![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/xlarge/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/578f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/xlarge/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/608f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/xlarge/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/698f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/xlarge/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/728f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/xlarge/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/7b8f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/xlarge/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/848f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/xlarge/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/5c90a280-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/xlarge/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/6590a280-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/small/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/578f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/small/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/608f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/small/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/698f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/small/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/728f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/small/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/7b8f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/small/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/848f1d7a-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/small/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/5c90a280-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
![364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/small/8d1859c9-9a90-ee11-b864-d4548b6f1f2f/6590a280-3291-ee11-817a-6045bdcfd69d.webp "364
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18")
Lot 364
Tiepolo (Giovanni Domenico) The Flight into Egypt, 1727-1804.
Estimate: £40,000 - 60,000
Description
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18
Description
Giovanni Domenico Tiepolo (1727-1804)
The Flight into Egypt
the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn
sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller)
Literature:
Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93
Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007.
Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee.
[Matthew II: 15, Douay-Rheims Bible]
The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg.
The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3]
To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4]
[1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22
[2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?]
[3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77
[4] op. cit., Rizzi, 1972, p. 18
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