Saint Francis consoled by musical angels
| Reference: | S32381 |
| Author | Raphael SADELER I |
| Year: | 1604 ca. |
| Measures: | 282 x 405 mm |
€900.00
| Reference: | S32381 |
| Author | Raphael SADELER I |
| Year: | 1604 ca. |
| Measures: | 282 x 405 mm |
€900.00
Description
Engraving, 1604 circa, signed at bottom edge “Raphael Sadeler eius Chalcographus DD”. After fra' Cosmo da Castelfranco, born Paolo Piazza.
Good impression, printed on contemporary laid paper, with watermark “shield with cross”, trimmed close to the platemark, traces of a central fold on the back, otherwise in very good condition.
This engraving is after a lost painting of the same subject by Paolo Piazza (1557-1621), recorded in print just by Sadeler.
The scene depicts a room interior where St Francis lies sick in bed, an angel playing a violin appears to him, a monk brings in a tray with food, and another monk kneels in prayer; the room houses four doves, a lamb, a cat, a crucifix, an icon of the Virgin, a skull, a sun-dial, grapes, a gourd, vases, tables etc.
Lettered along top with two Latin lines, and along bottom with three columns of description in Latin and two lines of dedicating to Elisabeth of Bavaria.
In accordance with the renewed spirituality of the period, and in particular the reforming zeal of the Capuchin order (an independent branch of the Franciscans approved by Pope Paul III in 1536), the cult of Saint Francis enjoyed revived popularity. This scene of angelic consolation for the penitent suffering of Saint Francis was not treated by artists in medieval and Renaissance times, but it became a popular in the second half of the sixteenth century. Among the earliest treatment of the new iconography is a lost alterpiece by Francesco Vanni for the Capizuchi chapel in Santa Maria Maggiore in 1592, and the Caravaggio’s Estasy of the Saint Francis painted about 1594.
Raphael Sadeler engraved two prints of this subject: one after Vanni, also copied by Agostino Carracci in 1595, and the second one after Paolo Piazza.
When Sain Francis was very weak in body, from abstinence, and his battles with demons, he began to think of the unmeasurable glory and bliss of those blessed with eternal life, and thus prayed to God that he give him the grace to taste a small portion of that bliss. Suddenly appeared to him an angel with great splendor, which had a violetta in its right hand and the bow in the left. And while Saint Francis was astonished at the presence of that angel, it drew the bow only once over the violetta, and immediately such sweetness and melody sweetened his soul, and relieved all bodily sensation.
Ex collection FIDEI-COMMISS BIBLIOTHEK, Vienne (L. 1016).
Raphael SADELER I (Anversa 1560 circa - Venezia 1628 circa)
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The SADELER: Flemish family of artists, active throughout Europe. For three generations this family of engravers, publishers and print-sellers played a dominant role in European graphic art, producing work of great variety and high quality. They were descended from a line of steel-chisellers from Aalst . Jan de Saeyelleer (Sadeleer) had three sons, Jan Sadeler I, Aegidius Sadeler I and Raphael Sadeler I, the first generation of engravers, publishers and print-sellers. The religious and political uncertainties of the time forced them to emigrate, and they worked in Cologne, Frankfurt am Main, Munich, Venice and Prague. The next generation followed in their footsteps, of whom Aegidius Sadeler II, who worked for Rudolf II and his successors, was the most notable. Justus Sadeler, the son of Jan Sadeler I, and the three sons of Raphael Sadeler I—Jan Sadeler II, Raphael Sadeler II and Filips Sadeler—were lesser artists but continued the family tradition. The third generation was represented by Tobias Sadeler (fl Vienna, 1670–75), son of Aegidius Sadeler II; he executed engravings for topographical books. RAPHAEL SADELER I: Painter and engraver, brother of Jan Sadeler I. He moved to Cologne c. 1579 with his brother Jan I’s family; there he became his brother’s pupil and collaborated with him for the rest of his life; he also accompanied him to Munich and Italy. Like Jan I, Raphael I returned to Antwerp between 1582 and 1586. In 1582 Raphael was admitted to the Antwerp Guild of St Luke. The brothers’ collaboration included engraving and printing various series, of which the Hermits are the most important. During the Antwerp years Raphael I made engravings after such artists as Marten de Vos, Frans Pourbus, Quinten Metsys, Bartholomäus Spranger, Paul Bril and Hendrick Goltzius. From c. 1591–3 Raphael I was in Munich, where he regularly engraved after works by Joos van Winghe, Hans von Aachen and Peter Candid. Like Jan I, he also worked after Italian masters (e.g. Bassano and Carracci). It is possible that he went to Prague in 1593, the year he obtained a licence from Emperor Rudolf II.
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Raphael SADELER I (Anversa 1560 circa - Venezia 1628 circa)
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The SADELER: Flemish family of artists, active throughout Europe. For three generations this family of engravers, publishers and print-sellers played a dominant role in European graphic art, producing work of great variety and high quality. They were descended from a line of steel-chisellers from Aalst . Jan de Saeyelleer (Sadeleer) had three sons, Jan Sadeler I, Aegidius Sadeler I and Raphael Sadeler I, the first generation of engravers, publishers and print-sellers. The religious and political uncertainties of the time forced them to emigrate, and they worked in Cologne, Frankfurt am Main, Munich, Venice and Prague. The next generation followed in their footsteps, of whom Aegidius Sadeler II, who worked for Rudolf II and his successors, was the most notable. Justus Sadeler, the son of Jan Sadeler I, and the three sons of Raphael Sadeler I—Jan Sadeler II, Raphael Sadeler II and Filips Sadeler—were lesser artists but continued the family tradition. The third generation was represented by Tobias Sadeler (fl Vienna, 1670–75), son of Aegidius Sadeler II; he executed engravings for topographical books. RAPHAEL SADELER I: Painter and engraver, brother of Jan Sadeler I. He moved to Cologne c. 1579 with his brother Jan I’s family; there he became his brother’s pupil and collaborated with him for the rest of his life; he also accompanied him to Munich and Italy. Like Jan I, Raphael I returned to Antwerp between 1582 and 1586. In 1582 Raphael was admitted to the Antwerp Guild of St Luke. The brothers’ collaboration included engraving and printing various series, of which the Hermits are the most important. During the Antwerp years Raphael I made engravings after such artists as Marten de Vos, Frans Pourbus, Quinten Metsys, Bartholomäus Spranger, Paul Bril and Hendrick Goltzius. From c. 1591–3 Raphael I was in Munich, where he regularly engraved after works by Joos van Winghe, Hans von Aachen and Peter Candid. Like Jan I, he also worked after Italian masters (e.g. Bassano and Carracci). It is possible that he went to Prague in 1593, the year he obtained a licence from Emperor Rudolf II.
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