Lught 2541c). The stamp was affixed to the double prints on the occasion of the sale at Hollstein und Puppel, in Berlin on 7-8 November 1930. On the recto stamp W.S. (Lught 2650d) affixed by the Martin von Wagner Musum on prints and drawings from the Johann Martin von Wagner collection (1777-1858). Bibliography: TIB 11; A. Andresen, Handbuch für Kupferstichsammler, Leipzig 1870-73; Calabi 8; Pilo 15; A. Mazzoli, Giulio Carpioni Incisore, tra classicismo e barocco, 11.
ID: 11318-1714490494-89509
