Excellent 1810 Ferdinand Piloty Stone Lithograph of Fra Bartolomeo c. 1500 Self Portrait Drawing

$150.00

Shipping to United States: $12.50

Title: Self Portrait (Monk)
Artist: Fra Bartholomeo (Bartolomeo di Paolo del Fattorino) - (1483–1517) - Italian artist; Ferdinand Piloty - (1786–1844) - German lithograph artist.
Technique: Early Stone Lithograph
Signature: Signed by Piloty at the right under the image and with the name "Fra Bartholomeo" under the image at the left.
Date Published: 1810
Edition: Limited Edition
Dimensions: Sheet size - 10-5/8 x 15 inches, Image size - 10-1/2 x 13-1/2 inches.
Condition: Very Good condition with some light handling creases and soiling. For a print that is almost 210 years old, the condition is quite good.
References: This print is in the collection of the Metropolitan Museum of Art. It is described, but not shown, on their website. A Swedish antiquarian bookseller has this print listed online for $332.00.
Printing: A strong impression printed in black ink with a light tan tone and white accents on natural handmade paper. The printing was done by Piloty and Johann Nepomuk Strixner.
Presentation: Unmatted and unframed. Blank on the back, not laid down. Ships in a plastic sleeve.
Description: This Self Portrait of the artist as a monk was drawn by well known Italian painter Fra Bartolomeo about 1500, the year he became a Dominican friar. In 1810 it was drawn on the stone by Ferdinand Piloty for a publication titled "Lithographic Works," an ambitious project that featured original stone lithographs after works by famous artists. Over a six year period 432 prints were published in 72 sets of six. The Bartolomeo lithograph appeared in the first group of six.

Piloty was a highly skilled draftsman, and his lithograph captures all of the sensitivity and depth of Bartolomeo's original drawing. This is a very striking work.

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Fra Bartolomeo was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he traveled to work in various cities, as far south as Rome. He trained with Cosimo Roselli and in the 1490s fell under the influence of Savonarola, which led him to become a Dominican friar in 1500, renouncing painting for several years.

He was instructed to resume painting for the benefit of his order in 1504, and then developed an idealized High Renaissance style, seen in his Vision of St Bernard of that year. He influenced the young Raphael, and the pair remained friends influencing each other.

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