After Paolo Veronese (also known as Paolo Caliari) (1528–88)
by an unidentified printmaker
“Dwarf
Halberdier with a Greyhound”, 17–18th century
Etching on
paper with fragments of wood in the paper and cut within the plate marks. I
would normally propose that this is wove paper as I am unable to see
chain-lines within it, but I suspect that the paper may be an early imported
paper. I am mindful that Rembrandt made many of his prints on what scholars
term “Oriental papers” imported from India, China and Japan. Moreover, the
Japanese papers are often buff coloured like this sheet and seldom show the
screen pattern of the mould from which they were cast.
Inscribed
within the plate (upper right) “Paolo Caliari pinx”, (sheet) 13.4 x 8.1 cm.
Condition:
crisp and well-inked impression trimmed within the plate marks in excellent
condition but with remnants of mounting hinges (verso). I am selling this finely
executed study after Veronese for $137 AUD (currently US$104.53/GBP79.02/EUR92.68
at the time of posting this print) including postage and handling to anywhere
in the world. If you are interested in purchasing this remarkably beautiful
etching by an oldmaster, please contact me (oz_jim@printsandprinciples.com) and
I will send you a PayPal invoice to make the payment easy.
This print has been sold
I acquired this
stunning print many years ago from a dealer in Holland whom I had previously
purchased many prints before but this is the only one that he stated
unequivocally: “This is a beautiful print” and added “my wife likes this one!”
The admiration that he felt towards this very small print is easy to
understand: it really is a superb image. For me the lightness of its execution
and its expression of open space captures not only the spirit of Veronese but also
that of Tiepolo.
Before
concocting an appropriate descriptive title for this print (I have been unable
to locate this etching in my research to find its “correct” title) I did a
little exploratory fact finding about the custom of showing dogs and dwarf
courtiers—especially ones carrying a sword—in the paintings of this time.
Rather than discovering that such subjects were simply as representation of
what court life was like at the time, I found that Veronese was even hauled
over the coals (metaphorically speaking) for featuring them in his religious
paintings—specifically “Feast in the House of Levi”. Regarding this painting,
the following snippet of questions from the Inquisition and answers from
Veronese are fascinating:
“Q. And who are
really the persons whom you admit to have been present at this Supper?
A. I believe
that there was only Christ and His Apostles; but when I have some space left
over in a picture I adorn it with figures of my own invention.
Q. Did some
person order you to paint Germans, buffoons, and other similar figures in this
picture?
A. No, but I
was commissioned to adorn it as I thought proper; now it is very large and can
contain many figures.”
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