Saint Jerome
woodcut, circa 1600, on laid paper, without watermark, a very good impression of this uncommon print, second, final state, printing with much gaufrage, trimmed to the borderline on all sides, a narrow margin at lower right, with the usual horizontal drying crease, a pale brown stain near the mouth of the lion, tipped down at the upper left corner, otherwise in good condition
Block & Sheet 526 x 370 mm.
Ulrich Ochsenbein (1811-1890) and Alfred Ochsenbein (1883-1919), Switzerland; then by descent.
Passavant VI.234.57
P. Dreyer, Tizian und sein Kreis, Berlin, 1971, p. 61, nr. 47 (another impression illustrated).
D. Rosand and M. Muraro, Titian and the Venetian Woodcut, Washington, 1976, pp. 302-303, nr. 97B (another impression illustrated).
J. Martineau and C. Hope (eds.), The Genius of Venice 1500-1600, London, 1983, pp.351-52, P60 (another impression illustrated).

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Tim Schmelcher
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Lot Essay

As in the previous woodcut of Saint George, Scolari used the burin to carve long, sweeping parallel lines of different density into the woodblock to create a rich and varied tonality. However, Saint Jerome attests to another aspect of Scolari's inventiveness: his radical reworking of the woodblock between the first and second states. He transformed the composition in several areas by cutting out large parts of the already chiselled block and inserting plugs into the gaps in the block, which could be newly carved. In this fashion, he altered the position of the Saint's leg and reworked the drapery in the present second state of the print. As a result, the figure of the Saint is more dynamic, seemingly stepping forward into space, whilst the drapery emphasises the shape of the body underneath. These changes to the block for compositional purposes suggest that Scolari was not only the designer of this print, but that he also cut the block himself- a laborious process that was usually done by a craftsman rather than the artist.

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