The Story Of Noah: The Flood

The Story Of Noah: The Flood   is an original artwork realized by an anonymous artist in 1768 .

Original etching and burin . Subsequently  hand-watercolored .

The series consists of 5 plates dedicated to the Stories of Noah published in Bassano del Grappa (Vicenza, Italy) at the famous Stamperia Remondini.

Good conditions of the plates, except for folds along the margins and ripples of the paper.

All the plates are characterized by a fresh and well-preserved coloring, which allows you to fully enjoy the expressive richness of the depicted scene, full of emphasis and liveliness.

Each artwork has the Latin and Spanish title of the single scene printed on the lower center and on the sides there is a brief description of the scene and the protagonists.

Episodes: Noe Venum bibit et ine briatur , Noe Arcam construit , Noe egreditur ex arca , Noe post diluvium sacrificat deo .

Designed by an anonymous author, the series, together with three other devotional themes to compose a suite of 28 tables, was highly successful, appearing in the various catalogs of the printing press. After the first attribution to Giovanni Volpato , the engravings dedicated to the  Patriarch Noah were ascribed to the production of an anonymous engraver of good timbre and style. It is presumable, as mentioned in the recent bibliography (Boschloo, 1998), that the motif has been taken from other slabs always published by the same Remondini but of better workmanship and sometimes taken from cultured models, the so-called fine prints, often having reduced dimensions. The title in Latin and Spanish is a testimony to the important commercial activity of the Remondinis, active throughout Europe with offices in the main cities, and of the circularity of the most easily proposed sheets on the market (ordinary prints), often enriched by mask or hand coloring. In fact, the Bassano chalcography was affirmed above all for the production of popular prints with devotional character; although not presenting any distinct originality, in the choice of the subject as well as in the iconographic and compositional choices, these sheets were however much appreciated by the public, taking up motifs in vogue in the Flemish, French and German sphere. The Remondini exported their editorial "products" to the East, to Russia, to South America and brought almost unknown images to Europe, contributing to a cultural exchange of considerable importance. The colors used are recurrent, as in this table, sometimes enlivened by golden highlights; reiterated motif according to a certain formal choice is the frame within which the main image is inserted: these are rich floral or mixtilinear frames, which became almost a "trademark" of Remondini. Starting in 1756, the Bassanese firm obtained from the Cinque Savi of Venice the dispensation with respect to the affixing of the printer's name. The most requested subjects were proposed in different formats, responding to the different needs of the market.

Reference :

- Mario Infelise, Paola Marini (curated), Remondini: un editore del Settecento, Milano, Electa, 1990;
- Carlo Alberto Zotti Minici, Le stampe popolari dei Remondini, Vicenza, Neri Pozza, 1994, n. 277;
- Boschloo, Anton Willem Adriaan, The prints of the Remondinis: an attempt to reconstruct an     eighteenth-century world of pictures, Amsterdam, Amsterdam University Press, 1998;
- Antony Griffiths, The Remondini and Spain, in “Print Quarterly”, XVI, 1999, pp. 374-5.

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