Carracci, Annibale (Bologna 1560 – Rome 1609). Scopettaro. The brush seller about 1600, carrying his wares in his hands, at his arm, and in a basket hanging over one of his arms. Etching by Simon Guillain II (Paris 1618 – 1658 [?]). (1646.) Inscribed: 18 / Annib. Carac. Inu. / Sim. Guillain. Scu., title as above. Subject size 10¾ × 6½ in (27.3 × 16.4 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 XVIII. – Impression of the 2nd edition of 1740 to which the inscription was added only. The signature of the engraver not in Beall. – Trimmed along the borderline, but mounted on wide-margined paper by old.
“ 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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(Frau U. K., 2. Januar 2010)