Collection of Prints and Drawings

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Production People
Andrea Schiavone (Print made by)artist bio
Schiavone, Andrea [Meldolla; Meduli?, Andrija]
b ?Zara [now Zadar], ?c. 1510; d Venice, 1 Dec 1563
Title / Description
The Mystic Marriage of St Catherine
 
Date
c. 1550-60
 
Technique
chiaroscuro woodcut printed only from key block
Material
paper
Dimensions
300 x 223 mm (platemark)
Inscriptions
no
State
later state
 
Watermark
no
Provenance
Nikolaus Esterházy (Lugt 1966)
 
References
Nagler, Monogr. vol. 1, no. 1068.6 info
Georg Kaspar Nagler, Die Monogrammisten, 6 vols., Munich 1858–79

Passavant VI.236.64 (as Anonymous Artist after
Parmigianino) info
Johann David Passavant, Le peintre-graveur, 6 vols., Leipzig 1860-64

Oberhuber 1963a, no. 191 info
Konrad Oberhuber, Parmigianino und sein Kreis, exhibition catalogue, Vienna, Albertina 1963

Karpinski 1976, p. 272, fig. 11 info
Caroline Karpinski, 'Some Woodcuts after Early Designs of Titian,' Zeitschrift für Kunstgeschichte 39 (1976), pp. 259-74

Rosand and Muraro 1976a, no. 101 info
David Rosand and Michelangelo Muraro, Tiziano e la silografia Veneziana del cinquecento, exhibition catalogue, Venice, Fondazione Giorgio Cini 1976

Rosand and Muraro 1976b, no. 93 info
David Rosand and Michelangelo Muraro, Titian and the Venetian Woodcut, exhibition catalogue, Washington D.C., National Gallery of Art 1976

Richardson 1980, no. 132 info
Francis L. Richardson, Andrea Schiavone, Oxford 1980

Landau in London 1983, no. P48 (as Andrea Schiavone) info
David Landau, 'Printmaking in Venice and the Veneto' in The Genius of Venice 1500-1600, eds. Jane Martineau and Charles Hope, exhibition catalogue, London, Royal Academy of Arts 1983, pp. 303-54

Matile 2003, no. 21 info
Michael Matile, Italienische Holzschnitte der Renaissance und des Barock, Bestandskatalog der Graphische Sammlung der ETH, Zürich, Basel 2003
 
Comment
David Landau in London 1983 observed that the ineptitude of the cutting of this print, combined with the experimental quality suggests that Schiavone must be responsible for it. The artist probably adopted this technique in his maturity, and its technical failures suggest it was the first of only two he probably cut himself, the other being the Mocking of Christ, see inv. no. 6174. This is a later state in which several lines in the woodblock were already broken.
 
Inventory Number
6175
 
Classification
Prints: Italian: 16th century: Mounted I
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