Monogrammed in the plate at the bottom and signed in pencil by the artist in the lower right corner.
Provenance: Prandi’s library Reggio Emilia, dry stamp at the bottom right.
The plate is preserved at the Uffizi Drawings and Prints Department (inv.255M).
Excellent contemporary impression, printed with a rich tone, selectively wiped in a few areas to give strokes of light to the composition, as in the center of the road and on the hair and clothes of the old lady on the left.
In excellent condition, uncut margins with the n. 10 at the top right.
The sheet belongs to the famous series of eleven etchings depicting the Old Market of Florence built around 1866. These buildings were restructured in a nefarious manner with the consequent destruction and disappearance of the Jewish Ghetto and the Old Market, in favor of the creation of the New Central Market , inaugurated in 1874.
This last date is the one that appears on the cover of the portfolio that collected the series, but, in a letter of 1892 by Signorini to the president of the Academy of Florence, the author given the execution of the etchings in 1886.
As is known the series takes the subjects of the paintings dedicated by the artist to the Old Florentine Market.
M. Hopkinson, Italian Prints 1875-1975, catalogue of the exhibition at the British Museum, London 2007; pages 97-99.
Price: 15,000.00 €
Signorini belonged to the circle of young artists that gathered regularly at Caffé Michelangelo in Florence. Along with Giovanni Fattori and Silvestro Lega, he was one of the leading exponents of the Macchiaioli, the Italian variant of the French en plein air painters. Signorini was a passionate free spirit, who spent most of his life wandering in Italy and Europe. He frequently travelled to Paris and London, to exhibit and sell his works, at the Royal Academy and the Grosvenor Gallery in London, and through the dealers Goupil and Reitlinger in Paris. In Paris Signorini met Corot and Courbet, he came into contact with Boldini and De Nittis and became interested in the work of Manet and Degas. Like the French masters he was fascinated by the expressive potential of printmaking and experimented with new printing techniques.