Joseph
Schmidt (1750–1816)
“Mucius
Scaevola” (aka “Mucius Scaevola putting his hand into the flame”),
c1780, after a metal point drawing by Parmigianino (aka Francesco
Parmigianino; Francesco Mazzuoli; Francois Mazzuoli; Girolamo Francesco Maria
Mazzola) (1503–1540) that the writing edge advises (in my reading of the text)
was held by Giovanni Antonio Armano (fl.1777–1823)—the collector and
dealer of old master drawings—in Venice. I understand that the drawing is now in
the Devonshire Collection, Chatsworth; see A. E. Popham 1971, “Catalogue of
Drawings by Parmigianino”, p. 211, no. 726.
Note that Cesare Massimiliano Gini ([pseud.] Lodovico Inig)
(c1739–1821) executed an almost identical print (1780–1800) and colours (see https://www.britishmuseum.org/collection/object/P_1851-0308-827)—indeed
the similarity is so close that I wonder if there may be an act of skulduggery
where one printmaker’s name is replaced by another.
Etching with
aquatint printed in brown-black and ochre ink (possibly printed from different
plates for each colour) on laid paper (with watermark) and wide margins.
Size: (sheet)
37.1 x 31.2 cm; (plate) 16 x 10.5 cm; (image borderline) 12.6 x 9.2 cm.
Lettered in
plate below the image borderline: (left) “Fran. Mazzola del:”; (centre) “Extat
apud Joan: Anton: Armanum/ Venetum”; (right) “Jos: Schmidt Scul.”
LeBlanc (not described) (Charles Le Blanc 1854-1888, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 3, Paris, p. 461); Nagler (not described) (G.K. Nagler 1845, “Neues allgemeines Künstler-Lexicon oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Kupferstecher, Formschneider, Lithographen: Santi_Schoute”, pp. 346–47).
Although Nagler
(1845) does not describe this plate, the following biographical information that
Nagler offers may be interesting: [transl.) “Nature had denied him language,
but endowed him with talent for art. Bergler gave him regular lessons in this
in Prague, and finally he went to Vienna, where, under the direction of
Schmutzer, he [was hired?] to become one of the most excellent engravers of his
time. There are numerous sheets by him with biblical and historical scenes,
individual figures, landscapes, etc., partly brilliantly engraved, partly
executed in aquatint and in chalk. Among them are some very deceptive
facsimiles” (p. 346).
Condition: a
strong and well-printed impression with generously wide margins in an excellent
condition with no tears, holes, folds or significant stains.
I am selling
this curiously wonderful print of overlaid plates of etching and aquatint where the
combination of the two printing techniques replicates a chiaroscuro
woodcut—mindful that Antonio da Trento (fl.1527–1540s) who worked with
Parmigianino, created a chiaroscuro woodcut of a similar scene (see http://hdl.handle.net/10934/RM0001.COLLECT.52176)—for
the total cost of AU$312 (currently US$208.79/EUR194.78/GBP170.44 at the time
of this listing) including postage and handling to anywhere in the world, but
not (of course) any import duties/taxes imposed by some countries.
If you are
interested in purchasing this superb print of the man who proved his invincible
bravery by placing his hand into an altar fire, please contact me
(oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make
the payment easy.
This print has been sold
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