Lithograph, ca. 1828, Calabi 34; printed in black ink on Chine-collé on white wove, signed in the stone Hayez. A very good impression printed by Vassalli in Milan as part of the Ivanhoe series. The China paper measures c. 460 x 372 mm. The wove paper bears the title HAYEZ and the artist'a blind mark FH. The margins have been folded inside to fit to a period frame.
Augusto Calabi, Saggio sulla litografia. La prima produzione italiana in rapporto a quella di altri paesi sino al 1840, Milan, 1958.
Maria Cristina Gozzoli, Fernando Mazzocca, Hayez, exhibition catalogue, Milan, 1983.
Mattia Jona, Hayez litografo, la serie dell'Ivanhoe e altre prove litografiche, exhibition catalogue, Milan, 1990.
Hayez is the most important figure in the transition from Neoclassicism to Romanticism in Italian painting, but his Romantic leanings come out mainly in subject-matter rather than in technique, the clear outlines he favoured revealing his training in Rome in the circle of Canova. He painted religious, historical, and mythological works and portraits that are sometimes thought worthy of comparison with those of Ingres. Many of the most eminent Italians of the day sat for him. For many years he taught at the Brera in Milan (he became director in 1860). Hayez was also one of the very few to seize upon the artistic possibilities of lithography at an early date.