A very fine crisp early set, all before numbers, all first states except L542 (the first state of which is exceedingly rare).

Provenance: Sotheby’s New York, Sale of Old Master Prints, 11/14/81

Lieure quotes Mariette saying that “these twelve small prints are among the most beautiful things that Callot drew after returning from Italy.” Bouchot, who referred to this series as remarkable, wrote that “one could hardly believe that in the space of seven centimeters high and five wide the artist had been able to develop his conception so completely, while missing nothing.”

These compositions are unframed by borders; Callot frames the action by architectural or natural devices, giving the central figures strength through a heightened line, and giving the composition depth by depicting figures and buildings in a lighter context behind the action.  Astonishingly, each of these compositions would “work” superbly in a much larger format.

The Flagellation

The Presentation to the People

The Crown of Thorns

Guitar Player

Jacques Callot (1592-1635), Three Gobbis, etchings, 1616. References: Lieure 416, 420, 426, second states (of 2, and thus probably posthumous, but no less whimsical for that), three from the set of 20. In generally good condition, trimmed just outside of the platemark (420 on the platemark at bottom; 420 with slight staining; each with remains of prior hinging verso), app. 2 1/2 x 3 1/2 inches.

Provenance: unidentified collector (tiny oval chop mark at bottom of each; letters not discernible)

Very good impressions of these comical figures.

The three figures (with loose translations) are:

Lieure 416: L’homme au gros dos orne d’une rangee de boutons (man with large back, ornamented with a range of buttons)

Lieure 420: Le jouer de luth (the lute player)

Lieure 426: Le cancal jouant de la guitar (the knock-kneed guitar player)

The Lute Player

L'homme au gros dos

]]> http://harrisschrank.com/three-gobbis-one-playing-a-guitar-one-playing-a-lute.htm/feed 0 http://harrisschrank.com/months-of-the-year-set-of-12-after-callot.htm http://harrisschrank.com/months-of-the-year-set-of-12-after-callot.htm#comments Sun, 29 Nov 2009 20:20:28 +0000 Harris Schrank http://harrisschrank.com/?p=3196 Months of the Year, a set of 12 prints derived in large part from Jacques Callot’s Les Gobbi (cf. Lieure 407-426, dated 1616).  Published and possibly engraved by Paul Fürst (1608-1666), Nurnberg.  [with the publisher/artist's name P.Fürst Excu in the plate, and the name of each character].  Each print glued to a card just at the corners, with margins, glue and other stains coming through, other defects, 2 x 2 1/2 inches, the sheets 2 3/8 x 3 1/4 inches A fascinating set, combining the humorous characterizations of Callot and following the German tradition of personifying [...]]]>

Mathias Hornung after Callot's Man Playing Grill as Violin (Lieure 423)

Months of the Year, a set of 12 prints derived in large part from Jacques Callot’s Les Gobbi (cf. Lieure 407-426, dated 1616).  Published and possibly engraved by Paul Fürst (1608-1666), Nurnberg.  [with the publisher/artist's name P.Fürst Excu in the plate, and the name of each character].  Each print glued to a card just at the corners, with margins, glue and other stains coming through, other defects, 2 x 2 1/2 inches, the sheets 2 3/8 x 3 1/4 inches

A fascinating set, combining the humorous characterizations of Callot and following the German tradition of personifying the months of the year.

Each print is named after a month, i.e., the first is Fabianus Ienner (Fabianus January), then Mathias Hornung (Mathias February), Gregorius Mertz (March), Marcus April (April), up to Simion Weinman (October), Martius Wintermon (November) and Nicolaus Christmon (December). This follows an old tradition in German printmaking. For example, Hans Sebald Beham’s Peasant Festival or The Twelve Months, 1546 (Bartsch 154-163) follows the identical naming practice.

Paul Fürst was a publisher, print dealer, and possibly an artist as well. He is perhaps best know for his image of Doktor von Schnabel von Rom, a man dressed in a hawk costume, which apparently 17th Century doctors used when visiting patients to ward off the Plague. He published a few prints by Hollar; he was a contemporary of Hollar, but not Callot, although the Gobbi set would have been rather freshly known to Fürst since it would presumably have been made only a couple of decades before this set.

In creating the set the Gobbi imagery was followed loosely (and in reverse); in some cases the artist took imagery from a couple of the Gobbi plates to arrive at the desired composition. For example, Simon Weinman has the gross stomach of Callot’s “Man With Large Stomach” (Lieure 415), but holds a cup in the air in line with Callot’s Le Buveur (Lieure 411) (Weinman is of course a wine-man as well as Mr. October). Some of the images do not appear derived from Callot in any way except in spirit.  But Nicolaus Christmon is clearly derived from Callot’s Man with a Falling Belly (Lieure 417),  Philipus May from Callot’s Violin Player (Lieure 418), and Mathias Hornung from Callot’s Man Playing a Grill as a Violin (Lieure 423).

]]> http://harrisschrank.com/months-of-the-year-set-of-12-after-callot.htm/feed 0 http://harrisschrank.com/les-fantaisies.htm http://harrisschrank.com/les-fantaisies.htm#comments Thu, 13 Aug 2009 22:32:55 +0000 Harris Schrank http://harrisschrank.com/?p=2443 Jacques Callot (1592-1635), Les Fantaisies, etchings, 12 from the set of 14, 1635. Reference: Lieure 1372-5, 1377-84, first states (of 2); the frontispiece second state (of 2). In excellent condition (the Lieure numbers had been written on each, now erased), with small/thread margins, printed on laid paper, each c. 2 9/16 x 3 3/8  inches. Fine early impressions of these tiny figures, three to a sheet.  These first state impressions are each before the numbers which were added to the lower right. According to Lieure, in each of these prints Callot depicts the “dames, les seigneurs [...]]]>

Jacques Callot (1592-1635), Les Fantaisies, etchings, 12 from the set of 14, 1635. Reference: Lieure 1372-5, 1377-84, first states (of 2); the frontispiece second state (of 2). In excellent condition (the Lieure numbers had been written on each, now erased), with small/thread margins, printed on laid paper, each c. 2 9/16 x 3 3/8  inches.

Fine early impressions of these tiny figures, three to a sheet.  These first state impressions are each before the numbers which were added to the lower right.

According to Lieure, in each of these prints Callot depicts the “dames, les seigneurs et les cavaliers du regne de Louis XIII.” They are drawn in a line, with all the grace and character of the figures that Watteau would paint a half-century later.

Jacques Callot (1592-1635), Le Defile a Pied (Parade on Foot), etching, 1627, from the Combat a la Barriere (Combat at the Barriere). Lieure 583, probably first state of 2. In very good condition, trimmed on or just outside of the plate mark, 6 x 9 1/2 inches, archival mounting. On old laid paper with the Countermark 4 Lorrain (Lieure’s watermark 36).

A very fine strong and early impression.  An impression, printed before the (also lifetime) presentation book which included Callot’s prints and a narrative on the event by the poet Henry Humbert.

Provenance: Helmut H. Rumbler (noted print dealer, with his stamp on mat verso)

The prints in the Combat series (10 prints in all) were created to commemorate a tournament sponsored by Duke Charles IV of Lorraine, in his palace at Nancy, in honor of his beautiful cousin the Duchess of Chevreuse who was in exile at Lorraine after the discovery of her role in the plot against Richelieu.

Lieure notes that the watermark 4 Lorrain is one of those associated with the very first impressions pulled of this print, before the edition (“Le filigrane de ce tout premier tirage”).  Other watermarks, including the Cross of Lorraine, are found on the impressions which were included in the Hubert book (these too are fine lifetime impressions). (There were also later posthumous impressions, with other marks.)

Lieure notes rather vaguely that in the first state of this print the area of the curtain at the right was not bitten properly; and that this was later corrected in the second state. Our impression does show a small area of inadequate biting, and this, in addition to the very early watermark, inclines us to believe  (contrary to a graphite mark verso) this is a first state impression. The printing is far clearer and stronger than the Hubert edition impressions we have seen, although in those too the curtain is not printed perfectly. Most of the prints in the Combat were one state only, and one suspects that may be the case with Le Defile.

The print depicts the entry of the parade into the vast celebration hall. At the left we can see a balcony filled with women, including the honoree the Duchess. All quite spectacular.

A complete set of Callot’s Combat a la Barriere is also available.

Jacques Callot (1592-1635), The Large Passion, 7 etchings (3 are illustrated), 1619-1624. Reference: Lieure 281-287. Five in the first state, one in the second and one in the third state, as discussed below. Each in very good condition with thread or small margins trimmed outside of the platemark (L287 with a tiny losses lower right margin tip and upper edge), remains of prior hinging on several, archivally mounted, each approximately 4 1/2 x 8 3/4 inches.

States: Lieure 281 (Washing of Hands) second state (of 4)(the first state is extremely rare); L282 (Last Supper) first state (of 4); L283 (Condemnation) first state (of 2); L284 (Crowning of Thorns) third state (of 4); L285 (Presentation to the People) first state (of 3); L286 (Carrying to the Cross) first state (of 3); L287 (Crucifixion) first state (of 2).

Lieure 281, 286 and 287 have the Cross of Lorraine watermarks (Lieure watermark numbers 29 and 30).

A fine set of this monumental work, with most impressions in the first state.

Provenance: Maurice Rousseau, Paris (as indicated on mat).

The Large Passion is one of Callot’s larger format religious sets. Most of the portrayals are set as on a stage. For example, the Presentation to the People is set in classic architecture, with Christ isolated in the center background, and larger more darkly etched figures in the foreground. This theatrical approach would be used repeatedly by future generations of artists.

This set is complete, but Callot may have contemplated a larger grouping; he made sketches for as many as fourteen scenes for a Large Passion, most of which today are in the Collection of the Duke of Devonshire at Chatsworth; other preparatory drawings, including sketches of figures found in the Large Passion, can be found in the Louvre, the Morgan Library, and the National Gallery in Washington.

Jacques Callot (1592-1635), Le Combat a La Barriere (The Combat at the Barrier), 1627, etchings, the complete set of 10, including the title plate and the nine etchings. Reference: Lieure 575-584. In very good condition, on old laid papers with thread margins (occasionally trimmed on the platemark); two with center folds, occasional stains or soiling), the title 6 x 4 3/8, the plates approximately 6 1/8 -6 3/16 x 8 11/16 – 9 9/16 inches.

A fine, uniform early set, before the posthumous Fagnani printing, in only states except: L. 575 in state 2 (of 3) [Lieure notes that state one is extremely rare]; L. 578 first state (of 2); L 583 first or second state (of 2) [and with the early Lieure 29 watermark].

Watermarks: L. 577, 579, 580, 583 with the Interlaced C watermark (Lieure watermark 29); L. 582 with the 4 Lorrain watermark (Lieure watermark 35).

In Plate 578, the Entree of MM De Vroncourt, there are in the distance two small boats. This confirms that this plate is a first state; in the second state (Fagnani)  impressions these have been effaced. On Plate 583 Lieure describes in vague terms a very rare first state with some problematic lines in the curtain at the right, corrected later. Our impression has some weak lines, as have several other very early impressions we have examined; it also has an early watermark; it is quite probable that ours is a first state or that no such first state as described by Lieure exists.

The 10 prints in the Combat series were created to commemorate a tournament sponsored by Duke Charles IV of Lorraine, in his palace at Nancy, in honor of his beautiful cousin the Duchess of Chevreuse who was in exile at Lorraine after the discovery of her role in the plot against Richelieu. The Duke and his cousin the Prince of Phalbourg fought for her favor in an evening joust – the fight itself is shown in the culminating plate.

The series shows Callot at his best in a range of motifs, showing crowds and individuals, astonishing details and marvelous compositions, reality and invention, all etched splendidly.

Callot’s illustrations eventually were included in a book on the event written by the blind court poet Henry Humbert. Various floats, chariots and individuals are shown entering the arena. Humbert writes of the entry of Vroncourt, Tyllon and Marimont: “They were raised up on a dolphin, armed with silver armor…Before their machine was seen Arion carried by another dolphin in the middle of the waves of the sea, who fondly touching his lute, blended his harmonies with the accidents of his voice.”  The entry of the Duke (the star) is described thus: “Vulcan with the nude Cyclops appeared next in a grotto, at the rear of which was a blazing furnace, where these dark artisans forged the arms of the sun..” (Callot had in fact designed the chariot of the forge of Vulcan.)

Jacques Callot (1592-1635), Parterre du Palais de Nancy (Gardens of the Palace at Nancy), etching, Lieure 566, first state (of two) before the address of Silvestre). On old laid paper, with the countermark of the Cross of Lorraine (watermark Lieure 35). In very good condition, with small margins (minor vertical fold visible verso, very slight creasing, some brown spots). 10 1/4 x 15 1/4 inches, 258 x 382 mm., archival mounting.

Provenance: Furstl Furstenberg Kupferstic Kabinett; Christie’s London, 12/6/85, lot 227.

A fine rich impression, with the exquisite detail of the distant landscape and the (nearly microscopic) deer hunt printing very clearly.

Callot’s depiction of the magnificent garden at Nancy is in some part imaginary: the garden at the left replaced a palace wall; the scale of the people is reduced to enlarge the garden, and Callot rearranged the walls to make the composition more spectacular.

The print was dedicated to the Dutchess of Lorraine, who can be seen in the lower center with the parasol, surrounded by a flock of courtiers. Above the scene is the Lorraine Coat of Arms surrounded by banners, which gives the title and the dedication. It’s springtime, and the scene and the gardeners suggest beginnings - it was dated October 15, 1625, at the beginning of the Nicole’s (the Dutchess) reign.

Callot includes in Le Parterre many famous images found in other prints, including a woman carrying a pan on her head (from Varie Figure), and a man carrying a weapon (from Combat a la Barriere). People can be found relaxing, fighting, playing ball and croquet, bowling, riding, boating, hunting, fishing, parading and preening.

Callot (1592-1635), Life of the Virgin, etchings, 1633, complete set of 13 plus the frontispiece, with the rare additional plate of the Annonciation. Reference: Lieure 1357-1370 (the set), 1371 (additional Annociation), in the second state (of 3), 1371 the second state (of 2), before the numbers were added in the third state. In good condition, 6 plates with margins, the rest trimmed near the platemark; small loss lower right of L 1369. Printed on old laid paper, average size 2 3/4 x 1 7/8 inches; 70 x 45 mm., archival matting.

Also, an impression of the rare Le Cult de Dieu, Lieure 570, only state, trimmed to the diagonals, is included with this set.

Provenance: Sotheby’s New York Old Master Prints Sale, 11/14/1981.

Very good to fine impressions of the second state of 3. The first state, before letters, is virtually unknown; in the third state (which is posthumous) numbers were added to the lower right.

Lieure considered this cycle Callot’s masterpiece of religious expression, and it is an aesthetic triumph as well. The series includes the traditional apochryphal scenes as well as those from the Gospels. The compositions are generally theatrical, often with strong figures in the foreground, with a larger cast in the middle ground, and an opening which creates space and depth. Some of the plates are particularly dramatic, such as the Burial of the Virgin, which takes place in a darkened grotto, and the Adoration of the Magi (with a boarded roof after Durer); the rare second Annunciation is a study in simplicity – a more beautiful version than the set’s version which is more flowery. All of these compositions would “work” in a larger scale.

Most of the plates show the name of Callot at bottom left and that of Israel (Henriet) at the lower right; the Flight into Egypt (L. 1366) does not have Callot’s name, and the Presentation (L. 1364) has neither name.

Jacques Callot (1592-1635), Mysteries of the Passion (Variae Tum Passionis Christi, Tum Vitiae Beatae Mariae Virginis), complete set of 20 etchings plus the frontispiece by Abraham Bosse (Reference Meaume 31). c. 1631. Reference: Lieure 679-698, second state (of 2). In very good condition, archival mounting.

A fine set of these small etchings, printed on 5 plates/sheets of laid paper, with margins, 3 of the plates with partial Crown watermarks (possibly Lieure 45).

The set of 20 etchings includes 7 in circular format, with a diameter of 1 1/4 inches; 7 larger ovals with a length of 1 7/8 inches, and 6 smaller ovals with a length of 1 1/2 inches. These are on 5 plates, with margins outside of the etchings of about 5/8 inches. The frontispiece is 3 1/2 x 3, the sheet 4 1/2 x 4 3/4 inches.

The 20 etchings of the series include:

Plate with 6 Scenes (Lieure 685-690): Ovals: Adoration of the Shepherds, Visitation,  Adoration of the Magi; Circles: Descent into Limbo, Descent of the Holy Spirit, Entombment

2 Plate with 4 Scenes Each (Lieure 691-698): Ovals: Annunciation, Christ Among Teachers, Circumcision, Presentation; Circles: Resurrection, Crucifixion, Descent from the Cross, Transfiguration

2 Plates with 3 Oval Scenes Each (Lieure 679-684): Carrying of the Cross, Presentation to the People, Crowning with Thorns, Flagellation, Christ Before Pilate, Christ Delivered to the Jews.

These tiny etchings were originally made on 3 plates; later Israel Henriet cut two of the plates in half, issuing the set with the additional frontispiece made by Bosse, adding his “excudit” and Callot’s name to each plate.

The etchings were designed to be cut out and mounted as medallions to be worn around the neck as protection against the Black Plague, which was ravaging the Lorraine area in 1631. The details are so small that they are best seen under a magnifying glass (or perhaps by vulnerable microbes).  As in all the best Callot prints, the compositions would appear to “work” even in formats many times their size.

Six of the 20 plates are illustrated; additional illustrations are of course available on request.