Lot 106
Giulio Bonasone (Italian, 1498 - after 1576). "The Adoration of the Shepherds" etching with dry point and some engraving on laid paper, late 1550s - early 1560s. Signed 'Ivlio Bonasone invent' in lower left center, on step below Christ. Bartsch XV, 39. An awe-inspiring impression titled "The Adoration of the Shepherds" by the renowned Italian Renaissance artist Guilio Bonasone - arguably one of the best-known engravers of the Cinquecento - demonstrating his innovative technique of combining etching and engraving. Holding a veil with both hands, the Virgin kneels beside the nude Christ child, gazing lovingly at the infant who kicks his feet and raises his pudgy arms, reaching out for his mother. A haloed Saint Joseph is shown to the right of the two, while shepherds, women, and animals gather round, observing and gesturing toward the newborn. Above, the heavens open to a group of angels who hold the Bible in their laps as they also bear witness to the Savior's birth. Size of impression: 6" W x 9.5" H (15.2 cm x 24.1 cm); of matte: 11.75" W x 16.5" H (29.8 cm x 41.9 cm)
What is special about this work, and other works at that time, is Bonasone's use of a mixed intaglio medium. Note how Bonasone's cutting-edge technique (literally) allows him to use both the subtleness of etching and atmospheric quality of engraving. Initially, Bonasone did not mix the media. He developed his engraving technique to an extraordinarily fine and revealing standard. He used small flicks to achieve tonal gradation, the technique of transiting one color hue to another, and a tangible sense of form. Contour shading lines were lengthened and became softened. The contrast between brightness and darkness became less obvious but still possessed a painting-like quality. In fact, the lighting and texture became closer to Venetian painting than Roman painting. Human faces became more vivid after Bonasone reduced the use of linear burin. Engravings done with this technique started in the late 1550s but concentrated in the early 1560s. After that, this tonal engraving skill was combined with etching to achieve great beauty and depth. Bonasone's choice of different media to achieve varied effects is the most noteworthy aspect of his technique. Though the human body was still engraved with burin, landscapes, and backgrounds started to be rendered with etching. This forms the effect of having human forms of engraved tonality glowing on a deep and rich etched background, as seen in this example.
Born in Bologna, Giulio Bonasone was an Italian painter and engraver who studied with Marcantonio Raimondi and worked mainly in Mantua, Rome, and Venice with great success, producing etchings and engravings after the old masters and his own designs. He has been regarded as an engraver with extraordinary skills in reproducing, as he could accurately convey the sources' compositions, colors, and essence. Moreover, he expressed his understanding about the controversies about religion and culture in his time through his prints. He is considered among the most important and productive engravers of the sixteenth century, with over 400 prints now attributed to him.
Impressions of Giulio Bonasone's "The Adoration of the Shepherds" have been collected by many renowned institutions, such as the Metropolitan Museum of Art (66.613.29), the National Gallery of Victoria (1278.658-3), Philadelphia Museum of Art (1985-52-27696), the British Museum (1874,0808.259), and National Galleries Scotland (P 2591).
Provenance: ex-Royal Athena Galleries, New York City, New York, USA
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#183845
- Condition: No watermark. Signed in lower left center, below Christ child. Cut from a larger folio with minor tear to upper left periphery; not affecting image. Five central horizontal folds visible on the reverse, thin spots with some associated pin holes and perforations at the center and upper left and right sheet edges. Two small patches of white on the figures at the lower left corner and other tiny spots in places. Paper split slightly at reverse left corner. Set in custom matte and protective plastic film with small nick to film in one area. Otherwise, intact and in overall good condition. Clear impression with good preservation of detail.
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