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Venus and Cupid 1777 After F. Parmigianino Etching and aquatint from three plates 34.4 x 24.0 cm Nagler 26; Weigel 113; Schwaighofer 57; Kiermeier-Debre / Vogel 2220 The basis for this aquatint etching by Maria katharina Prestel is a pen and ink drawing with opaque white on pink paper by Parmigianino which is preserved in the Szépmüvészeti Múzeum in Budapest. it appeared as no.32 in the 6th issue of the so-called Praunsche Kabinett- a compendium of suites of six sheets ech published beginning in 1776 based on selected drawings from the celebrated art collection of the Nuremberg merchant Paulus II Praun (1548-1616), which his descendants planned to sell. For this purpose, C.G. Murr prepared an exhaustive inventory , designed to function, ultimately , as an auction catalog, and arranged contact with J.G. Prestel and his wife, whose elaborate reproductions were to have served as components of an ingenious marketing concept. Despite or precisely because of the extreme technical demands of Prestel's manner, which has yet to be fully disentangled even today, the project - which was to have encompassed more than 100 sheets - was a financial desaster, and was terminated in 1788 with the publication of the 8th issue. In the present composition, printed from three plates, a delicate extremely fine -grained aquatint tone - printed in pink, and ommitted only from the linear pattern of Parmigianino's opaque white highlighting - imitates the pink tinted original paper. Lying on top of it, and printed from a second , brownish-black tinted copperplate, is the finely nuanced , also quite dense aquatint ton ethat reproduces the wash areas of the original. The economical contour lines of the drawing are produced by a third plate , printed in brilliant black, into which the borders , which imitate a contemporary drawing mount , as well as the text along the lower edge, have been etched. The two fixation points, necessary for the accurate printing of the three plates, are clearly marked on the edges of the plate and below. In its brilliance and coloristic freshness , the present impression - which is mounted at the corners on a 18th-century collector's support- conveys the airy charm of the original. Parmigianino varied the subject of Venus teasing her son Amor in a series of drawings. Here, in contrast to the drawing used as the basis for a chiaroscuro woodcut by N. Le Suer , as well as by J.B. Jackson, in 1731,and preserved today in a private collection in London, the winged boy - who pleads for the bow that is withheld by his mother - treads heedlessly on dove, a creature regar- ded as especially sacred by the Goddess of Love. Distraught, he seeks eyecontact with the beholder, who can however to do little to retrieve his double misfortune. cited 2021 by Peter Helm from Rumbler Catalogue 55, p. 220 (English Text version)

0700 TRANSATLANTIC at the helm since 1980 https://web.archive.org/web/20091116221400/http://www.polygraphicum.de/oaindex.html https://web.archive.org/web/20090822003911/http://www.polygraphicum.de/OA/oaanfang.html https://web.archive.org/web/20090726033754/http://www.polygraphicum.de/OA/vorindex.html https://web.archive.org/web/20070820232735/http://www.polygraphicum.de/OA/index.html https://web.archive.org/web/20051030200358/http://www.polygraphicum.de/OA/32.html (32) Venus und Cupido Venus & Cupid Vénus et l'Amour Mehrfarbige Zeichnung des Francesco Mazzola, genannt Il Parmigianino (Parma 1503-1540 Casalmaggiore) Aquatintaradierung von mehreren Platten gedruckt von Maria Catharina Prestel.Nürnberg 1777 (1780) Plattenformat: 34,6 / 23,9 cm auf starkem Papier mit 2-3 mm Rändchen ringsum. Altmontiert auf dem vollen Untersatzbogen in Royal-Folio. Mit zwei winzigen Passer-Löchlein oben und unten. Le Blanc 13 (Vénus et l'Amour : Fr. Parmegianino), Nagler 26 (Venus und Amor , Parmeggiano), Weigel 113,32,5613, Achilles-Syndram Nürnberg 1994 AS 118 mit Farb-Abbildung auf S.92 des Blattes aus der Sammlung Esterhazy (heute Museum Budapest) .....Parmigianino hat das Budapester Blatt ,das im übrigen Gegenstand einer alten, nach Chatsworth (Inv.349) ge- langten Kopie ist, im Sinne des "disegno finito" technisch sehr weit durchgeführt, vielleicht, um es als Vorlage für den Chiaroscuro- Holzschnitt verwenden zu können........ Schwaighofer München 2003 CS 57 mit Abb.Nr.18 und Textband 5.1.7.2. S.76-80 .....Erneut druckte Maria Catharina Prestel in einem ersten Schritt eine Aquatintaplatte in mehreren Tonabstufungen.Die hell bis dunkelbraunen Lavierungen der Zeichnung werden mithilfe der der stufenweisen Aquatintaätzung umgesetzt ,bleiben jedoch - bedingt durch die Aquatintatechnik - stärker voneinander abge- setzt. Dagegen zeigt die Zeichnung an diesen Stellen mit einem weichen und breiten Pinsel lavierte Abtönungen. Feine,immer wieder unterbrochene radierte Linien in einem dunklen Braunton skizzieren die Umrisse von Venus und Cupido sowie die wichtigsten Gegenstände des Interieurs, die in der Vorlage mit der Feder ausgeführt wurden..... Unser Exponat in tadelfreiem Zustand und Druck ist vergleichbar dem Blatt in Stuttgart. STUTTGART, Staatsgalerie, Graphische Sammlung, Inv. Nr.B 242 Das Motiv 'Venus und Cupido' wurde bei der Umschlag Gestaltung des Katalogs 'Kunst des Sammelns' Germanisches Nationalmuseum Nürnberg 1994 verwendet. 2003 he1m-eberbach.com 2021 peter.helm@polygraphicum.net Verkaufs-Ausstellung Online November/Dezember 2003 Kunst des Sammelns Exhibition@POLYGRAPHICUM.de Kunst-Antiquariat Peter A. Helm Eberbach am Neckar *** semper apertus *** BVS EXP KST VALUE REFS https://web.archive.org/web/20091115161911/http://www.polygraphicum.de/refs.html

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