Andrea Zucchi's engraving, “Virginity”, c.1710–24, after Giovanni Battista Tiepolo’s drawing after Corradini’s sculpture

Andrea Zucchi (1679–1740)

“Virginity” (aka “Allegory of Chastity”), c.1710–24, after a drawing by Giovanni Battista Tiepolo (aka Giambattista Tiepolo) (1696–1770) of the marble sculpture, “Virginity” (1722–23), by Antonio Corradini (1688–1752), located with the altar of the guild of the “Scuola grande dei Carmini” in the Church of Santa Maria dei Carmini (Venice), published with privilege in Venice with dedication by Zucchi to the art collector, Zaccaria Sagredo (1653–1729).

Engraving with etching printed in sepia coloured ink on laid paper with small margins backed with a support sheet.

Size: (sheet) 36.2 x 21.9 cm; (plate) 34.7 x 20.7 cm; (outer image borderline) 34.7 x 20.3 cm.

Lettered on plate within the image borderline along the lower edge: (centre) “A sua Ecc. il Sig. ZACCARIA SAGREDO, che con nobiltà, autorità, beneficenza fauorisce e promuoue/ le belle arti, questo simolacro della VIRGINITÀ, scolpito da Antonio Corradini, a ornamento del tempio e altare/ della B.M.V. del Carmine in Venezia, a perpetua memoria di suo umilissimo ossequio, dona e consacra l'intagliatore/ Andrea Zucchi." (To his Exc. Mr. ZACCARIA SAGREDO, who with nobility, authority, charity favours and promotes fine arts, this simolacrum of VIRGINITY, sculpted by Antonio Corradini, to adorn the temple and altar of the BMV of the Carmine in Venice, in perpetual memory of his humble respect, donates and consecrates the engraver Andrea Zucchi.); (left) “Gio: Batt: Tiepolo del.”

Lettered on plate below the image borderline: (centre) “Sopra il ponte de Bareteri, con Priuilegio.”

See the description of this print offered by the bookshop: Libreria Emiliana (Italy):

https://www.maremagnum.com/stampe/la-virginita-scolpita-da-antonio-corradini-venezia-sopra-il/130845814.

See also Matej Klemenčič’s essay that offers insight about this print in “Modern Venetian Sheet Impressions after Contemporary Sculpture: Questions of Form and Function” (pp. 108–09):

https://e-knjige.ff.uni-lj.si/znanstvena-zalozba/catalog/download/183/280/4788-1?inline=1.

Condition: well-printed impression with small margins. There are minor abrasions, tears, stains and losses (e.g. there is a worm-hole above the lower cloud at left and losses to the lower right margin). The sheet is laid upon a support of archival (millennium quality) washi paper.

I am selling this very rare engraving after a drawing by Tiepolo exemplifying this master’s ability to give an aura of grandeur to a portrayed subject—note the low viewpoint and the slightly backward lean to the marble sculpture to give the impression of otherworldly spiritual transcendence—for AU$438 in total (currently US$290.23/EUR268.72/GBP225.31 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 engraving executed with exceptional sensitivity in the glorious Venetian Baroque period style, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Andrea Zucchi's etching, “The Last Supper”, 1720, after Tintoretto

Andrea Zucchi (1679 - 1740)

“The Last Supper” (aka “Cena di Cristo”), c1720, after the Intermediary design by Silvestro Manaigo (c1670–1734), after the painting by Jacopo Tintoretto (aka Jacopo Robusti) (1519–1594) in the Chapel of the Sacrament (right hand side) of the Church of San Trovaso in Venice, published by Domenico Lovisa (fl.1710–1750) in the series of 57 prints by Andrea Zucchi after paintings in the second part of “Il gran Teatro di Venezia, ovvero raccolta delle principali vedute e pitture che in essa si contengono” (the first part of this publication features 65 views of Venice), first editioned in c1720 in Venice.

Etching on laid paper with margins above and below, trimmed along the platemark on the sides, backed with a support sheet and stamped with an unidentified collector’s mark at lower centre of the margin.

Size: (sheet) 42.3 x 58.2 cm; (plate) 40 x 58.2 cm; (image borderline) 35 x 57 cm.

Lettered on plate below the image borderline: (left) “Siluestro Manaigo delineò”; (centre) “Cena di Cristo del Tintoretto nella Chiesa de SS. Geruaso, e Protaso detto S. Trouaso in Venetia.”; (right) “Andrea Zucchi Sculp/ Per Domenico Louisa in Rialto.”

Le Blanc IV.267.14 (Charles Le Blanc 1854–88, "Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations", 4 vols., Paris, cat. no. 14, p. 267).

Condition: richly inked and well printed impression in excellent condition (i.e. there are no tears, folds, holes, abrasions, significant stains or foxing) trimmed along the platemark on the sides and with a margin at the upper and lower edges of the sheet. There is a collector’s ink stamp on the margin at the lower edge. The sheet is laid upon an archival support sheet of millennium quality washi paper.

I am selling this large etching transcribing the details and tones of Tintoretto’s painting of the same composition in line, for AU$197 (currently US$133.03/EUR119.70/GBP108.61 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 acquiring this marvellous etching capturing Tintoretto’s love of skewed perspective, extreme foreshortening, dramatic gestures, theatrical lighting and unusual viewpoints exemplifying the period style called Mannerism, 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