Carracci, Annibale (Bologna 1560 – Rome 1609). Merciaro di Tele. The haberdasher about 1600 as street vendor, carrying his wares in a sack thrown over the shoulder and in a specially worked box in his left. Etching by Simon Guillain II (Paris 1618 – 1658 [?]). (1646.) Inscribed: 51, title as above. Subject size 10 × 6⅛ in (25.4 × 15.5 cm).
Beall I 2; Lipperh. Jba 15; Nagler, Künstler-Lex., II, 390 + V, 445; Allgemeines Künstler-Lex. XVI (1997), 564 ff. + LXV (2009), 247. – The Cries of Bologna LI. – Impression of the 2nd edition of 1740 to which the inscription was added only. – Trimmed along the borderline, at top just within, but mounted on wide-margined paper by old. – Faint tidemark in the lower subject.
“ The pose of the depicted persons (in the Arti di Bologna) borrowed from classical and contemporary works of art leads to an ennoblement of the imperfection of the living model by the citation of the great example, yet conversely at the same time to the animation of the abstract artistic model by the presence of the genuinely depicted figure. This doubly backed reality character ensures that equilibrium between naturalism and mannerism particular to C. ”
(Giovanna Perini, AKL).
Guillain apparently worked “primarily as reproduction engraver after designs by Annibale Carracci as both his main works show: … and the large set Cris de Bologne” (AKL). The year of death mentioned in AKL with reference to Sandrine Herman, Estampes françaises du XVIIe siècle (2008), possibly based on confusion with the same-named father, the sculptor Simon Guillain I (about 1581 Paris 1658), just as then already Nagler, unaware of father + son, ascribes also the engravings to the former. Th.-B. record for the son merely 1646 as last mention.
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