VICENTINO, Giuseppe Niccolò, attributed to, fl. 1540's:

The Adoration of the Magi, after Francesco Mazzuola, called Parmigianino

Key block only of a three-block chiaroscuro woodcut. Bartsch XII, 30, 3, as Vicentino. A. Gnann, In Farbe! Clair-obscur-Holzschnitte der Renaissance, 2013, no. 95
Watermark: Anchor in circle with star (the circle slightly squat, 37 x 43 mm)

A very clear impression with small margins around the borderline. A number of strong diagonal printing creases, some of which have been burnished and reinforced with japan paper on the verso, repairs in both upper and lower left corners, the tip of the lower right corner made up, a small patched hole in the upper right corner. Compared to many museum impressions generally very intact.
349 x 254mm.


Of the 23 impressions we have recorded this is the only proof in a single colour. It may have been part of the reconsideration of the design evidenced by a first state known thus far only in the Albertina, in which the key block defines the left end of the lower of the two horizontal beams upper right, as well as a small piece of the diagonal beam, subsequently eliminated. The anchor in a circle and star watermark most often belongs to the first half of the 16th Century in Italy. The earliness of our impression is also supported by the fact that the borderline is intact, albeit touched in in two corners where there are repairs. Even the somewhat careless treatment of the paper, which has not been laid down smoothly as one would expect during the pulling of an edition, reinforces its identification as a working proof. Bartsch attributed this print to Vicentino, and it has been accepted as his by many subsequent authors. The colour palette of some of the editions in which it is found confirms that it was printed in Vicentino’s workshop. Very rare.