Cimon and Pero
| Reference: | S30761 |
| Author | Georges REVERDY |
| Year: | 1542 ca. |
| Measures: | 320 x 415 mm |
€2,250.00
| Reference: | S30761 |
| Author | Georges REVERDY |
| Year: | 1542 ca. |
| Measures: | 320 x 415 mm |
€2,250.00
Description
The daughter of Cimon supports the father prisoner.
Engraving, 1542, dated on plate at lower center. After Rosso Fiorentino.
Example of the second state of two, with the address of Antonio Salamanca.
A fine impression, on contemporary laid paper with “shield with letter M and star” watermark, unusual wide margins, perfect conditions.
Pero, who secretly breastfeeds her father, Cimon, after he is incarcerated and sentenced to death by starvation. She is found out by a jailer, but her act of selflessness impresses officials and wins her father's release.
After the stucco relief under Rosso Fiorentino's fresco representing Cleobis and Biton in the Galerie Francois I at Fontainebleau. Carroll in Washington 1987 supposes that it was not made directly after the stucco, and because even the figures in the print that are absent from the stucco are very similar to Rosso's manner, the print was most probably made after a lost drawing by him. Carroll rejects Bartsch's attribution to Georges Reverdy, and also Zerner's suggestion of 1972 that its manner was close to Domenico del Barbiere. Massari suggests the attribution to Giulio Bonasone.
The subject, known since the last quarter of the 15th century as " RomanCharity," is based on a text of Valerius Maximus, "Factorum et Dictorum Memorabilium Libri IX," but refers to an earlier legend which appeared at Rome at the beginning of the 2nd century BC, in connection with the construction of a temple dedicated to Pietas (Charity), a temple dedicated to Pietas, later replaced by the Church of St. Nicholas in Prison. In the seventeenth and eighteenth centuries, many European artists depicted the scene.
Georges Reverdy (1529 fl. - 1564/5 died, also known as Reverdy, Georges; Reverdinus, Cesare; Reverdino, Gaspar) was an engraver. Probably of origins in Piedmont, documented in Lyons from 1529 to 1565, in the last of which he is described as dead. Since his last dated print is from 1564, he probably died the previous year. Wrongly catalogued by Bartsch. It is possible, however, that he went to Italy around 1530, making engravings of religious scenes.
A fine example of this rare work.
Ex collection Benedic Penon (Lugt, 3830).
Bibliografia
Bartsch, XV.487.2; Borea, Il Primato del Disegno, p. 261 n. 664; Eugene A. Carroll, Drawings, Prints, and Decorative Arts, Washington, National Gallery of Art 1987, 81; Massari, Iulio Bonasone, p. 34, 5; Henri Zerner, 440.
Georges REVERDY (Attivo 1529 – 1557)
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French painter and engraver. He is documented as in Lyon between 1529 and 1557. It is possible, however, that he went to Italy around 1530, making engravings of religious scenes—the Nativity, the Adoration of the Shepherds, the Sermon on the Mount, the Day of Judgement and mythological scenes, for example Vulcan’s Forge and Leda, as well as genre scenes such as Le Branle. These were signed with a Latinized version of his name, Reverdinus, or with the monogram GR. Herbet mistakenly catalogued his work under the name of Cesare Reverdino.
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Georges REVERDY (Attivo 1529 – 1557)
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French painter and engraver. He is documented as in Lyon between 1529 and 1557. It is possible, however, that he went to Italy around 1530, making engravings of religious scenes—the Nativity, the Adoration of the Shepherds, the Sermon on the Mount, the Day of Judgement and mythological scenes, for example Vulcan’s Forge and Leda, as well as genre scenes such as Le Branle. These were signed with a Latinized version of his name, Reverdinus, or with the monogram GR. Herbet mistakenly catalogued his work under the name of Cesare Reverdino.
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