Collection of Prints and Drawings

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Production People
Agostino Carracci (Print made by)artist bio
Carracci, Agostino
b Bologna, 15 Aug 1557; d Parma, 22 March 1602

Correggio (After)artist bio
Correggio [Allegri, Antonio]
b Correggio, ?1489; d Correggio, 5 March 1534
Title / Description
Ecce Homo
 
Date
1587
 
Technique
engraving
Material
paper
Dimensions
373 x 268 mm (sheet, trimmed close to platemark)
Inscriptions
Lettered with dedication to Cardinal Enrico Gaetano on parapet within image, and below image with a line of Latin and production detail: 'Ant. Correg.inuen: Parmae in Aedibus Pratorum', dated at center: '1587' and signed at right: 'Aug. Car. Bon. inc: excu.'
State
first state of two
 
WatermarkWatermark
visible, height: 49 mm, width: 48 mm
Provenance
Nikolaus Esterházy (Lugt 1966)
 
References
Bartsch XVIII.49.20 info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Bohlin 1979, no. 143 (first state of two) info
Diane DeGrazia Bohlin, Prints and Related Drawings by the Carracci Family: A Catalogue Raisonné, National Gallery of Art, Washington 1979

Bohn in TIB 1995, 3901.150.S1 (first state of two) info
Babette Bohn, Italian Masters of the Sixteenth-Century: Agostino Carracci, The Illustrated Bartsch, vol. 39, Part 1 (Commentary), New York 1995

Bury 2001, no. 155 info
Michael Bury, The Print in Italy 1550-1620, exhibition catalogue, London, The British Museum 2001
 
Comment
After Antonio Correggio's painting made around 1520, now in the National Gallery, London. The painting had been in Parma until the 17th century, therefore Bohn in TIB suggests that together with Bartsch XVII.87.95 it is evidence of Agostino Carracci's visit there. According to Michael Bury in 2001, Cardinal Enrico Gaetano, to whom the print was dedicated, was the papal legate to Bologna an described in 1593 as one of the cardinals who were putting together collections of prints. This was Agostino's second print after Correggio, the forst being the Madonna of St Jerome (Bartsch XVIII.87.95). In the Ecce Homo, Agostino reversed the image but remained close to the original composition. It is one of the three engravings of the years 1586-87 that carry assertions of Agostino's control of the plates (the other two are Madonna of St Jerome and the Cordons of St Francis), suggesting he was trying to establish a print business in Bologna on a more formal basis than before.
 
Inventory Number
6078
 
Classification
Prints: Italian: 16th century: Mounted I
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