Angelica and Medoro
| Reference: | S28066 |
| Author | Aegidius SADELER II |
| Year: | 1595 ca. |
| Measures: | 422 x 318 mm |
€1,300.00
| Reference: | S28066 |
| Author | Aegidius SADELER II |
| Year: | 1595 ca. |
| Measures: | 422 x 318 mm |
€1,300.00
Description
Engraving, 1595 circa, inscribed in plate within image lower right: "Carlo Caliari pin: / G: Sadeler Scalp:"; along lower margin, the dedicatotion to Guido Coppani and four verses in two lines.
After Carlo Caliari.
Example with the address of Donato Rascicotti, the only one described by Hollstein. A beautiful impression, printed on contemporary laid paper with watermark "shield with letter M and star", trimmed to the platemark in excellent condition.
The work relates to the period of Venetian Sadeler elapsed between Verona and Venice, so it is dated between 1594 and 1597. The subject is taken from the painting by Carlo Caliari, called Carletto, youngest son of Paolo Caliari, better known by the nickname of "Veronese". The painting, in the best style of his father, is dated to about 1584 and is preserved in a private collection in Padua. The composition of Sadeler differs slightly from the picture, and it is made in the classic style of the Flemish artist, with the inclusion of the landscape in the background, a typically Nordic. The theme of Angelica and Medoro is a scene very popular in the late Italian Renaissance and Baroque painting. Medoro, a follower of the Saracen leader Dardinello, is wounded in battle and Angelica to his aid when Jesus healed with grass juice, then falling in love with him. The scene depicted is both intent to record your name in the bark of a tree.
Very good copy of this rare engraving.
Literature
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Hollstein 103; Wurzbach 77.
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Aegidius SADELER II (Anversa, 1570 circa - Praga, 1629).
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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. AEGIUDIUS SADELER II Engraver, draughtsman and painter, son of Aegidius Sadeler I. Around 1579 he went with his uncle Jan Sadeler I to Cologne and later, c. 1588, to Munich. None of the Sadelers ever definitely returned to their home district. In 1585 Aegidius was listed as a pupil of Jan Sadeler I in the records of the Antwerp Guild of St Luke. In the first half of his career Aegidius regularly engraved the work of Hans von Aachen, Christoph Schwarz, Peter Candid and Marten de Vos. Among the most important engravings are the series of scenes from the New Testament, the Salus generi humani, the Nativity, the Holy Family with St Anne and Two Angels after von Aachen, the Crucifixion between the Two Thieves after Schwarz, the series of the Four Fathers of the Church after Candid and the series of the Story of David after de Vos.
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Literature
|
Hollstein 103; Wurzbach 77.
|
Aegidius SADELER II (Anversa, 1570 circa - Praga, 1629).
|
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. AEGIUDIUS SADELER II Engraver, draughtsman and painter, son of Aegidius Sadeler I. Around 1579 he went with his uncle Jan Sadeler I to Cologne and later, c. 1588, to Munich. None of the Sadelers ever definitely returned to their home district. In 1585 Aegidius was listed as a pupil of Jan Sadeler I in the records of the Antwerp Guild of St Luke. In the first half of his career Aegidius regularly engraved the work of Hans von Aachen, Christoph Schwarz, Peter Candid and Marten de Vos. Among the most important engravings are the series of scenes from the New Testament, the Salus generi humani, the Nativity, the Holy Family with St Anne and Two Angels after von Aachen, the Crucifixion between the Two Thieves after Schwarz, the series of the Four Fathers of the Church after Candid and the series of the Story of David after de Vos.
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