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PAOLO GIOVIOMareMagnum

Elogia Veris Clarorum Virorum Imaginibus Apposita

DYCK Anton van (Anversa 1599 – Londra 1642)MareMagnum

Judocus de Momper Pictor

Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare”, con margini, in ottimo stato di conservazione. Etching, circa 1630-40, lettered below the portrait, in two lines of Latin: "Judocus de Momper Pictor / montium Antverpiæ". Signed in lower margin left: "Ant. van Dyck fecit aqua forti".Portrait of Joos de Momper, half-length in front of a rocky overhang, turned to the right but looking towards the viewer; with short hair, moustache and beard, wearing a collar, buttoned doublet and cloak, his gloved right hand gesturing behind him at the level of his chest.A fine impression, printed on contemporary laid paper, with margins, very good condition.From the 'Icones principum, virorum, doctorum, pictorum, chalcographorum' by Anton van Dyck, printed for the first time in Antwerp, 1645.Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632).Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp. The New Hollstein (Dutch & Flemish) 6.III (Van Dyck); Mauquoy-Hendrickx 1991 7.III.

Libreria Antiquarius · Roma, IT900,00 €

LEONI detto "Il Padovanino" Ottavio (Roma 1578 circa - 1630)MareMagnum

Ritratto di un Cavaliere di Malta con due studi di teste

Acquaforte e bulino, 1625, ante litteram. Magnifica prova del raro primo stato di due, avanti la firma e la data, impressa su carta vergata coeva, rifilata al rame, in eccellente stato di conservazione. Disegnatore, pittore e stampatore, figlio del padovano Ludovico Leoni (1542–1612), un fabbricante di medaglie e di ritratti a rilievo su cera, da cui il soprannome "Padovanino". Celebre per i suoi ritratti di tutta l’aristocrazia romana degli inizi del XVII secolo, il Leoni, romano di nascita, deve il suo soprannome alla città natale del padre, anch’egli pittore di ritratti. Controversa l'identità del volto raffigurato: secondo il Mariette, grande appassionato di disegni ed incisioni del Leoni, si tratterebbe di Mario Nuzzi detto “Mario de’ Fiori”, mentre più ragionevolmente si tratta del suo amico Tommaso Salini, ipotesi confermata dalla leggenda aggiunta nella prova del secondo stato. Ai lati del ritratto principale, un curioso accostamento di due testine incise al bulino, ad avvalorare il fatto che la lastra non gli fu commissionata, ma venne realizzata in tutta libertà. Nel 1603 fu coinvolto nel celebre processo contro il Caravaggio accusato di diffamazione, insieme con altri compari, da Giovanni Baglione: secondo la deposizione proprio di Tommaso Salini Leoni sarebbe stato tra gli autori con Orazio Gentileschi di parte di quei versi infamanti; ma fu discolpato completamente dalla testimonianza del Caravaggio, il quale affermò di conoscere il Leoni solo di vista e di non avergli mai parlato. Pittore, incisore ma innanzitutto straordinario disegnatore di ritratti, immortalò su un numero sterminato di fogli di carta azzurra i volti della Roma del primo Seicento: papi, cardinali, nobiluomini e dame, ma anche scienziati, matematici, artisti e poeti. I suoi ritratti detti "alla macchia" (Baglione, p. 321), cioè tirati a memoria dopo aver visto il modello quasi di sfuggita, conquistarono un pubblico amplissimo per la straordinaria resa realistica, cui contribuì certamente l'artificio della tecnica à trois crayons (matita nera, sanguigna e gesso bianco). Bibliografia Bartsch 7 I/II; Petrucci, Il Caravaggio acquafortista, pp. 35/46. Etching and engraving, 1625, unlettered. A magnificent impression of the rare first state of two, before the letters, printed on contemporary laid paper, trimmed to the platemark, in excellent condition. Famous for his portraits of all the Roman aristocracy in the early 17th century, the Roman-born Leoni owes his nickname to the birthplace of his father, who was also a portrait painter. The identity of the face depicted is controversial: according to Mariette, a great fan of Leoni's drawings and engravings, it is Mario Nuzzi, known as "Mario de' Fiori", while it is more likely to be his friend Tommaso Salini, a hypothesis confirmed by the legend added on the examples of the second state. On either side of the main portrait is a curious juxtaposition of two engraved heads, confirming the fact that the plate was not commissioned. Ottavio Leoni was the son of the Paduan-born Ludovico Leoni (1542–1612), a maker of medals and wax relief portraits. Although Ottavio was active entirely in Rome, where his father had also worked and died, he was often known as ‘il Padovanino’ because of the family origins. In 1603 Ottavio was involved in a libel action against Caravaggio by the painter Giovanni Baglione, whose life provides the best source of information on Leoni’s life. One witness at the trial, Tommaso Salini, claimed he had received verses criticizing Baglione written by Orazio Gentileschi and ‘Ottavio Padovano’. Caravaggio testified that he knew Leoni without having ever spoken to him. The following year Leoni was admitted to the Accademia di S Luca in Rome and in 1614 became its principal. It was at this time, according to Baglione, that he painted two canvases, a Martyrdom of St Martina and an Ascension (both untraced). In 1621 Leoni became a member of the Accademia dei Virtuosi del Pantheon, the body to which he presented in 1628 an oil portrait of Gregory XV. He portrayed the faces of early 17th century Rome on an endless number of sheets of blue paper: popes, cardinals, noblemen and ladies, but also scientists, mathematicians, artists and poets. His portraits known as "alla macchia" (Baglione, p. 321), i.e. drawn from memory after having seen the model almost in passing, won a very wide public for their extraordinary realistic rendering, to which the artifice of the à trois crayons technique (black pencil, sanguine and white chalk) certainly contributed. Bibliografia Bartsch 7 I/II; Petrucci, Il Caravaggio acquafortista, pp. 35/46.

Libreria Antiquarius · Roma, IT900,00 €

SADELER II Aegidius (Anversa, 1570 circa - Praga, 1629).MareMagnum

Ritratto di Mehdi Quli Beg

Bulino, 1605, iscrizioni in persiano e latino, "Mechti Kvli Beg Ennvg Ogly Illvstris D. In Persia Legatvs Regis Persar: Ad Imp: Roman" e “S.Caes. Mti.s scultore Aegidius Sadeler ad vivum delineauit Cum Privil.S.Cae. Mti.s Anno. Pragae.1605”. Primo stato, avanti l’indirizzo editoriale. Buon esemplare, stampato su carta vergata coeva, applicato su antico supporto di carta da collezione, rifilato ai margini, occasionale foxing, altrimenti in ottime condizioni. Ritratto inciso di Mehdi Quli Beg (d. 1629), ambasciatore di Shah Abbas I presso la corte di Rodolfo II del Sacro Romano Impero. Engraving, 1605, lettered in Persian and Latin, “Mechti Kvli Beg Ennvg Ogly Illvstris D. In Persia Legatvs Regis Persar: Ad Imp: Roman”, (Mehdi Quli Beg, son of Ennug, a famous lord in Persia, ambassador of the King of the Persians to the Roman Emperor), and “S.Caes. Mti.s Sculptor Aegidius Sadeler ad viuum delineauit Cum Privil.S.Cae. Mti.s Anno. Pragae.1605”. First state before publisher's address. Good example, printed on contemporary laid paper, applied on collector’s old paper support, trimmed at margins, occasional foxing, otherwise very good condition. Engraved portrait of Mehdi Quli Beg (d. 1629), ambassador of Shah Abbas I to the court of the Holy Roman Emperor Rudolf II, half-length and slightly turned to left, a bird (probably a falcon) perched on his right hand, in oriental dress and wearing a turban. Zeynal Khan Shamlu, and later, Mehdi Quli Beg, were amongst seven ambassadors sent by Shah 'Abbas to European courts, as part of his attempt to enlist Christian cooperation in confronting the Ottomans with a multi-front threat. The ongoing war in Hungary had led to financial strains, internal revolts and a decline in loyalty of Ottoman troops; to 'Abbas these troubles signalled that the Ottoman adversary had been weakened to the point where his revived Persian army could reclaim the territory lost in the previous war. Zeynal Khan Shamlu departed in mid-1603 and arrived in Prague on 19th July 1604 to much fanfare. He and his party of 30 servants were given an escort of over one thousand men, mounted and on foot. Mehdi Quli Beg arrived later, in December, updating Rudolf on the situation. After endless debate and vacillation, Rudolf elected to begin peace negotiations with the Ottomans. All this meant that the Persian ambassadors were fixtures in Prague until October 1605, and were doubtless regarded as exotic figures (which is obvious from the insistence on using Persian for the prints, which no one in Prague could read and which would have taken some effort to reproduce). Hollstein 275.I

Libreria Antiquarius · Roma, IT900,00 €

CRETI Donato (Cremona 1671 – Bologna 1749)MareMagnum

Ritratto del dottor Giovanni Girolamo Sbaraglia

Ritratto di Giovanni Girolamo Sbaraglia, di profilo, rivolto a destra; entro un ovale affiancato da due putti in piedi su cornucopie. In cartiglio quattro righe in latino riferite all'autore e sotto l'immagine i dettagli della produzione: "Donatus Creti Bononiensis delineavit et sculpsit 1716". Acquaforte del 1716, firmata e datata sulla lastra in basso sul margine bianco. Esemplare nell'unico stato conosciuto. Bella prova, stampata in inchiostro olivastro su carta vergata coeva, priva di filigrana, rifilata alla lastra su tre lati, leggermente all'interno in alto, in ottime condizioni. Giovanni Girolamo Sbaraglia (medico, intellettuale ed accademico, 1641 - 1710) fu un importante anatomista bolognese, le cui teorie scientifiche erano in netto contrasto con quanto sosteneva Marcello Malpighi. Nonostante Sbaraglia non lo citasse mai esplicitamente, il principale bersaglio polemico delle sue dissertazioni era Malpighi, ormai divenuto uno degli anatomisti più famosi dell’epoca. Un monumento dedicato a Sbaraglia, progettato da Donato Creti. si trova all’interno del palazzo dell’Archiginnasio, accanto a quello del suo avversario Malpighi. Donato Creti è stato un importante disegnatore e pittore cremonese. La sua arte, poetica e individuale, rappresenta, insieme a quella di Marcantonio Franceschini, la più significativa espressione dello sforzo classico-idealista della pittura bolognese. Svolse la sua attività quasi esclusivamente a Bologna, dove realizzò affreschi decorativi, pale d’altare e quadri per collezionisti privati. Due caratteristiche sono di grande importanza: la sopraffina qualità della pennellata e la suggestione poetica della situazione e dell’umore. Cercava la bellezza della figura individuale e per questo si esprimeva al massimo in dipinti meditativi con poche figure; i suoi soggetti combinano grazia delle forme e precisione dei contorni, con la carne che raggiunge la delicatezza della porcellana e i colori che possiedono una brillantezza diamantina. Fu disegnatore prolifico con uno stile assolutamente distinto; disegnava per piacere così come per preparare le sue composizioni; di solito usava una penna d’oca e realizzava le ombre con l’acquaforte. Una delle rare incisioni dell’artista cremonese, bolognese di adozione. Portrait of Giovanni Girolamo Sbaraglia, bust, in profile, facing right; within an oval flanked by two putti standing on cornucopias. Lettered in cartouche with four lines in Latin referring to the sitter and below image with production details: “Donatus Creti Bononiensis delineavit et sculpsit 1716”. Etching, 1716, signed and dated on plate at bottom on white margin. Example in the only known state. Giovanni Girolamo Sbaraglia (physician, intellectual, and academic, 1641 - 1710) was an important Bolognese anatomist whose scientific theories were in sharp contrast to what Marcello Malpighi advocated. Although Sbaraglia never explicitly mentioned him, the main polemical target of his dissertations was Malpighi, who by then had become one of the most famous anatomists of the time. A monument dedicated to Sbaraglia, designed by Donato Creti. is located inside the Archiginnasio Palace of Bologna, next to that of his opponent Malpighi. Beautiful proof, printed in olive-coloured ink on contemporary laid paper, no watermark, trimmed at the platemark on three sides, slightly indented at the top, in very good conditions. Donato Creti was an Italian painter and draughtsman. His individual and poetic art represents, with that of Marcantonio Franceschini, the last significant expression of the classical–idealist strain in Bolognese painting. His activity was almost wholly confined to Bologna, where he painted decorative frescoes, altarpieces and easel pictures for private collectors. Two qualities are paramount: a perfected finesse of handling and poetic suggestiveness of situation and mood. He sought the ideal beauty of the individual figure and was thus at his best in meditative pictures with few figures; his subjects combine grace of form and precision of contour with flesh that attains the surface delicacy of porcelain and colours that have a mineral-like refulgence. He was a prolific draughtsman with a distinct personal manner, who drew for pleasure as well as to prepare his compositions, usually using a quill-pen and producing shadowing by hatching. One of the rare prints by the Cremonese artist. De Vesme 3, Bertelà 263.

Libreria Antiquarius · Roma, IT475,00 €

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