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| Production People Orazio Farinati (Print made by)  Farinati [Farinato], Orazio b Verona, c. 1558-61; d Verona, c. 1616-27 Paolo Farinati (After) Farinati [Farinato], Paolo b Verona, 1524; d Verona, 1606 Gaspare dall' Oglio (Published by) Oglio, Gaspare dall' fl 1583-1603 Title / Description Virgin and Child with St John the Baptist Date c. 1583 Technique etching Material paper Dimensions 256 x 224 mm (sheet, trimmed close to platemark) Inscriptions 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. State fourth state of four Watermark no Provenance Nikolaus Esterházy (not stamped) References Bartsch XVI.169.3 (second state of two) Adam Bartsch, Le peintre-graveur, vols. 21, Vienna 1803-21 Albricci 1980, p. 25, no. 3 (fourth state of four) 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) 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 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) 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 Eszter Seres, 'A Print by Orazio Farinati with False Corners,' Bulletin du Musée Hongrois des Beaux-Arts 116-117 (2012), pp. 117-22 Comment 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 6943 Classification Prints: Italian: 16th century: Mounted I |
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