Saint George and the Dragon

Name: GIUSEPPE SCOLARI (ACTIVE 1550-1600)
Brand: Saint George and the Dragon
Price: 7500.00 GBP
Availability: SoldOut

Price Realised GBP 9,375

Estimate

GBP 3,500 - GBP 5,000

Closed: 15 Jul 2020

Loading details

Try our

GIUSEPPE SCOLARI (ACTIVE 1550-1600)

Saint George and the Dragon

Price Realised GBP 9,375

Closed: 15 Jul 2020

Price Realised GBP 9,375

Closed: 15 Jul 2020

Details Lot Essay Related Articles More from

GIUSEPPE SCOLARI (ACTIVE 1550-1600)
Saint George and the Dragon
woodcut, circa 1600, on laid paper, watermark Strasbourg Lily and Bend, a good, richly inked impression of this uncommon print, third, final state, printing with much gaufrage on the reverse
Sheet 507 x 355 mm.

Passavant VI.234.56
P. Dreyer, Tizian und sein Kreis, Berlin, 1971, pp. 59-60, no. 42 (another impression illustrated).
B. Davis, Mannerist Prints, Los Angeles, 1988, pp. 124-125, nr. 43 (another impression illustrated).
D. Rosand and M. Muraro, Titian and the Venetian Woodcut, Washington D.C., 1976, p. 301, nr. 96 (another impression illustrated).
J. Martineau and C. Hope (eds.), The Genius of Venice 1500-1600, London, 1983, p. 352, P61 (another impression illustrated).

Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.

Conditions of Sale
FAQs
This lot is offered by Christie Manson & Woods Ltd

Brought to you by

Tim Schmelcher

A Christie's specialist may contact you to discuss this lot or to notify you if the condition changes prior to the sale.

tschmelcher@christies.com +44 (0) 207 389 2268

Lot Essay

This woodcut by Giuseppe Scolari is exceptionally dramatic, not just in its imagery but also in its comparatively monumental scale. The suspense in the composition is intensified by the artist’s unique handling of the tools used to incise the woodblock. The typical mode of carving with crosshatching is abandoned in favour of the use of a burin in most areas to create flowing lines of black and white. These long lines swirl in opposing directions, amplifying the rearing movement of the horse about to crash its hooves down onto the beast below. The apparent look of terror on the saint’s face adds a nervous energy to the scene, which captures the moment where his lance has broken in two, having just speared the mouth of the dragon. Little is known about the artist and only nine prints are firmly attributed to him. He is only known to us today through this small oeuvre of woodcuts as none of his paintings or drawings survive.