De Vesme 2; Rizzi 223 second or third state (of three); Succi 4 third (final) state
A very fine, rich impression; the wide-margined sheet was folded just outside the platemark at the sides and at the top; some small pale foxmarks in the margins, otherwise in very good condition.
The model for Lorenzo’s print was the altarpiece painted by his father Giambattista in collaboration with his brother Giandomenico for the parish church of Mirano in about 1754–60. Lorenzo, who died young, is known for only eleven etchings, all of them reproducing his father’s works (this includes the etching recently discovered in the collection of the Metropolitan Museum of Art; cf. Suzanne Boorsch, “Lorenzo Tiepolo’s St Charles Borromeo Venerating the Crucifix,” in: Print Quarterly, vol. 13, 1996, pp. 401–410).
From his relatively simple and rough etching technique, dominated by parallel lines, Lorenzo extracts a wide range of tonalities, depicting the saint and the figures on the ground with realism and sympathy.