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Opera Selectiora Quæ Titianus Vercellius Cadubriensis, Et Paulus Calliari Veronensis Inventarunt Ac Pinxerunt, Quæ Que Valentinus Le Febre Bruxellensis Delineavit, Et Sculpsit: Christianissimo Ludovico magno Franciæ, Et Navarræ Regi Invictissimo. Sacrat, Vovet Iacobus Van Campen

Titian

(Tiziano Vecelli, 1488/90–1576)

Paolo Veronese

(born Paolo Caliari, 1528–1588)

Tintoretto

(born Jacobo Robusti, 1518–1594)


A very important and rare work of famous Titian, Veronese, and Tintoretto paintings – in etched form. The etchings were executed by Valentino le Febvre of Brussels (Valentin Lefèvre) and published by Giacomo Van Campen (Jacob Van Campen) in Venice in 1682.


Interestingly, there are 3 versions of each etching: the final version with lettering and attribution; a reversed proof (counterproof) before lettering and attributions; and another counterproof (also reversed, but with the lettering and attributions in reverse), usually pressed on India paper or chain-laid paper then laid down on the handmade chain-laid paper. Since the counterproofs are made from a fresh "regular" proof, they tend to be quite a bit lighter. See link above for definition of counterproofs.

Original etchings, 340 years old

Sheet size: varies somewhat, but is approximately 15 3/4 x 22 1/4 inches (approx. 40 x 56.5 cm), handmade, chain-laid paper

Please click on a thumbnail image for an enlarged view of the entire plate. The Darvill's digital watermark does not appear on the actual antique etching.

Titian etching from 1682 Landscape with couple, man playing the Hurdy-Gurdy
REF #31C

Landscape with couple, man playing the Hurdy-Gurdy

A hypnotically detailed landscape with a bearded man playing a hurdy-gurdy in the central foreground as a young woman grasps his shoulder. Curators note from the British Museum: This is a copy in reverse after a woodcut by Domenico Campagnola of which a preparatory drawing exists in the Louvre, although the design was traditionally attributed to Titian.

Source artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles on backing paper. Light stain upper left part of sky within image.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

Titian etching from 1682 Shepherd asleep under tree
REF #32

Shepherd asleep under tree, landscape with sheep

Landscape with a sleeping shepherd under a tree. In addition to him, a herd of animals graze. Right winds a stream through the landscape, houses in the distance.  In reverse to the drawing of the same subject by Titian held by the Louvre.

Although the captured shimmering light and movement underpinning this etching is symptomatic of Lefevre’s interest in the period style now called Mannerism, this print also captures the spirit of the sleeping (and perhaps inebriated—judging by his tankard) herdsman on the far left of the composition. This depiction of landscape is less rooted in what could be seen but rather it is driven by an emotional response to the sensory experience of landscape; an almost hallucinogenic account of the landscape features.

Source artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural horizontal paper wrinkles mid image (not very noticeable). Some staining where adhevise was used lay down the etching on the backing paper.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

Titian etching from 1682 Shepherd asleep under tree
REF #32B

Shepherd asleep under tree, landscape with sheep

Landscape with a sleeping shepherd under a tree. In addition to him, a herd of animals graze. A stream winds through the landscape, houses in the distance.  In reverse to the drawing of the same subject by Titian held by the Louvre.

Although the captured shimmering light and movement underpinning this etching is symptomatic of Lefevre’s interest in the period style now called Mannerism, this print also captures the spirit of the sleeping (and perhaps inebriated—judging by his tankard) herdsman on the far left of the composition. This depiction of landscape is less rooted in what could be seen but rather it is driven by an emotional response to the sensory experience of landscape; an almost hallucinogenic account of the landscape features.

Source artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 16 1/2 x 10 1/2 inches (approx. 41.9 x 26.7 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles mid image and margins (not very noticeable). Holes at left and right margins (large staples or how printer "registered" the print on the press). Some foxing/staining in margins. Damp stain in left margin stops just outside of image area. Faint "crinkles" upper right margin, outside of image area.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

Titian etching from 1682 Shepherd asleep under tree
REF #32C

Shepherd asleep under tree, landscape with sheep

Landscape with a sleeping shepherd under a tree. In addition to him, a herd of animals graze. A stream winds through the landscape, houses in the distance.  In reverse to the drawing of the same subject by Titian held by the Louvre.

Although the captured shimmering light and movement underpinning this etching is symptomatic of Lefevre’s interest in the period style now called Mannerism, this print also captures the spirit of the sleeping (and perhaps inebriated—judging by his tankard) herdsman on the far left of the composition. This depiction of landscape is less rooted in what could be seen but rather it is driven by an emotional response to the sensory experience of landscape; an almost hallucinogenic account of the landscape features.

SoSource artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles on backing paper. Some staining where adhevise was used lay down the etching on the backing paper. Light impression, common to many counterproofs.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$249.95

Titian etching from 1682 Town with factories, women washing at river
REF #33

Town with factories, women washing at river

Landscape with a meandering river, three washerwomen on the river-bank, a bridge with some houses on either side beyond, a mountain in far distance; after Titian.
Source artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles mid image and in margins (not very noticeable). Inked numbers in margin.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

Titian etching from 1682 Town with factories, women washing at river
REF #33B

Town with factories, women washing at river

Landscape with a meandering river, three washerwomen on the river-bank, a bridge with some houses on either side beyond, a mountain in far distance; after Titian.

Source artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 16 1/2 x 10 1/2 inches (approx. 41.9 x 26.7 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles mid image and margins (not very noticeable). Holes at left and right margins (large staples or how printer "registered" the print on the press). Some foxing/staining in margins. Damp stain in left margin stops just outside of image area.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

Titian etching from 1682 Town with factories, women washing at river
REF #33C

Town with factories, women washing at river

Landscape with a meandering river, three washerwomen on the river-bank, a bridge with some houses on either side beyond, a mountain in far distance; after Titian.

SoSource artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles on backing paper. Some staining where adhevise was used lay down the etching on the backing paper. Light impression, common to many counterproofs. Inked numbers in margins.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$249.95

Titian etching from 1682 St John the Baptist as a Child with the Lamb
REF #34

St John the Baptist as a Child, with the Lamb

Landscape with a meandering river, three washerwomen on the river-bank, a bridge with some houses on either side beyond, a mountain in far distance; after Titian.
Source artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles, minor staining/foxing along natural paper wrinkle's edges and also in margin.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

Titian etching from 1682 St John the Baptist as a Child with the Lamb
REF #34B

St John the Baptist as a Child, with the Lamb

Landscape with a meandering river, three washerwomen on the river-bank, a bridge with some houses on either side beyond, a mountain in far distance; after Titian.

Source artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 16 1/2 x 10 1/2 inches (approx. 41.9 x 26.7 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles mid image and margins (not very noticeable). Holes at left and right margins (large staples or how printer "registered" the print on the press). Some foxing/staining in margins. Damp stain in left margin stops just about 1/4 inch inside of image area, lower left corner.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

Titian etching from 1682 St John the Baptist as a Child with the Lamb
REF #34C

St John the Baptist as a Child, with the Lamb

Landscape with a meandering river, three washerwomen on the river-bank, a bridge with some houses on either side beyond, a mountain in far distance; after Titian.

SoSource artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles on backing paper. Some staining where adhevise was used lay down the etching on the backing paper. Light impression, common to many counterproofs. Inked numbers in margins.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$249.95

Titian etching from 1682 Landscape, Shepherd playing the flute, leading flock
REF #35

Landscape, Shepherd playing the flute, leading flock

Landscape with a flock of sheep. Lead shepherd plays the flute.
Source artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles on backing paper, some staining/foxing within image

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

Titian etching from 1682 Landscape, Shepherd playing the flute, leading flock
REF #35C

Landscape, Shepherd playing the flute, leading flock

Landscape with a flock of sheep. Lead shepherd plays the flute.

SoSource artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles on backing paper. Some staining where adhevise was used lay down the etching on the backing paper. Light impression, common to many counterproofs. Inked numbers in margins.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$249.95

Titian etching from 1682 Landscape, boy leading horse to water, town in background
REF #36

Landscape, boy leading horse to water, town in background

Landscape with a river, a boy leading a horse, a soldier relaxing by river, town in background.
Source artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles, some soiling in outer margin, inked numbers in margins

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

Titian etching from 1682 Landscape, boy leading horse to water, town in background
REF #36B

Landscape, boy leading horse to water, town in background

Landscape with a river, a boy leading a horse, a soldier relaxing by river, town in background.

Source artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 16 1/2 x 10 1/2 inches (approx. 41.9 x 26.7 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles mid image and margins (not very noticeable). Holes at left and right margins (large staples or how printer "registered" the print on the press). Damp stain in left margin stops just about an inch inside of image area, lower left corner.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

Titian etching from 1682 Landscape, boy leading horse to water, town in background
REF #36C

Landscape, boy leading horse to water, town in background

Landscape with a river, a boy leading a horse, a soldier relaxing by river, town in background.

Source artist (original attribution): Titian (Tiziano Vecelli, 1488/90–1576)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles on backing paper. Some minor staining at outer margin, where adhevise was used lay down the etching on the backing paper. A fox mark or two within image. Inked numbers in margins.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

Veronese etching from 1682 Venice showered with riches
REF #38B

Venice showered with riches by Juno

Venice, with the lion of St. Mark on one side of her and the globe on the other, holds a scepter in one hand and holds out her other to receive the crowns, coins and jewels raining down on her from a coffer emptied by the godess Juno figure above.

This painting is on the ceiling of the Sala del Consiglio dei Dieci in the Palazzo Ducale.

The goddess Juno, wife of Jupiter, is (like the personification of Venetia) shown in sharp bottom view. Gold crowns, jewels, and money cascade onto Venice, with the doge's hat and a plain olive wreath. The vocation to power and the vocation to peace are seen as two sides of the same coin.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 16 1/2 x 10 1/2 inches (approx. 41.9 x 26.7 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles Holes at top and bpttp, margins (large staples or how printer "registered" the print on the press). Damp stains in bottom margin, well away from image area.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

veronese etching from 1682 Old Age and Youth / Janus and Juno
REF #40 / 39

Youth and Old Age / Janus and Juno

Etching on left side of sheet: Valentin Lefebre’s etching after Veronese, "Gioventù e Vecchiaia" (Youth and old age) after a painting in the Doge’s Palace in Venice.

Etching on right side of sheet: Janus and Juno (AKA Juno and Saturn)

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles, some soiling/foxing in outer margin, inked numbers in margins

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

Veronese etching from 1682 Venice ruling the world / Youth and Old Age
REF #39B / 40B

Venice ruling the world / Youth and Old Age

Etching on left side of sheet: Venice Seated upon the Globe and upon a Lion

Personification of Venice: a woman seated on a globe, a lion at her feet, raising her left hand and holding a sceptre with her right hand

The much-feared Consiglio dei Dieci (Council of Ten) was responsible for Venice's security. Its meeting-place, the Sala del Consiglio dei Dieci, is the first of a series of rooms used for the administration of justice. Paolo Veronese and Gian Battista Zelotti made their Venetian debut here as the assistants of the painter Giovan Battista Ponchino. Zelotti's oval painting is one of the nine surviving paintings in the ceiling. (The tenth was confiscated by the art commissars of Napoleon and removed to Paris. Now it is replaced by a copy.)

Etching on right side of sheet: Valentin Lefebre’s etching after Veronese, "Gioventù e Vecchiaia" (Youth and old age) after a painting in the Doge’s Palace in Venice.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles, large damp stain left margin (outside of image area), holes in left and right margin where printer "registered" the paper for printing purposes.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

Veronese etching from 1682 Venice ruling the world / Youth and Old Age
REF #39C / 40C

Janus and Juno / Neptune in his Chariot driven by Sea Horses

Etching on left side of sheet: Janus and Juno (AKA Juno and Saturn)

Etching on right side of sheet: Neptune in his Chariot driven by Sea Horses

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITHOUT LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: minor edge/corner wear, natural paper wrinkles, large damp stain left margin (outside of image area), holes in left and right margin where printer "registered" the paper for printing purposes., a couple of brown spots – one in margin and on to right of Neptune's head. Faint diagonal crease lower right corner, outside of image area.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 Music, Astronomy and Deceit
REF #42

Music, Astronomy and Deceit

This tondo belongs to a series of 21 such circular pictures adorning the ceiling of the great room of the Libreria Vecchia.

This central tondo is introduced by a kneeling female figure who, holding a flute in her right hand, turns her head to gaze upwards. Presumably, she represents music. Assigned to her is a young woman, who is studying a book with astronomical plates. Standing on a sheet of music, she appears to be listening to the sounds of heaven. On the left, the scene concludes with a woman examining a book with geometrical diagrams. The back of her head is covered by the mask of an old man.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: some natural paper wrinkles in margins, faint diagonal crease in right margin just extending into image area, small dampstain left margin well away from image.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

veronese etching from 1682 Music, Astronomy and Deceit
REF #42B

Music, Astronomy and Deceit

This tondo belongs to a series of 21 such circular pictures adorning the ceiling of the great room of the Libreria Vecchia.

This central tondo is introduced by a kneeling female figure who, holding a flute in her right hand, turns her head to gaze upwards. Presumably, she represents music. Assigned to her is a young woman, who is studying a book with astronomical plates. Standing on a sheet of music, she appears to be listening to the sounds of heaven. On the right, the scene concludes with a woman examining a book with geometrical diagrams. The back of her head is covered by the mask of an old man.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles in margins

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 Music, Astronomy and Deceit
REF #42C

Music, Astronomy and Deceit

This tondo belongs to a series of 21 such circular pictures adorning the ceiling of the great room of the Libreria Vecchia.

This central tondo is introduced by a kneeling female figure who, holding a flute in her right hand, turns her head to gaze upwards. Presumably, she represents music. Assigned to her is a young woman, who is studying a book with astronomical plates. Standing on a sheet of music, she appears to be listening to the sounds of heaven. On the right, the scene concludes with a woman examining a book with geometrical diagrams. The back of her head is covered by the mask of an old man.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITHOUT LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles mainly in margins but also through right upper portion of image, damp stain at bottom edge, holes at top and bottom where the printer "registered" the paper for printing purposes. A nice, dark impression!

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 Religion and Faith
REF #43

Religion and Faith (aka Faith and Idolatry)

Faith is personified in a cloud, as a woman who turns her head away from Earth, toward Heaven. Below that five persons (four men, one woman) are offering and burning offerings at an altar. Incense and lambs are the main offerings.

The central painting of the ceiling of the Sala del Collegio in the Doge's Palace, along with the Neptune and Mars, as well as Venetia between Justitia and Pax, symbolizes in allegorical form the Republic of Venice's claims to political power. It also reminds the Council of its specific obligations, one of which was monitoring matters of faith. Although a fixed written program for the ceiling has not survived and the putative authorship of Marcantonio Barbaro cannot be proven, it is assumed that the painter was forced to follow the requirements of the clients in terms of content and presentation.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: some natural paper wrinkles, mainly in margins, original printer's ink smear lower right corner of atribution area. Inked number just below neat line lower right corner.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

veronese etching from 1682 Religion and Faith
REF #43B

Religion and Faith (aka Faith and Idolatry)

Faith is personified in a cloud, as a woman who turns her head away from Earth, toward Heaven. Below that five persons (four men, one woman) are offering and burning offerings at an altar. Incense and lambs are the main offerings.

The central painting of the ceiling of the Sala del Collegio in the Doge's Palace, along with the Neptune and Mars, as well as Venetia between Justitia and Pax, symbolizes in allegorical form the Republic of Venice's claims to political power. It also reminds the Council of its specific obligations, one of which was monitoring matters of faith. Although a fixed written program for the ceiling has not survived and the putative authorship of Marcantonio Barbaro cannot be proven, it is assumed that the painter was forced to follow the requirements of the clients in terms of content and presentation.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles, mainly in margins. Typical light appearance of a counterproof.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 Religion and Faith
REF #43C

Religion and Faith (aka Faith and Idolatry)

Faith is personified in a cloud, as a woman who turns her head away from Earth, toward Heaven. Below that five persons (four men, one woman) are offering and burning offerings at an altar. Incense and lambs are the main offerings.

The central painting of the ceiling of the Sala del Collegio in the Doge's Palace, along with the Neptune and Mars, as well as Venetia between Justitia and Pax, symbolizes in allegorical form the Republic of Venice's claims to political power. It also reminds the Council of its specific obligations, one of which was monitoring matters of faith. Although a fixed written program for the ceiling has not survived and the putative authorship of Marcantonio Barbaro cannot be proven, it is assumed that the painter was forced to follow the requirements of the clients in terms of content and presentation.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITHOUT LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles, mainly in margins, damp stain at bottom edge, holes at top and bottom where the printer "registered" the paper for printing purposes. Some smudges in right margin – probably from a careless pressman's fingers in 1682. This is a very nice, dark impression for a counterproof.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 The Apotheosis of Venice
REF #43B

The Apotheosis of Venice (aka The Triumph of Venice)

The Apotheosis of Venice, also known as the Triumph of Venice, is a mythological allegory about the fight for peace and justice in Venice. The painting itself is of the victory that Venice had over the Pope and other Italian city-states. Veronese painted Mary as the allegorical figure for Venice. She is being crowned by Victory on top of clouds showing the audience that she is being taken up to heaven. At the bottom of the painting is the Rape of Europa which is the story of Europe’s art heritage and its survival.

To provide a little bit of history, the Triumph of Venice painting is located in the Doge’s Palace because of the story behind the painting with the Doge. Leonardo Loredan was the 76th Doge in Venice; this was during the time of the War of the League of Cambria and the burgeoning of fine arts. At the time that Loredan was Doge, Italy was not very unified, rather, there was much division between states specifically with the Venetian republic and papal states. When Pope Alexander VI died two years after Loredan became Doge, Julius II took over. Under his reign, instead of letting the Venetian Republic control the territories, he created a feud with Spain, France, and the Roman Empire called the League of Cambria. His reason for this was to diminish influence on Northern Italy from the Venetians. With this in mind, the Papal states were afraid that, if Venice became the most powerful of all, it would eventually turn all the other papal states against the pope and God. However, in 1510, the papal states and the Venetian Republic became allies once again which led France to take over Padua, a Venetian city. Soon enough, the pope turned against Venice; therefore, bringing France and Venice together. They forced the pope to pay his debts and was able to regain any lost land including Padua. This meant victory over the League of Cambria. From this, Venetian art became popular; expressing their love for Venice through art.

Two hundred years after Loredan died, Pompeo Batoni painted The Triumph of Venice in which Veronese looked to for his Apotheosis of Venice painting. In Apotheosis of Venice painting, Mary is the center figure that represents the virgin-Venice. She is being glorified and crowned for having victory over the Pope and gaining justice just as Mary is glorified for being the Queen of the Kingdom of Heaven. The rest of the painting depicts the different areas of Venetian society for example citizens from the papal states and the city-states. As far as the Rape of Europa, during World War II, the Nazis threatened to destroy any form of art that was related to history. The bottom of the painting is of the struggle for artistic freedom. The Venetian skies, animals, and historical stories were typical paintings of Veronese. He had a variety of artwork ranging from religious to secular paintings such as the Triumph of Venice and the Crucifixion.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITHOUT LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Double Sheet size: approximately 22 3/4 x 32 1/2 inches (approx. 57.7 x 82.5 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles, mainly in margins. Large damp stains on right side, extending into image area but not terribly detracting (could be remedied by a competent conservator for not too much outlay). Minor scattered foxing. Horizontal center fold, as issued. Overall a very attractive etching with a nice rich impression – especially since this is a counterproof! One of Veronese's most important works, in etched form.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

veronese etching from 1682 The Apotheosis of Venice
REF #43C

The Apotheosis of Venice (aka The Triumph of Venice)

Faith is personified in a cloud, as a woman who turns her head away from Earth, toward Heaven. Below that five persons (four men, one woman) are offering and burning offerings at an altar. Incense and lambs are the main offerings.

The central painting of the ceiling of the Sala del Collegio in the Doge's Palace, along with the Neptune and Mars, as well as Venetia between Justitia and Pax, symbolizes in allegorical form the Republic of Venice's claims to political power. It also reminds the Council of its specific obligations, one of which was monitoring matters of faith. Although a fixed written program for the ceiling has not survived and the putative authorship of Marcantonio Barbaro cannot be proven, it is assumed that the painter was forced to follow the requirements of the clients in terms of content and presentation.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Double Sheet size: approximately 19 1/2 x 30 1/2 inches (approx. 49.5 x 77.5 cm), chain-laid paper

CONDITION ISSUES: The centuries have not been kind to this print. To start, it appears that the paper was sort of "cobbled" together when the counterproof was first made. Subsequently, or perhaps when it was issued, the paper was folded so there are multiple horizontal and vertical folds. Tears and paper damage around edges. Old acidic tape stains on left side where the worst of the tears has occured. Dog-ear crease lower left corner. Very narrow margins. A faint impression, as is typical with many counterproofs. Price is indicative of condition for one of Veronese's most important works in etched form.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 Prosperity and Fortune
REF #45

Prosperity and Fortune

The fire in the Doges Palace in 1574 also destroyed the decoration in the Sala del Collegio. Restoration work commenced immediately, and Veronese was commissioned to do the ceiling paintings.

The three central panels (Mars and Neptune; Faith and Religion; Venice Ruling with Justice and Peace) are surrounded by eight more canvases of alternating "T" and "L" shapes containing personifications of the Christian Virtues, interspersed on the longer sides by six more monochrome panels with Scenes from the Greek and Roman History. The allegorical program, the glorification of the "good governance" of the Venetian Republic, is clearly defined in the inscriptions that appear in the coffers next to the three biggest canvases: "Robur imperii" above Mars and Neptune, "Nunquam derelicta" and "Reipublicae fundamentum" above and below Faith and Religion and "Custodes libertatis" under Venice Ruling with Justice and Peace.

The eight figures of the Virtues can be identified by the attributes that accompany them: a dog for Fidelity, a lamb for Gentleness, an ermine for Purity, a die and a crown for Reward, an eagle for Moderation, a cobweb for Dialectics, a crane for Vigilance and a cornucopia for Prosperity. These sumptuous female figures dressed in silks and brocades, splendid in their precious and limpid decorative effects and wonderfully lustrous and transparent colours, almost cancel out the limits of the restricted space to which they are confined by their lavish gilded frames, for they are set against an architectural background that seems to extend from one panel to another, creating a marvelous unity of space. The three central panels on the contrary, though characterized by the same colorings as the individual figures, appear to be separate.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: some natural paper wrinkles, mainly in margins, original printer's ink smear lower atribution area. Minor foxing in margins. Faint crease lower right margin. Inked numbers in margins. Stain/fox mark in cloud on upper image (Prosperity).

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

veronese etching from 1682 Prosperity and Fortune
REF #45

Prosperity and Fortune

The fire in the Doges Palace in 1574 also destroyed the decoration in the Sala del Collegio. Restoration work commenced immediately, and Veronese was commissioned to do the ceiling paintings.

The three central panels (Mars and Neptune; Faith and Religion; Venice Ruling with Justice and Peace) are surrounded by eight more canvases of alternating "T" and "L" shapes containing personifications of the Christian Virtues, interspersed on the longer sides by six more monochrome panels with Scenes from the Greek and Roman History. The allegorical program, the glorification of the "good governance" of the Venetian Republic, is clearly defined in the inscriptions that appear in the coffers next to the three biggest canvases: "Robur imperii" above Mars and Neptune, "Nunquam derelicta" and "Reipublicae fundamentum" above and below Faith and Religion and "Custodes libertatis" under Venice Ruling with Justice and Peace.

The eight figures of the Virtues can be identified by the attributes that accompany them: a dog for Fidelity, a lamb for Gentleness, an ermine for Purity, a die and a crown for Reward, an eagle for Moderation, a cobweb for Dialectics, a crane for Vigilance and a cornucopia for Prosperity. These sumptuous female figures dressed in silks and brocades, splendid in their precious and limpid decorative effects and wonderfully lustrous and transparent colours, almost cancel out the limits of the restricted space to which they are confined by their lavish gilded frames, for they are set against an architectural background that seems to extend from one panel to another, creating a marvelous unity of space. The three central panels on the contrary, though characterized by the same colorings as the individual figures, appear to be separate.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: some natural paper wrinkles, mainly in margins. Inked numbers in margins. Fox mark between the two etched plates in the margin.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

$349.95

veronese etching from 1682 Prosperity
REF #45C

Prosperity

The fire in the Doges Palace in 1574 also destroyed the decoration in the Sala del Collegio. Restoration work commenced immediately, and Veronese was commissioned to do the ceiling paintings.

The three central panels (Mars and Neptune; Faith and Religion; Venice Ruling with Justice and Peace) are surrounded by eight more canvases of alternating "T" and "L" shapes containing personifications of the Christian Virtues, interspersed on the longer sides by six more monochrome panels with Scenes from the Greek and Roman History. The allegorical program, the glorification of the "good governance" of the Venetian Republic, is clearly defined in the inscriptions that appear in the coffers next to the three biggest canvases: "Robur imperii" above Mars and Neptune, "Nunquam derelicta" and "Reipublicae fundamentum" above and below Faith and Religion and "Custodes libertatis" under Venice Ruling with Justice and Peace.

The eight figures of the Virtues can be identified by the attributes that accompany them: a dog for Fidelity, a lamb for Gentleness, an ermine for Purity, a die and a crown for Reward, an eagle for Moderation, a cobweb for Dialectics, a crane for Vigilance and a cornucopia for Prosperity. These sumptuous female figures dressed in silks and brocades, splendid in their precious and limpid decorative effects and wonderfully lustrous and transparent colours, almost cancel out the limits of the restricted space to which they are confined by their lavish gilded frames, for they are set against an architectural background that seems to extend from one panel to another, creating a marvelous unity of space. The three central panels on the contrary, though characterized by the same colorings as the individual figures, appear to be separate.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITHOUT LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 11 1/4 x 10 3/4 inches (approx. 28.6 x 27.3 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 Fortune
REF #45D

Fortune

The fire in the Doges Palace in 1574 also destroyed the decoration in the Sala del Collegio. Restoration work commenced immediately, and Veronese was commissioned to do the ceiling paintings.

The three central panels (Mars and Neptune; Faith and Religion; Venice Ruling with Justice and Peace) are surrounded by eight more canvases of alternating "T" and "L" shapes containing personifications of the Christian Virtues, interspersed on the longer sides by six more monochrome panels with Scenes from the Greek and Roman History. The allegorical program, the glorification of the "good governance" of the Venetian Republic, is clearly defined in the inscriptions that appear in the coffers next to the three biggest canvases: "Robur imperii" above Mars and Neptune, "Nunquam derelicta" and "Reipublicae fundamentum" above and below Faith and Religion and "Custodes libertatis" under Venice Ruling with Justice and Peace.

The eight figures of the Virtues can be identified by the attributes that accompany them: a dog for Fidelity, a lamb for Gentleness, an ermine for Purity, a die and a crown for Reward, an eagle for Moderation, a cobweb for Dialectics, a crane for Vigilance and a cornucopia for Prosperity. These sumptuous female figures dressed in silks and brocades, splendid in their precious and limpid decorative effects and wonderfully lustrous and transparent colours, almost cancel out the limits of the restricted space to which they are confined by their lavish gilded frames, for they are set against an architectural background that seems to extend from one panel to another, creating a marvelous unity of space. The three central panels on the contrary, though characterized by the same colorings as the individual figures, appear to be separate.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITHOUT LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 11 1/4 x 10 3/4 inches (approx. 28 x 27.3 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkle

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 Purity
REF #46

Purity

Allegory on Purity. Chastity seated at centre, holding up a rabbit, a plinth at right; a blank square in top left (see note above about ceiling painting at the Doges Palace in Venice).

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

ETCHING WITH LETTERING (upper etching)


COUNTERPROOF WITH LETTERING (lower etching)

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles, mainly in margins

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

veronese etching from 1682 Purity
REF #46B

Purity

Allegory on Purity. Chastity seated at centre, holding up a rabbit, a plinth at right; a blank square in top left (see note above about ceiling painting at the Doges Palace in Venice).

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITHOUT LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 10 1/4 x 9 5/8 inches (approx. 26 x 24.5 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 Purity
REF #46C

Purity

Allegory on Purity. Chastity seated at centre, holding up a rabbit, a plinth at right; a blank square in top left (see note above about ceiling painting at the Doges Palace in Venice).

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITHOUT LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 10 3/4 x 10 5/8 inches (approx. 27.5 x 27 cm), chain-laid paper adhered to chain-laid backing paper

CONDITION ISSUES: natural paper wrinkles

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 Moderation
REF #47

Moderation

Allegory on Moderation. Temperance seated at centre, pulling feathers from an eagle, corner of a classical temple at right (see note above about ceiling painting at the Doges Palace in Venice).

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITHOUT LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 10 3/4 x 10 5/8 inches (approx. 27.5 x 27 cm), chain-laid paper adhered to chain-laid backing paper

CONDITION ISSUES: natural paper wrinkles

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 Fidelity
REF #47

Fidelity

Allegory on Fidelity. Faith seated at centre, wearing a peplos, holding up a chalice and stroking a dog at left, an altar at right (see note above about ceiling painting at the Doges Palace in Venice).

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

ETCHING WITH LETTERING

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles, mainly in margins but also running through center horizontally.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

veronese etching from 1682 Fidelity
REF #47B

Fidelity

Allegory on Fidelity. Faith seated at centre, wearing a peplos, holding up a chalice and stroking a dog at left, an altar at right (see note above about ceiling painting at the Doges Palace in Venice).

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 11 3/8 x 12 1/8 inches (approx. 29 x 30.8 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 Fidelity
REF #47C

Fidelity

Allegory on Fidelity. Faith seated at centre, wearing a peplos, holding up a chalice and stroking a dog at left, an altar at right (see note above about ceiling painting at the Doges Palace in Venice).

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 11 1/2 x 12 3/8 inches (approx. 29.2 x 31.5 cm), chain-laid paper adhered to chain-laid backing paper

CONDITION ISSUES: natural paper wrinkles, minor foxing, age-toning, inked numbers in margin outside of image area. Somewhat faint impression, as is common with counterproofs.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$249.95

veronese etching from 1682 The Rape of Europa
REF #49

The Rape of Europa

Rape of Europa, after Veronese, with on the right two women helping Europa to climb onto the bull; Cupid stands before the animal; in the background, to the left, Europa riding the bull, which is heading towards the ocean.

The subject is taken from Ovid's 'Metamorphoses', which tells how the princess Europa was carried away from the coastal region of Tyre by the god Zeus who had transformed himself into a bull. We see her mounting the beast side-saddle in the foreground, and being carried away toward the sea in the lower left corner.

Veronese’s interpretation subtly negotiates the unsettling and the humorous. Europa is depicted in a state of partial undress, with her yellow mantle and belt lying on the ground. She appears somewhat nervous, or perhaps merely confused, at the business going on around her. Cupid ties a garland of flowers around the bull’s horns, while Europa’s handmaids position her on its back. A third catches fruit thrown by flying 'amorini' (or putti). The bull impatiently licks the princess’s foot.

This painting was highly esteemed in the 18th and early 19th century, but for most of the 20th century was considered as a reduction and reversal of Veronese's painting of the same subject in the Doge's Palace, Venice. Today it is generally regarded as autograph and may repeat an earlier conception of this subject.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: some natural paper wrinkles, mainly in margins, small damp stain left edge of paper.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

veronese etching from 1682 The Rape of Europa
REF #49B

The Rape of Europa

Rape of Europa, after Veronese, with on the right two women helping Europa to climb onto the bull; Cupid stands before the animal; in the background, to the left, Europa riding the bull, which is heading towards the ocean.

The subject is taken from Ovid's 'Metamorphoses', which tells how the princess Europa was carried away from the coastal region of Tyre by the god Zeus who had transformed himself into a bull. We see her mounting the beast side-saddle in the foreground, and being carried away toward the sea in the lower left corner.

Veronese’s interpretation subtly negotiates the unsettling and the humorous. Europa is depicted in a state of partial undress, with her yellow mantle and belt lying on the ground. She appears somewhat nervous, or perhaps merely confused, at the business going on around her. Cupid ties a garland of flowers around the bull’s horns, while Europa’s handmaids position her on its back. A third catches fruit thrown by flying 'amorini' (or putti). The bull impatiently licks the princess’s foot.

This painting was highly esteemed in the 18th and early 19th century, but for most of the 20th century was considered as a reduction and reversal of Veronese's painting of the same subject in the Doge's Palace, Venice. Today it is generally regarded as autograph and may repeat an earlier conception of this subject.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles, mainly in margins. Some foxing/staining in right margin, away from image area. Inked and pencilled number in margin. Typical light appearance of a counterproof.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 The Rape of Europa
REF #43C

The Rape of Europa

Rape of Europa, after Veronese, with on the right two women helping Europa to climb onto the bull; Cupid stands before the animal; in the background, to the left, Europa riding the bull, which is heading towards the ocean.

The subject is taken from Ovid's 'Metamorphoses', which tells how the princess Europa was carried away from the coastal region of Tyre by the god Zeus who had transformed himself into a bull. We see her mounting the beast side-saddle in the foreground, and being carried away toward the sea in the lower left corner.

Veronese’s interpretation subtly negotiates the unsettling and the humorous. Europa is depicted in a state of partial undress, with her yellow mantle and belt lying on the ground. She appears somewhat nervous, or perhaps merely confused, at the business going on around her. Cupid ties a garland of flowers around the bull’s horns, while Europa’s handmaids position her on its back. A third catches fruit thrown by flying 'amorini' (or putti). The bull impatiently licks the princess’s foot.

This painting was highly esteemed in the 18th and early 19th century, but for most of the 20th century was considered as a reduction and reversal of Veronese's painting of the same subject in the Doge's Palace, Venice. Today it is generally regarded as autograph and may repeat an earlier conception of this subject.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITHOUT LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles, mainly in margins but also unobtrusively vertically through image area, damp stain at left edge (away from image area), holes at right edge of paper where the printer "registered" the paper for printing purposes. Dog-ear crease lower right corner, away from image area. Paper nick just outside of image at the lower left corner. Despite the appearance in the margins outside of the image area, this is a very nice, dark impression for a counterproof and would frame nicely.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

veronese etching from 1682 The Rape of Europa
REF #50

The Rape of Europa

(vertical version)

Rape of Europa, after Veronese, with on the right two women helping Europa to climb onto the bull; Cupid stands before the animal; in the background, to the left, Europa riding the bull, which is heading towards the ocean.

The subject is taken from Ovid's 'Metamorphoses', which tells how the princess Europa was carried away from the coastal region of Tyre by the god Zeus who had transformed himself into a bull. We see her mounting the beast side-saddle in the foreground, and being carried away toward the sea in the lower left corner.

Veronese’s interpretation subtly negotiates the unsettling and the humorous. Europa is depicted in a state of partial undress, with her yellow mantle and belt lying on the ground. She appears somewhat nervous, or perhaps merely confused, at the business going on around her. Cupid ties a garland of flowers around the bull’s horns, while Europa’s handmaids position her on its back. A third catches fruit thrown by flying 'amorini' (or putti). The bull impatiently licks the princess’s foot.

This painting was highly esteemed in the 18th and early 19th century, but for most of the 20th century was considered as a reduction and reversal of Veronese's painting of the same subject in the Doge's Palace, Venice. Today it is generally regarded as autograph and may repeat an earlier conception of this subject.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682
An original etching/engraving, 340 years old
Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: some natural paper wrinkles, mainly in margins, one large stain in lower right quadrant of image and several other light stains. Inked numbers and notes in outer margin. A conservator could address these issues for a fairly reasonable cost. Price reflects condition.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$499.95

veronese etching from 1682 The Rape of Europa
REF #50B

The Rape of Europa

(vertical version)

Rape of Europa, after Veronese, with on the right two women helping Europa to climb onto the bull; Cupid stands before the animal; in the background, to the left, Europa riding the bull, which is heading towards the ocean.

The subject is taken from Ovid's 'Metamorphoses', which tells how the princess Europa was carried away from the coastal region of Tyre by the god Zeus who had transformed himself into a bull. We see her mounting the beast side-saddle in the foreground, and being carried away toward the sea in the lower left corner.

Veronese’s interpretation subtly negotiates the unsettling and the humorous. Europa is depicted in a state of partial undress, with her yellow mantle and belt lying on the ground. She appears somewhat nervous, or perhaps merely confused, at the business going on around her. Cupid ties a garland of flowers around the bull’s horns, while Europa’s handmaids position her on its back. A third catches fruit thrown by flying 'amorini' (or putti). The bull impatiently licks the princess’s foot.

This painting was highly esteemed in the 18th and early 19th century, but for most of the 20th century was considered as a reduction and reversal of Veronese's painting of the same subject in the Doge's Palace, Venice. Today it is generally regarded as autograph and may repeat an earlier conception of this subject.

Source artist: Paulo Veronese (born Paolo Caliari, 1528–1588)
Etcher: Valentino le Febvre of Brussels (1642–1682)
Publisher: Giacamo Van Campen (1596–1647)
Pubished in Venice in 1682

An original etching/engraving, 340 years old

COUNTERPROOF WITH LETTERING

(In printmaking, a counterproof is a print taken off from another just printed, which, by being passed through the press, gives a copy in reverse, and of course in the same position as that of the plate from which the first was printed, the object being to enable the printmaker to inspect the state of the plate.)

Sheet size: approximately 15 3/4 x 22 3/8 inches (approx. 40 x 56.5 cm), chain-laid paper

CONDITION ISSUES: natural paper wrinkles, mainly in margins. A small stain lower right quadrant of image and also lower left part of title area. Typical light appearance of a counterproof.

Please click on the thumbnail image for an enlarged view. The Darvill's digital watermark does not appear on the actual antique etching.

$349.95

more Titian and Veronese etchings from 1682

Original Antique and Vintage Masterpiece Art prints

Antique and Vintage Religion/Mythology prints

BIOGRAPHIES OF TITIAN, VERONESE, AND TINTORETTO

(Source: www.theartstory.org)

Titian's self-portrait

 

Titian

(Tiziano Vecelli, 1488/90–1576)

Who Was Titian?

Titian became an artist's apprentice in Venice as a teenager and worked with Sebastiano Zuccato, Giovanni Bellini and Giorgione before branching out on his own. Titian became one of Venice's leading artists around 1518 with the completion of "Assumption of the Virgin." He was soon creating for works for leading members of royalty, including King Philip II of Spain and Charles V, the Holy Roman Emperor. Pope Paul III also hired Titian to paint portraits of himself and his grandsons. 

Early Life

Born Tiziano Vecellio in what is now Pieve di Cadore, Italy, sometime between 1488 and 1490, Titian is considered one of the greatest painters of the Italian Renaissance. The oldest of four children born to Gregorio and Lucia Vecellio, Titian spent his early years in the town of Pieve di Cadore, near the Dolomite mountains.

In his teens, Titian became an apprentice to the Venetian artist Sebastiano Zuccato. He soon went work with such leading artists as Giovanni Bellini and Giorgione. Giorgione proved to be especially influential to the young painter.

Major Works

In 1516, Titian began work on his first major commission for a church called Santa Maria Gloriosa dei Frari in Venice. He painted "Assumption of the Virgin" (1516-1518) for the church's high altar, a masterwork that helped establish Titian as one of the leading painters in the area. He was known for his deft use of color and for his appealing renderings of the human form.

A short time after completing the legendary altarpiece, Titian created "The Worship of Venus" (1518-1519). This mythology-inspired work was just one of several commissioned by Alfonso I d'Este, duke of Ferrara. Titian managed to cultivate a broad range of royal patrons during his career, including King Philip II of Spain and Holy Roman Emperor Charles V.

Titian's Venetian home was a mecca for many of the community's artistic types. He had an especially close friendship with writer Pietro Aretino. Aretino is said to have helped Titian get some of his commissions. Sculptor and architect Jacopo Sansovino was another frequent visitor.

Over the years, Titian created portraits of leading figures of the day. He painted two works featuring Pope Paul III between 1545 and '46, and spent six months living at the Vatican while making these paintings. In 1548, he traveled to the court of Charles V, where he painted his portrait as well.

In his later career, Titian focused more on religious and mythological works. For Spain's Philip II, he painted "Venus and Adonis" (c. 1554), a piece inspired by Ovid's "Metamorphoses" that shows the goddess Venus trying in vain to hold on to her beloved Adonis. Titian again explored his fascination with the Roman goddess of love in "Venus and the Lute Player" (1565-1570).

Death and Legacy

Titian continued to paint until his death, on August 27, 1576, in Venice. He reportedly died of the plague. The same illness had claimed the life of his son, Orazio, a few months later. His other son, Pomponio, sold his father's house and its contents in 1581. Some of the artwork there can now be found in museums around the world, including the Hermitage in St. Petersburg, Russia, and the National Gallery of Art in Washington, D.C.

Through the wealth of works he left behind, Titian has inspired countless generations of artists. Rembrandt, Diego Velázquez, Antoon van Dyck and Peter Paul Rubens are just a handful of painters who were influenced by the great Venetian artist.

Self-portrait of Veronese

 

Paolo Veronese

(born Paolo Caliari, 1528–1588)

Childhood and Early Training

The youngest of five siblings, Paolo Caliari, nicknamed Veronese after his birthplace, was born in 1528 in the Italian city of Verona, then a mainland province of the Republic of Venice. His father, Gabriele, was a stonecutter; his mother, Catherina, the illegitimate daughter of a nobleman called Antonio Caliari. He was born moreover in Verona's artists' quarter in the district of San Paolo, which may well have accounted for his parents' choice of Christian name. Paolo initially apprenticed under his father which meant he went for a time by his professional name too: Paolo Spezapreda ("Paolo the Stonecutter"). However, while working with his father, Paolo's precocious talent for drawing became apparent and, aged 14, his apprenticeship was transferred to the studio of a local master named Antonio Bandile (he would later marry Bandile's daughter). It is suggested in some unconfirmed accounts that he may have studied simultaneously in the workshops of Giovanni Francesco Caroto, from whom, he may have inherited his fascination with the application of color.

Veronese's talent soon saw him exceed the standards usually demanded of Bandile's students. He had already moved away from the naturalistic tones of the High Renaissance and started to develop his own preference for a more colorful, more expressive, palette. He assisted Bandile with altarpieces in 1543 and 1544 and sections of these works would already bear his signature style. Having seen Veronese's work on the altarpieces, Michele Sanmicheli, the architect of many important buildings in Verona, provided Veronese with his first important commission working on frescoes for the Palazzo Canossa (1545-46). Veronese moved briefly to Mantua in 1548 where he made the acquaintance of Giulio Romano, Raphael's principle pupil and assistant, and one of the pioneers of the Mannerist style, a style well suited to Veronese's penchant for painterly elegance. Veronese created frescoes in the city's Duomo (Roman Catholic Cathedral) before he left for Venice in 1552.

Mature Period

1553 was an important year for Veronese. Not only had he relocated to Venice, but his father died. He took the name Caliari from his mother in the hope that this would afford him greater access to the Venetian aristocracy, while he used the name "Veronese" predominantly for signing purposes and to draw attention to his place of birth. Working in Venice allowed him to take advantage of the new demand for Venetian painting stirred by the likes of Giorgione, Titian, and Tintoretto. Following in their esteemed footsteps, Veronese quickly received commissions from governing bodies including the Hall of the Council of Ten and confraternities like San Sebastiano.

It is unusual to talk of a painter's "Mature Period" starting in their mid-twenties. But such was Veronese's talent even Giorgio Vasari, author of newly published The Lives of the Most Eminent Sculptors, Painters, and Architects (1550), was taken by the fact that someone so young could have already made such an illustrious career for himself. Indeed, Veronese's first Venetian commission was his Sacra Conversazione (Holy Conversion) for the San Francesco della Vigna church in 1552. This was followed in 1553 by his first state commissions: ceiling paintings for both the Hall of the Council of Ten (Sala dei Cosiglio dei Dieci) and Doge's Palace (Palazzo Ducale), the latter being the supreme seat of power for the Venetian republic. He followed with a History of Esther in the ceiling for the church of San Sebastiano and further works in the Ducal Palace and the Marciana Library sealed his standing as a Venetian Master.

Late period

Veronese soon began receiving patronage from powerful aristocratic families such as the Barbaro family for whom he decorated the Villa Barbaro (their stately home near Maser). In the latter part of the 1550s, Veronese decorated the villa of Venice's most renowned architect Andrea Palladio. The collaboration between artist and architect was widely regarded as a triumph of art and design and Palladio would later describe Veronese in his Four Books on Architecture (1570) as "the most excellent painter". For his part, Veronese referenced their professional ties by including Palladian buildings in his great masterpiece, The Wedding at Cana (1563). Meanwhile, Veronese continued to work (as did Tintoretto) on restorations at Doge's Palace (Palazzo Ducale) during the 1560s and 1570s following a succession of serious fires. Veronese married Elena (Bandile's daughter) in 1566, welcoming their first of five children (fours sons; one daughter) in 1568. Veronese's mother Catherina had also moved to Venice by this time.

Though a decade of great uncertainty for Venice, Veronese consolidated his status and strong family ties during the 1570s. In 1571, as part of the Holy League (that being a league comprised of the great Catholic maritime powers) Venice defeated the Ottoman Empire and Veronese named his only daughter, Vittoria, in honor of this victory in 1572. The resultant Counter Reformation, which saw a great resurgence in Catholic culture, was beginning to bring its influence to Venice. There was now less demand for erotic or mythological works and Veronese was called on to produce smaller devotional paintings. Between 1574 and 1577 major fires and plagues afflicted Venice (the plague claiming Titian in 1576) and Veronese began investing his substantial wealth in land and property. By the 1580s he had established a workshop with his sons and brother Benedetto and while initially the quality of the studio's work was considered uneven (at best), the workshop eventually began producing great works independently of its Master's hand. Veronese, who, incidentally had reverted to his proper name Paolo Caliari in 1575, died from pneumonia in 1588 and was buried in the Church of San Sebastiano, surrounded by his artistic contributions to the church.

The Legacy of Paolo Veronese

For at least a decade after his passing Veronese's family used sketches and drawings to complete more works from the studio signed under the name "Heirs of Paolo" while prints of Veronese's work were in high demand even during his own lifetime; something highly unusual for a living artist at that time. This allowed for his Mannerist style to be transported and admired far beyond its time and place of origin. Art historian Clare Robertson links Veronese for instance to the important French artist Eugene Delacroix, whose Liberty Leading the People (1830) utilises dramatic lighting and references contemporary architecture in the manner of the Veronese tableau The Wedding at Cana. Xavier F. Solomon, author of the National Gallery's catalogue on Veronese, meanwhile, has linked him to Flemish Baroquepainter Peter Paul Rubens through his focus on narrative and luminous color as seen in works like The Descent from the Cross (1612-14).

It is also known that Diego Velázquez, acquired Veronese's Venus and Adoni(c.1580) at some point during his trip to Italy between 1649 and 1651, and, through an intricate composition of figures set in a rigid architectural setting, Veronese's influence can be traced in works such as Las Meninas (1656). It is known too that in 1797 Napoleon had thought so highly of The Wedding at Cana(1563) that he ordered his troops to roll up the canvas and transport it to Paris. It eventually took its place in the Louvre opposite the Mona Lisa where it was admired, not only by Delacroix, but also by the poet Charles Baudelairewho was moved enough to write about Veronese's "heavenly, afternoon colors."

 

Tintoretto's self-portrait

 

Tintoretto

(born Jacobo Robusti, 1518–1594)

Childhood and Education

There are few details known about the childhood and early life of the Italian artist Tintoretto. Born Jacopo Robusti, even the year of his birth is unclear with scholars placing it sometime in either 1518 or 1519. He is known to have come from Venice, however, making him one of the few iconic artists of the Venetian School to have been born in this city.

His father, Giovanni Battista Robusti, was a cloth dyer; an occupation which would influence his son's artistic style surrounding the young Jacopo with colors, pigments, and other artistic mediums virtually from infancy. This trade also provided the inspiration for the name he would ultimately adopt, according to art historian Stefania Mason, he "...proudly declared the family connection with dyeing when he adopted the nickname by which he remains best known - Tintoretto, 'the little dyer' - as seen in his signature on paintings as well as various documents."

Early Training

Although no definitive records exist, it is generally believed that Tintoretto's training began sometime in his early teens with a brief stint as an apprentice in the workshop of the famed Venetian painter, Titian. This association did not last long with many speculating it was due to a strong clash of personalities between the old master and the more progressive exuberant and boundary-pushing personality of the young pupil.

Largely self-taught after this experience, Tintoretto would continue to develop his skills in part through making paintings on furniture. In Italy, at the time, there was a great demand for cassoni or ornate chests decorated with paintings, and it is here that Tintoretto is believed to have developed his distinctive approach characterized by rapidly executed loose brushwork often appearing sketch-like and, at times, incomplete. In his book, "Tintoretto: Tradition and Identity," art historian Tom Nichols writes, "In a number of small-scale paintings attributable to his earliest period, Tintoretto radically abbreviates his treatment of form, the sketchy effect being reinforced by his employment of a limited range of broken tones, close to one another on the color scale [...] Works such as these were intended to adorn furniture, and support [early biographer Carlo] Ridolfi's report that Tintoretto associated with painters of this type who peddled their wares from temporary wooden booths set up in St. Mark's Square. Ridolfi tells us that it was in this public (but professionally marginal) context that Tintoretto first learned the 'method of handling colors' particular to the cassoni painters."

Tintoretto's gestural style, although once fashionable with associations to the earlier master Giorgione, was by then equated with the lower ranking cassoni painters. This left Tintoretto out of favor with some of his fellow Venetian artists and patrons. The writings of the artist Giorgio Vasari, best-known today for his biographies of the Renaissance artists, illustrate just how radical Tintoretto's technique was to his contemporary audience. Vasari writes, "this master at times has left us finished work sketches so rough that the brushstrokes may be seen. Done more by chance and vehemence than with judgement and design." While this passage may read as critical, perhaps to show a preference for the internationally recognized, and considerably more polished technique, of Titian, another quote shows Vasari's admiration for the bravura of Tintoretto's brushwork, citing the younger artist as "the most extraordinary brain that the art of painting has produced."

Mature Period

From as early as 1538, there is evidence of Tintoretto having his own workshop and referring to himself as a professional working in Venice. From the outset, the young artist set himself apart from his former teacher Titian, despite the popularity of his rival's accomplishments. Tintoretto's interest in, and emulation of, Michelangelo's approach to painting was especially disagreeable to his former master. According to curators Robert Echols and Frederich Ilchman, as they wrote in the 2019 exhibition catalog, Tintoretto: Artist of Renaissance Venice, the young artist"...presented himself in the role of a challenger to the established tradition as embodied by Titian and identified himself instead with the newest ideas circulating in Venetian painting. In the early 1540s that meant emulating contemporary currents in Florence and Rome, and above all Michelangelo, the biggest name in all of Italian art. [...] While the concept of an avant-garde painter aiming for 'the shock of the new' was not one articulated in the sixteenth century, Tintoretto was positioning himself on the cutting edge of Venetian painting." Unfortunately, Titian never forgave what he considered Tintoretto's disrespect and attempted on numerous occasions to thwart the younger artist's advancement by blocking Tintoretto's success in obtaining commissions and membership in various organizations.

Despite Titian's disapproval, Tintoretto began to make a name for himself, first through a series of public works in the form of mural fresco paintings. He was able to gain work through charging extraordinarily low fees, often only covering the cost of materials, to gain exposure to a larger audience. This strategy proved successful, as Tintoretto began gaining commissions, including many religious works for which he would remain best known, including multiple depictions of the Last Supper, the first of which he created in 1547. Arguably it was his first masterpiece, The Miracle of the Slave, (1548) that brought him to the attention of the larger Venetian public and patrons and, in effect, launched his career.

As Tintoretto began to prosper professionally, he also flourished in his personal life. He became friends with many of the leading literary figures of the day. Then, around 1550 he married Faustina Episcopi whose father was affiliated with the Scuola Grande di San Marco confraternity for whom he had created a painting. They would have eight children; three of whom would become artists.

In addition to church commissions, a major source of employment for Tintoretto and other Venetian painters during the 16th century was for confraternities or scuolas. These organizations played a large role in the cosmopolitan Venetian culture, organized around a variety of purposes ranging from national origin to acts of public service, such as helping the ill and poverty-stricken. Over time, these scuolas acquired great wealth from their affluent members which provided a major source of patronage for the Venetian artists. Although Titian managed to block some of these commissions from Tintoretto, including from the Scuola Grande di San Rocco which Titian secured for himself in 1553, he never actually completed the assignment. Despite this occasion, Tintoretto was able to skillfully navigate the competitive process from which he benefitted greatly throughout his career.

In fact, Tintoretto seemed destined to face challenges by other artists despite how impressively his reputation grew. The second major competition came in the form of Paolo Veronese who arrived in Venice in the late 1550s. Art historians Echols and Ilchman describe the impact of Veronese as"...unofficially but publically recognized as Titian's successor, as the older artist presented him with a golden chain for having executed the best ceiling painting for the reading room of Jacopo Sansovino's Libreria Marciana - a competition from which Tintoretto had humiliatingly been excluded. With this coveted position as the next leader of Venetian painting seeming to slip through his fingers, Tintoretto had to contend not only with Titian's machinations but with the undeniable talent of Veronese."

Rather than concede defeat, Tintoretto persevered and strengthened his status by focusing on works characteristic of his style that set him apart from the more traditional approaches of Titian and Veronese. In so doing he made increasingly dramatic works, densely populated with figures creating rhythmic contrasts in light and dark that appeared more Mannerist than Renaissance in style.

Tintoretto often employed questionably ethical means to secure coveted commissions, at times reducing the fee for his paintings enough to undercut other artists. The most notorious example of his strategic ingenuity centered around a competition for a ceiling painting for the new meeting house of the Scuola Grande di San Rocco in 1564. The prospectus from the confraternity called for selected artists, including Tintoretto, to submit a sketch for the proposed ceiling painting. Tintoretto, rather than providing a sketch, unveiled his completed panel, already installed on the ceiling. When others objected, he presented the painting as a donation, knowing that the confraternity would be obligated to accept a gift. The strategy worked, and by promising to render all additional paintings for the house for an annual salary of 100 ducats, the artist secured an exclusive contract with numerous commissions over the following two decades. Tintoretto was also admitted into the confraternity in 1565, where he would go on to hold various offices.

Tintoretto was only known to have left Venice once to travel to Mantua, at the age of 62, in 1580. This was four years after the death of his rival, Titian, who had of all the Venetian painters, dominated the international stage. It was during this later period that Tintoretto also received a few important international commissions including an altarpiece for King Philip II of Spain and four works for the Holy Roman Emperor Rudolf II. He also painted an increasing number of non-religious themed paintings during this time. In these later years, he also created portraits and received many commissions from the Venetian state. One of the most notable being his creation of the large-scale painting, titled Paradiso, in 1592 for the Ducal Palace.

As he neared the end of his life, Tintoretto increasingly relied on the help of his studio assistants to finish his paintings, including Paradiso. Most notable of those assistants were three of his nine children: daughter Marietta and sons Domenico and Marco. The artist was devastated when his oldest daughter, whom he lovingly nicknamed 'la Tintoretta,' died during childbirth in 1590. Just four years later, Tintoretto died fifteen days after contracting a fever. His sons would continue the work of his studio for many years, perhaps still under the guidance of those words Tintoretto had inscribed on its wall years before: Il disegno di Michelangelo e il colorito di Tiziano (The drawing of Michelangelo and the coloring of Titian).

The Legacy of Jacopo Tintoretto

Jacopo Tintoretto left an indelible mark on 16th-century Venetian painting and beyond. His unique approach to artmaking with rapid, loose brushstrokes and strong contrasts between light and dark deeply challenged the traditional style of the iconic master Titian, Paolo Veronese, and his Venetian contemporaries. His bold compositions offered an alternative style to the hierarchal staging of the traditional Renaissance paintings. Because of this, Tintoretto is often associated with the Mannerist painters of the later Renaissance period.

His influence, however, was felt long after his own time. Tintoretto's highly dramatic, almost theatrical compositions would serve as inspiration for the development of the 17th-century Baroque art movement. The impact of his gestural style, notable for its obvious traces of his brushwork, reverberates in the passionate style of Diego Velázquez and Peter Paul Rubens. His early self-portrait, dated to 1548, is considered a precedent to those of later artists including Rembrandt; while the contemplative mood of his much later self-portrait, was described by the modernist icon Edouard Manet as "one of the most beautiful paintings in the world."

Tintoretto's influence continues to permeate the world of painting, impacting contemporary artists most notably in the grand, expressionistic aspects of his compositions. According to Echols and Ilchman, "in our time, such painters as Emilio Vedova, Anselm Kiefer, and Jorge Pombo have specifically measured themselves against Tintoretto, creating huge canvases filled with audacious brushwork and coloristic effects."

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