Plate: Sofonisba Angusciola Pittrice, Di cui Van Dyk ebbe a dire, avere ricevuto pui Lume cella pittura da una Cieca, che dal suo Maestro. It shows the female Italian Renaissance painter seated at a painter’s easle, painting a portrait of a woman and child. Rare.
Made by William Baillie after Sofonisba Angusciola.
Medium: engraving / etching on hand laid (verge) mounted on a wove type paper paper.
Sheet size: 35 x 52 cm (13.78 x 20.47 inch). Image size: 25.5 x 35 cm. (10.04 x 13.78 inch).
Condition: very good, given age. Trimmed to platemark and mounted on paper, original print a little wrinkled from mounting, two small tape remains to the top edge. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.
SOFONISBA ANGUSCIOLA-PORTRAIT-PAINTER | DP-B1-01
Original master print of a self-portrait of Sofonisba Angusciola, published in Italy, circa 1770. Artists and Engravers: Engraved by William Baillie after Angusciola (1532-1625). .
Biography engraver: William Baillie (1723-1810) was an Irish printmaker and art dealer. He joined the British Army around 1742, serving until 1761 and reaching the rank of Captain. His earliest dated print, a portrait of John Golding (Meyer, no. 28) is from 1753. On another (M 81), undated, he acknowledged art instruction from Nathaniel Hone (i). Baillie exhibited prints at the Society of Artists from 1762 and visited The Hague in 1763 to purchase paintings for James Lowther, 1st Earl of Lonsdale (1736?1802). Many of his prints reproduce Dutch 17th-century drawings or paintings in his own, or aristocratic collections. He also specialized in prints of Rembrandt’s graphic works. Baillie etched a reversed copy of Rembrandt’s print Three Trees (M 80), adding fork lightning. He owned three Rembrandt plates, including that for the Hundred Guilder Print, which he reworked in 1775. His collected prints went through eight editions between 1776 and 1824.