18th C (1770-1790) Diptych of Annunciation (Virgin Mary and Archangel Gabriel) by Francesco Bartolozzi (1727-1815)
18th C (1770-1790) Diptych of Annunciation (Virgin Mary and Archangel Gabriel) by Francesco Bartolozzi (1727-1815)
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Annunciation (2)
18th C (1770-1790)
15.75" x 12.25" (Left) / 15.75" x 12" (Right)
line engraving
Annunciation, featuring:
The Virgin Mary on the left, labeled: "Sma Virgo ab Angelo salutata"
The Archangel Gabriel on the right, labeled: "Gabriel Archangelus B.M.V. salutans"
These two plates together form a cohesive diptych-like image that would have originally depicted the biblical moment when Gabriel announces to Mary that she will conceive the Son of God.
Refers to the painter Domenichino Zampieri (1581–1641), a renowned Italian Baroque artist, meaning the engraving is based on one of his original compositions.
Likely Natale Vanni, the draftsman who created the drawing for the engraver to work from.
Stands for Francesco Bartolozzi (1727–1815), the famous Italian engraver active in London. “Sc.” is short for sculpsit, meaning “engraved it.”
The layout and architectural curve suggest it might have been copied from a fresco or altarpiece with an arch.
Annunciation (2)
18th C (1770-1790)
15.75" x 12.25" (Left) / 15.75" x 12" (Right)
line engraving
Annunciation, featuring:
The Virgin Mary on the left, labeled: "Sma Virgo ab Angelo salutata"
The Archangel Gabriel on the right, labeled: "Gabriel Archangelus B.M.V. salutans"
These two plates together form a cohesive diptych-like image that would have originally depicted the biblical moment when Gabriel announces to Mary that she will conceive the Son of God.
Refers to the painter Domenichino Zampieri (1581–1641), a renowned Italian Baroque artist, meaning the engraving is based on one of his original compositions.
Likely Natale Vanni, the draftsman who created the drawing for the engraver to work from.
Stands for Francesco Bartolozzi (1727–1815), the famous Italian engraver active in London. “Sc.” is short for sculpsit, meaning “engraved it.”
The layout and architectural curve suggest it might have been copied from a fresco or altarpiece with an arch.