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JEAN-MICHEL PAPILLON (1698-1776) AFTER ANTONIO MARIA ZANETTI (1680-1757) AFTER PARMIGIANINO (1503-1540)
JEAN-MICHEL PAPILLON (1698-1776) AFTER ANTONIO MARIA ZANETTI (1680-1757) AFTER PARMIGIANINO (1503-1540)
JEAN-MICHEL PAPILLON (1698-1776) AFTER ANTONIO MARIA ZANETTI (1680-1757) AFTER PARMIGIANINO (1503-1540)
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JEAN-MICHEL PAPILLON (1698-1776) AFTER ANTONIO MARIA ZANETTI (1680-1757) AFTER PARMIGIANINO (1503-1540)
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These lots have been imported from outside the EU … Read more
JEAN-MICHEL PAPILLON (1698-1776) AFTER ANTONIO MARIA ZANETTI (1680-1757) AFTER PARMIGIANINO (1503-1540)

Man with a Book, from: Traité historique et pratique de la gravure en bois

Details
JEAN-MICHEL PAPILLON (1698-1776) AFTER ANTONIO MARIA ZANETTI (1680-1757) AFTER PARMIGIANINO (1503-1540)
Man with a Book, from: Traité historique et pratique de la gravure en bois
five woodcuts, 1766, comprising a chiaroscuro woodcut printed from four blocks in black, ochre, brown and eggshell blue, and four separate impressions of each block in the respective colour only, on five sheets of laid paper, two with partial Letters watermarks, with margins, each sheet with binding holes at the left sheet edges, some minor foxing and staining, otherwise in good condition
Blocks 160 x 90 mm., Sheets 196 x 118 mm. (and similar)
(5)
Provenance
With Olimpia Theodoli, London.
Acquired from the above on 15 July 1997.
Literature
See Bartsch XII.165.9 (Zanetti);
See N. Takahatake, The Chiaroscuro Woodcut in Renaissance Italy, 2018, p. 12-13, fig. 1.
Special notice

These lots have been imported from outside the EU or, if the UK has withdrawn from the EU without an agreed transition deal, from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Tim Schmelcher
Tim Schmelcher

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Lot Essay

This chiaroscuro woodcut by Jean-Michel Papillon, used to illustrate his Traité historique et pratique de la gravure en bois (Paris, 1766), is a reverse copy of Zanetti's Young Man standing after Parmigianino.
The present decomposition of the print, showing each of the four blocks printed separately and then once all together, demonstrates the complexity of composing a colour image in this way. It shows how the artist dissected the image of the figure into four degrees of shade and light: black for the darkest areas, brown and ochre for shaded and less shaded surfaces, and white for the brightest highlights. The shaded areas have one block each, while the white highlights are cut out of the eggshell-blue tone block and thus remain white.

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