Collection of Prints and Drawings

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Production People
Orazio Farinati (Print made by)artist bio
Farinati [Farinato], Orazio
b Verona, c. 1558-61; d Verona, c. 1616-27

Paolo Farinati (After)artist bio
Farinati [Farinato], Paolo
b Verona, 1524; d Verona, 1606

Gaspare dall' Oglio (Published by)artist bio
Oglio, Gaspare dall'
fl 1583-1603
Title / Description
Virgin and Child with St John the Baptist
c. 1583
256 x 224 mm (sheet, trimmed close to platemark)
Inscribed at lower edge: 'P Fari I' and with publisher's address: 'Gasparo dalolio exc'. Signature 'HO.F.F.' from the margin has been trimmed.
fourth state of four
Nikolaus Esterházy (not stamped)
Bartsch XVI.169.3 (second state of two) info
Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21

Albricci 1980, p. 25, no. 3 (fourth state of four) info
Gioconda Albricci, 'Le incisioni di Paolo e Orazio Farinati,' Saggi e memorie di storia dell'arte 12 (1980), pp. 8-30

Dillon in Verona 1980, no. XI.50 (fourth state of four) info
Gianvittorio Dillon, La grafica: Stampe e libri a Verona negli anni di Palladio, in Palladio e Verona, ed. Paola Marini, exhibition catalogue, Palazzo della Gran Guardia, Verona 1980, pp. 257-89

Bury in Edinburgh 2004, no. 150 info
Michael Bury in The Age of Titian: Venetian Renaissance Art from Scottish Collections, eds. Peter Humfrey, Timothy Clifford, Aiden Westen-Lewis, and Michael Bury, exhibition catalogue, Edinburgh, National Galleries of Scotland 2004

Marini in Verona 2006, no. 204 (fourth state of four) info
Giorgio Marini, 'Incisioni' in Paolo Farinati 1524-1606: Dipinti, incisioni e disegni per l'architettura, eds. Giorgio Marini, Paola Marini, and Francesca Rossi, exhibition catalogue, Verona, Museo del Castelvecchio 2006, pp. 207-19

Seres 2012 info
Eszter Seres, 'A Print by Orazio Farinati with False Corners,' Bulletin du Musée Hongrois des Beaux-Arts 116-117 (2012), pp. 117-22
Albricci supposed that Paolo Farinati may have seen Giulio Romano's paintings representing the Virgin (Holy Family in Madrid, Prado, and Madonna della Gatta, Museo di Capodimonte, Naples), because of the Roman influences in this print. However, the Virgin's face shows characteristically Venetian features. Dillon claimed that the date may refer to the publication of the print rather than its execution. It is generally supposed that Farinati used a tin plate, which may be responsible for the fracture of the lower left corner. The other three corners of the plate have been cut to achieve a symmetric shape. The Budapest print is a fourth state impression printed from the octagonal plate, and was supplemented with paper splitting technique at the four corners. For the intervention in detail, see Seres 2012.
Inventory Number
Prints: Italian: 16th century: Mounted I
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