Holy Family with Saints
| Reference: | S38427 |
| Author | Mario CARTARO |
| Year: | 1560 |
| Measures: | 292 x 405 mm |
€2,200.00
| Reference: | S38427 |
| Author | Mario CARTARO |
| Year: | 1560 |
| Measures: | 292 x 405 mm |
€2,200.00
Description
Etching and engraving, 1560 circa, signed with monogram 'MKV', lettered lower left on a tablet: 'IVLII ROMANI INVENTVM/MICHAELIS LUCENSIS OPERA/REPRAESENTATVM/INLVSTRISSIMOQ DOMINO/IVLIANA CAESARINO/D D', and at right: 'ML cum priuilegio' . Inscribed on the book in the book held between the lion's paws: PAX/ TIBI/ MARCE/ VA/GEL/ISTA.
After Giulio Romano's painting of the Holy Family with Saints, commissioned by Jacob Fugger for the chapel of San Marco in Santa Maria dell'Anima, Rome, executed by Giulio in c.1523.
Michele’s engraving of the Fugger Altarpiece by Giulio Romano shows a dedication to a personality related to the Farnese family who came from the Sforza of Santa Fiora on his mother’s side: Giuliano Cesarini (1491-1566). Giuliano Cesarini was also associated with the circle of Michelangelo’s familiars, as the Roman noble was married to Giulia Colonna, the cousin of Vittoria Colonna, who Cesarini hosted in his Roman Palace, at the end of her life.
Passavant lists the print's later editions by Giovanni Orlandi, Antonio Carenzano and Giovanni Giacomo de'Rossi. Although the print bears the names of two printmakers also having a publishing activity, Mario Cartaro and Michele Lucchese, the print was most possibly executed by the former and published by the latter. A drawing in the Louvre, Uffizi, inv. no. 14615F, is usually considered as the modello for the painting, amd differs from this print especially in the background.
The print seems to be a precise record of the original painting, severely damaged in the 16th century (Tiber floods in 1577 and 1598) and repainted later by Carlo Saraceni (1579-1620) . The print appears in the inventory of Giovanni Giacomo de'Rossi in 1677, without the name of the printmaker.
A fine impression, printed on laid paper, laid down on antique paper, trimmed to the paltemark or with thin margins, good condition.
Not listed by Annalisa Cattaeneo’s in “Mario Cartaro. Catalogo delle incisioni”. Rare.
Literature
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S. MASSARI, Giulio Romano pinxit et delineavit, p. 208; D’Arco, XLIII n. 96 (Lucchese); Witcombe, Copyright in the Renaissance…, p.181, 306.
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Engraver, print dealer and publisher, from Viterbo. Active in Rome c.1557-86/8; in Naples by 1588.First dated work 1560.He engraved and published his own work and also acquired plates from others.
The Museum of the History of Science in Florence has a printed celestial globe signed by him, 1577. There is a matching terrestrial globe in the Monte Mario Observatory .His productin seems to have concentrated on devotional subjects and maps.Large maps of Rome 1576.He took on commissions for copperplates from Ferrando Bertelli in Venice:three maps of 1562-3.Plates in Vaccari stocklist of 1614.
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Literature
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S. MASSARI, Giulio Romano pinxit et delineavit, p. 208; D’Arco, XLIII n. 96 (Lucchese); Witcombe, Copyright in the Renaissance…, p.181, 306.
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Engraver, print dealer and publisher, from Viterbo. Active in Rome c.1557-86/8; in Naples by 1588.First dated work 1560.He engraved and published his own work and also acquired plates from others.
The Museum of the History of Science in Florence has a printed celestial globe signed by him, 1577. There is a matching terrestrial globe in the Monte Mario Observatory .His productin seems to have concentrated on devotional subjects and maps.Large maps of Rome 1576.He took on commissions for copperplates from Ferrando Bertelli in Venice:three maps of 1562-3.Plates in Vaccari stocklist of 1614.
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