Pietro Monaco, “La Probatica Piscina”, c. 1763, after Paolo Veronese

Pietro Monaco (1707–1772)

“La Probatica Piscina” (The Probatica Pool), or “Christ Healing the Lame at the Pool of Bethesda”, c. 1763

Technical Details & Condition:

Etching and engraving on heavy laid paper. This print is Plate 69 from the renowned series “Raccolta di 112 stampe di pitture della storia sacra” (Collection of 112 Prints of Paintings of Sacred History). The scene is based on a painting by Paolo Veronese (also known as Paolo Caliari) (1528–1588). While Veronese famously depicted this subject on the inner organ shutters of the Church of San Sebastiano in Venice—a work visible only when the organ doors are opened—this etching documents a different, now-lost canvas version. The mystery surrounding this missing painting, of which this engraving is the only surviving evidence, is discussed by the BBC: https://www.bbc.com/news/uk-scotland-north-east-orkney-shetland-60290162.

The impression is strong and well-defined, although it shows signs of wear to the copper plate. The sheet remains in excellent condition—remarkably well-preserved for its large size—and is free from tears, holes, folds, or significant staining.

Dimensions:

• Sheet: 40.6 x 57.3 cm
• Platemark: 36.3 x 51 cm
• Image borderline: 31.4 x 48.5 cm

In-Plate Lettering (below the image borderline):

• Centre: “LA PROBATICA PISCINA. / Est autem Ierosolymis Probatica piscina, quæ cognominatur Hebraice Bethsaida quinque porticus habens Ioan: Cap: V.v.2. / PITTURA DI PAOLO CAGLIARI VERONESE, POSSEDUTA DALLA NOBIL FAMIGLIA GRASSI, A S. SAMUELE. / Pietro Monaco del: scol: e forma in Venezia”

(The Probatica Pool. / Now there is in Jerusalem a Probatic pool [Sheep Pool], called in Hebrew Bethsaida [House of Mercy], with five porticoes. John: Chapter V, v. 2. / Painting by Paolo Caglieri Veronese, owned by the noble family Grassi at San Samuele [referring to their residence, Palazzo Grassi, in the parish of San Samuele]. / Pietro Monaco drew [delineò], engraved [scolpì], and published/printed [e formò] this work in Venice.)
• Right: “69.”

References

• Apolloni 69 (Davide Apolloni, “Pietro Monaco e la Raccolta di Venti Dodici Stampe di Pitture della Storia Sacra,” 2000, Monfalcone, Edizioni della Laguna, p. 254, cat. no. 69)
• LeBlanc 56-167 (Charles Le Blanc, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, 1856, vol. 3, p. 38, cat. nos. 56-167). See https://archive.org/details/manueldelamateur03lebl/page/38/mode/2up
• British Museum https://www.britishmuseum.org/collection/object/P_1865-0520-756

Price & Shipping:

AU$316 (approximately US$226.52 / €192.49 / £167.59), including worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you’re interested in acquiring this large, beautifully illuminated etching by Monaco—bearing the only known depiction of the missing Veronese painting once in the collection of the Grassi family in Venice, later acquired by Catherine the Great of Russia, and now believed to be somewhere in northeast Scotland (possibly “hiding in plain sight”)—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and safe transaction.

Pietro Monaco, “Young Tobias Restoring His Old Father’s Sight”, c. 1730–50, after Domenico Fetti

Pietro Monaco (1707–1772)

“Young Tobias Restoring His Old Father’s Sight” (Il giovane Tobia che rende la vista al vecchio padre), circa 1730–1750

Technical Details & Condition:

Etching with engraving on laid paper. The etching is plate 76 in the series “Raccolta di 112 Stampe di Pitture della Storia Sacra” (Collection of 112 Prints of Paintings from Sacred History). It is based on a design originating from a painting of unknown current location by Domenico Fetti (or Domenico Feti) (1589–1623). Fetti produced several versions of this subject, the closest to this engraving being “Tobias Healing his Father” (1620–23), held in the Hermitage Museum in St. Petersburg. See: https://commons.wikimedia.org/wiki/File:Domenico_Fetti_-_Tobias_Healing_his_Father_-_WGA7864.jpg.
This impression, inscribed with the plate number “76,” is likely a lifetime impression published by Monaco in Venice, as indicated in the plate, from the 1763 edition.

The impression is strong and well-printed. The sheet is in good condition, free of tears, holes, folds or significant stains, though there is fine surface dotting on the left side of the image.

Dimensions:

• Sheet: 40.5 x 55.7 cm

• Platemark: 36.2 x 51.1 cm

• Outer image borderline: 35.7 x 50.5 cm

Plate lettering below the image along the lower edge:

• Centre: “IL GIOVANE TOBIA CHE RENDE LA VISTA AL VECCHIO PADRE./ Tunc sumens Tobias de felle piscis, linivit oculos patris sui. Tob. cap. XI. v. 13./ PITTURA DI DOMENICO FETTI, POSSEDUTA DALLA NOBIL FAMIGLIA GIOVANELLI, A S. AGOSTINO./ Pietro Monaco del: sco: e forma in Venezia”

• Right: “76.”

References:

• Apolloni 76 (Davide Apolloni, “Pietro Monaco e la Raccolta di Venti Dodici Stampe di Pitture della Storia Sacra,” 2000, Monfalcone, Edizioni della Laguna, p. 268, cat. no. 76)

• LeBlanc 188 (Charles Le Blanc, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, 1856, vol. 3, p. 38, cat. no. 188). See https://archive.org/details/manueldelamateur03lebl/page/38/mode/2up

• Nagler 2 (G.K. Nagler, “Neues allgemeines Künstler-Lexicon oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Kupferstecher, Formschneider, Lithographen”, 1840, Munich, EA Fleischmann, vol. 9, p. 387, cat. no. 2)

• British Museum: https://www.britishmuseum.org/collection/object/P_1865-0520-763

• Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/762904

Price & Shipping:

AU$316 (approx. US$217.99 / €184.38 / £159.75), including worldwide express shipping. Please note that import duties and taxes are the buyer’s responsibility.

If you’re interested in acquiring this large and beautifully light-filled etching by Monarco, please contact me at oz_jim@printsandprinciples.com. I’m happy to provide a secure PayPal invoice for a smooth and safe transaction.

Pietro Monaco’s etching (with engraving), “The Prophesy of the Prophet Elisha”, c1735, after Rembrandt

Pietro Monaco (1707–1772)

“The Prophesy of the Prophet Elisha” (aka “Eliseo che predise I regi attentati contro se stresso”) c1735 (1730–1739), from a series of plates reproducing paintings then in the Venetian palazzi, “Raccolta di 112 stampe di pitture della storia sacra” (see BM inv. 1865,0520.773), after Rembrandt’s (aka Rembrandt Harmensz van Rijn) (1606–1669) painting, “Two Old Men Disputing”, 1628, in the collection of the National Gallery of Victoria (Melbourne, Australia) (inv. no. 349-4), possibly an impression before numbering (?), published by Pietro Monaco in Venice.

Interestingly, the identity of the portrayed subject of Monaco’s etching seems to have been abandoned by the gate-keepers of history as the NGA offers the following insights about the subject of Rembrandt’s painting without referencing the lettered text to this print:

“There has been some speculation as to the subject of this painting. It has been suggested that two men are philosophers – possibly Hippocrates and Democritus – or that they are the apostles Peter and Paul. When representing specific biblical figures, however, Rembrandt usually included symbols commonly associated with them, such as the keys to the kingdom of heaven (St Peter) or a sword (St Paul). That there are no such attributes present lessens the likelihood that the painting is a portrayal of these two saints. Nor are there any direct references to particular philosophers. On 3 June 1641, when the picture was cited in the will of Jacques de Gheyn III (a close associate of Rembrandt who may have acquired the painting directly from him), the panel is referred to simply as ‘two little old men, seated and disputing” (https://www.ngv.vic.gov.au/explore/collection/work/4291/).

Etching with engraving on laid paper.

Size: (sheet) 56.5 x 42.5 cm; (plate) 50.5 x 36.4 cm; (image borderline) 44.9 x 33.7 cm.

Lettered in plate below the image borderline: (left) “Pietro Monaco del. Scol.”; (centre) “ELISEO CHE PREDISE I. REGI ATTENTATI CONTRO SE STRESSO./ Eliseus autem sedebat in domo sua, et Senes sedebant cum eo. Reg.L.4.cap.VI.v. 32./ PITTURADI DI REMBRANDT DEL RENO POSSEDUTA DALL’ILL ^MO. SIG. BORTOLO BERNARDI A S. APOLLINARE.”; (right) “e forma in Venezia”.

Apolloni 59 (Davide Apolloni 2000, “La raccolta di cento dodici stampe di pitture della storia sacra”, Edizioni della Laguna, p. 234, cat. no. 59); Le Blanc 189 (Charles Le Blanc 1854, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, vol. 3, Paris, p. 38, cat. no. 189 [see https://archive.org/details/manueldelamateu00blangoog/page/n43/mode/2up]); Nagler 45 (Georg Kaspar Nagler 1840, “Neues allgemeines Künstler-Lexicon oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Kupferstecher, Formschneider, Lithographen: Sole, G.G.–Surugue, L”, vol. 9, München, Fleischmann, p.388, cat. no. 45 [see https://archive.org/details/bub_gb_m8M-AAAAcAAJ/page/388/mode/2up]).

The British Museum offers the following description of this print: “Elisha prophesying his own danger; the bearded prophet seated at a desk at centre, a globe behind him, turned towards an old man who sits at left, seen from behind and holding an open book, other old books in lower right; within engraved frame; after Rembrandt/ Etching and engraving” (https://www.britishmuseum.org/collection/object/P_1865-0520-746).

Condition: a well-printed impression with wide margins around the platemark. Beyond restored tears in the margins and a flattened centrefold, the sheet is in a very good condition for its considerable age with no significant stains or foxing.

I am selling this large and very rare etching (before numbering?)—note that neither the Rijksmuseum nor the NGV (the later gallery have Rembrandt’s painting of this composition in their collection) hold a copy of this print (or at least not online)—for the total cost of AU$488 (currently US$340.67/EUR332.94/GBP281.35 at the time of posting 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 remarkably beautiful and luminous etching showing Elisha seated with a globe behind him and prophesying his own murder to another seated man holding a book, 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

Pietro Monaco’s engraving, “The Banquet of Cleopatra”, c1770, after Giovanni Battista Tiepolo

Pietro Monaco (1707–1772)

“The Banquet of Cleopatra” (aka “Il Convito di Nabal”; “Nabals Fest”), c1770, from a series of plates reproducing paintings then in the Venetian palazzi, “Raccolta di 112 stampe di pitture della storia sacra” (see BM inv. 1865,0520.773), after the painting (1744) in the collection of the National Gallery of Victoria (Melbourne, Australia) by Giovanni Battista Tiepolo (aka Giambattista Tiepolo) (1696–1770) (see https://www.ngv.vic.gov.au/explore/collection/work/4409/). This impression was published in Venice by Teodoro Viero (1740–1819) (as inscribed in the plate).

Engraving on laid paper trimmed with a small margin around the image borderline and backed with a support sheet.

Size: (sheet) 37.4 x 52.1 cm; (image borderline) 32.1 x 49.4 cm.

Lettered in plate below the image borderline: (left) “Pietro Monaco del Scol”; (centre) “IL CONVITO DI NABAL/ Venit autem Abigail ad Nabal, et ecce erat ei convivium in domo ejus, quasi convivium regis, et cor Nabal jucundum, erat enim ebrius nimis: et non indicavit ei verbum pusillum, aut grande usque mane. Reg. 1. Cap. XXV. V. 36./ PITTURA DI GIO: BATTĀ: TIEPOLO POSSEDUTA DAL SIG. CO: FRAN.^co ALGAROTTI.”(right) “Appo Teodore Vier[o] in Venezia”.

Interestingly, Charles Le Blanc (1854) does not describe this print in his “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, vol. 3, Paris, pp. 38–39 (see https://archive.org/details/manueldelamateu00blangoog/page/n43/mode/2up).

See the following description of this print offered by the British Museum:

“The Banquet of Cleopatra, set within an architecturally elaborate hall, after Tiepolo

Engraving” (https://www.britishmuseum.org/collection/object/P_1865-0520-760). 

The National Gallery of Victoria offers the following background account to the scene portrayed in Tiepolo’s painting:

“The story of Mark Antony (83–30 BC) and Cleopatra (69–30 BC) was a popular subject for artists in the 18th century. Both Antony and Cleopatra were powerful leaders. Cleopatra was the seventh and last queen of Egypt who enjoyed a life of refinement and luxury. Mark Antony was the Roman consul whose legendary extravagances included feasts where he would gorge himself on rare foods. The story of their love affair involved romance, war, military splendour, tragedy and death (Gott 2003, p. 102).

The episode represented in Giambattista Tiepolo’s The banquet of Cleopatra was written by the Roman historian Pliny in AD 77. As Gott (2003, p.102) notes, it tells of a famous contest between the Egyptian and Roman rulers. Cleopatra wagered that she could stage a feast more lavish than those of Mark Antony. Tiepolo’s painting shows the dramatic moment at the end of the meal when she removes one of a pair of rare, priceless pearls that she wears as earrings, and drops it in a glass of vinegar and drinks it.

Lucius Plancus, the third figure at the table, was umpiring the wager. He declared Cleopatra the winner of the bet and stopped her destroying the second pearl.

While Tiepolo’s painting is based on a historical story and includes visual references to ancient Egypt and Rome, Tiepolo has painted Cleopatra in contemporary dress.

(https://www.ngv.vic.gov.au/school_resource/art-start/image-bank/giambattista-tiepolo/)

Condition: a well-printed strong impression with a small margin around the outer image borderline and laid onto a sheet of archival (millennium quality) washi paper. There is chipping with losses the borderline (see lower right corner) otherwise this large sheet is in a very good condition with no significant stains or foxing.

I am selling this large and very rare etching—note that the National Gallery of Victoria that holds Tiepolo’s painting does not have a copy of this print (or at least not online)—for the total cost of AU$488 (currently US$356.96/EUR302.42/GBP259,43 at the time of posting 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 remarkably beautiful and luminous engraving, 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