Madonna of the Rosary
| Reference: | S45953 |
| Author | Tipografia Soliani |
| Year: | 1650 ca. |
| Measures: | 370 x 515 mm |
| Reference: | S45953 |
| Author | Tipografia Soliani |
| Year: | 1650 ca. |
| Measures: | 370 x 515 mm |
Description
Woodcut, c. 1650-1700, unsigned.
With the imprint "IN MODONA" in the lower center, which identifies the Tipografia Bartolomeo Soliani of Modena.
Bottom center Latin inscription Purpureas Praebete Rosas. Floresque Mariae ut Vobis Fructum Praebeat. Illa Suum.
Our Lady of the Rosary is one of the traditional and most famous and important depictions in which the Catholic Church venerates Mary: the Virgin is depicted with a blue robe and a Rosary beads in her hands. This is a particularly frequent depiction in devotion after the Counter-Reformation, the iconography of which is taken from the older depiction of Our Lady of the Girdle.
A good, late, impression printed on laid paper with “moon and letters FS” watermarks, with margins, in good conditions.
The work appears on the first page of the printer's 1864 catalog, edited by Bartolomeo Soliani's heirs: Catalogo generale delle incisioni in legno per uso di tipografia di varie epoche di antica spettanza degli eredi di Bartolomeo Soliani, preserved at the Galleria Estense in Modena.
http://xilografiemodenesi.beniculturali.it/collezioni/cataloghi/catalogo-soliani-1864/
In 1646, Bartolomeo Soliani founded the printing house, active until 1870. Soliani printed mainly religious operettas and popular editions (love rhymes, romances of chivalry, burlesque writings), frequently decorated in the frontispiece with woodcuts. He also acquired a substantial number of woodcut plates by sixteenth-century artists, which he later reprinted. The Soliani's prints, which together constitute one of the most remarkable documents of popular Italian engraving, are reproduced in Xilografie del tipografo modenese Bartolomeo Soliani ed eredi dal 1646 al 1752 (1914). The major personality of the family was Bartolomeo II (1695-1751), to whom we owe one edition. The nucleus of 2613 xylographic examples, belonging to the production of the Stamperia Soliani, became part of the Galleria Estense in 1887 thanks to the efforts of Adolfo Venturi, then a young museum official.
Bibliografia
I legni incisi della Galleria Estense. Quattro secoli di stampa nell'Italia settentrionale, Modena 1986, pp. 135 ss.
Tipografia Soliani (attiva a Modena 1646 - 1870)
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Modenese family of printers. In 1646, Bartolomeo founded the printing house of the same name, active until 1870. The Soliani printed mainly religious operettas and popular editions (love rhymes, romances of chivalry, burlesque writings), frequently decorated on the title page with woodcuts. The Soliani's prints, which together constitute one of the most remarkable documents of Italian popular engraving, are reproduced in Xylographs of the Modenese printer Bartolomeo Soliani and heirs from 1646 to 1752 (1914). The major personality of the family was Bartolomeo II (1695-1751), to whom we owe an edition (1744) of A. Tassoni's Secchia rapita. The nucleus of 2613 xylographic examples, belonging to the production of the Stamperia Soliani, became part of the Galleria Estense in 1887 thanks to the efforts of Adolfo Venturi, then a young museum official.
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Tipografia Soliani (attiva a Modena 1646 - 1870)
|
Modenese family of printers. In 1646, Bartolomeo founded the printing house of the same name, active until 1870. The Soliani printed mainly religious operettas and popular editions (love rhymes, romances of chivalry, burlesque writings), frequently decorated on the title page with woodcuts. The Soliani's prints, which together constitute one of the most remarkable documents of Italian popular engraving, are reproduced in Xylographs of the Modenese printer Bartolomeo Soliani and heirs from 1646 to 1752 (1914). The major personality of the family was Bartolomeo II (1695-1751), to whom we owe an edition (1744) of A. Tassoni's Secchia rapita. The nucleus of 2613 xylographic examples, belonging to the production of the Stamperia Soliani, became part of the Galleria Estense in 1887 thanks to the efforts of Adolfo Venturi, then a young museum official.
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