Etching. Very good impression, before the Frey address. Pulled on paper with watermark paschal lamb inscribed in a double circle. Trimmed to the plate mark, in very good condition. 257 x 336 mm.
The etching has been referred to Giovanni Benedetto Castiglione in all literature, since the time of Adam Bartsch to the publishing of the Illustrated Bartsch edited by Paolo Bellini in 1985. In truth, in recent decades the etching had begun to raise doubts between the connoisseurs of Grechetto. The definitive attribution of the etching to De Leone is due to Miriam di Penta, based on a detailed stylistic comparison with the artist's drawings that lead her to define the work una sorta di compendio di tutta l’opera grafica di Andrea De Leone (a sort of compendium of all the graphic works by Andrea De Leone). See Miriam Di Penta, Andrea De Leone (Napoli 1610-1685) Un saggio di ricostruzione. Cataloghi dei dipinti e dei disegni, Rome, De Luca Editori d'arte, 2016; cat. D.25, pp. 158-159.
De Dominici's biography presents Andrea De Lione as a complex artist who studied with both the late Mannerist Belisario Corenzio and the more modern Aniello Falcone, who knew how to make the most of different artistic contexts, and who was equally at home with drawing, painting and fresco. In his long career (De Lione died at the age of seventy-five) he was in contact with Giovanni Benedetto Castiglione for at least 25 years, exchanging with him subjects and images. The Roman activity of the Neapolitan artist, his relations with Castiglione and the group known as pittori del dissenso, was recently explored by Miriam di Penta in her monograph dedicated to De Leone. See Miriam Di Penta, Andrea De Leone (Napoli 1610-1685) Un saggio di ricostruzione. Cataloghi dei dipinti e dei disegni, Rome, De Luca Editori d'arte, 2016.