Null CALLOT. Les baigneurs.
The Bathers.17th century
Etching and burin. 115x245m…

Description

CALLOT. Les baigneurs. The Bathers.17th century Etching and burin. 115x245mm. Small margins. Status 2/3. Bottom left: 'Callot in. f. - Israel ex. cum privilege Regis'. Composition framed by a thin line. A very animated festive scene. A large number of men bathe in a river above the dam of a mill with two monumental arches: some swim in the water, others undress on the bank. Through the two arches the river can be seen passing under a bridge; in the background a city at the foot of a hill.

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CALLOT. Les baigneurs. The Bathers.17th century Etching and burin. 115x245mm. Small margins. Status 2/3. Bottom left: 'Callot in. f. - Israel ex. cum privilege Regis'. Composition framed by a thin line. A very animated festive scene. A large number of men bathe in a river above the dam of a mill with two monumental arches: some swim in the water, others undress on the bank. Through the two arches the river can be seen passing under a bridge; in the background a city at the foot of a hill.

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Estim. 400 - 600 EUR

CALLOT, Jacques (1592-1635). Le Combat a la Barrière. [Nancy: Philippe], 1627. The Combat at the Barrier is the last theatrical work that Callot executed and for which he was also the stage designer. It took place on February 14, 1627 in the New Hall of the Ducal Palace in Nancy, dedicated to the Duchess of Chevreuse by the Duke of Lorraine. The series consists of seven engravings illustrating the entrance of the chariots and the people taking part in the fight, two views of the hall, and the dedication. Copper engravings, (various sizes). Complete series in the only known state: (Liure 577, 583 in the first state of two, Liure 575 in the third state of three); printed on leaves with watermark 'Coat of Arms of Lorraine with Double Letter C', 'Hunting Horn', 'Crowned Coat of Arms', datable to the first decades of the seventeenth century (Liure 579 in late 17th century edition). Leaves in fine condition with thin margins, a few small, masterfully executed repairs.

Estim. 500 - 800 EUR

CALLOT, Jacques (1592-1635). Lot of 4 works. A fine lot comprising two series by Callot, together with two larger-format engravings of saints, including one of St Mansuetus, also known as 'The Racket' because of the tennis racket that appears next to the lifeless son of Laucus. Two sets of etchings and two individual plates: 'Les fantasies' Paris: Israel, 1635. 14 etchings (63 x 83mm) including title, in the second state of two, mounted on early strong paper [IN LOT WITH:] Les Penitents et penitentes. Paris: Israel, [1632] 6 etchings (72 x 45mm c.a) including title, in the second state of two, mounted on modern card. [IN LOT WITH:] Saint Nicolas. [Paris, c. 1630] etching (215 x 290mm) fourth state of five, recognisable by the engraved signature, leaf with watermark 'C with Lorraine cross, mounted on modern card [IN LOT WITH:] Saint Mansuet (La Raquette) [Paris, c. 1630] etching (227 x 273m) in the ninth and last state after the date change to 1613 on leaf with watermark 'C with Lorraine cross'. (1)

Estim. 500 - 800 EUR

CALLOT, Jacques (1592-1635). Lot of 4 works. Lot comprising military illustrations by Callot. A suite of engravings and three individual plates: Exercices militaires. Paris: Israel, 1635. 13 etchings (63 x 83mm) including title, second state two apres le chiffre, mounted on paper [IN LOT WITH:] The inhabitants of the rochelle ask pardon of the king. [Paris, c. 1630]. etching (133 x 308mm) third state of three [IN LOT WITH ] Combat de cavalerie. Paris: Israel. etching (50 x 85mm) first state of two, trimmed [IN LOT WITH:] The Massacre of the Innocents. Nancy. Etching (134 x 110mm) second state, on paper with 'part of crown' watermark. (1)

Estim. 200 - 300 EUR

[LEONARDO DA VINCI] CALAMATTA, Luigi (1801-1869). Lisa Gioconda. Rome: Regia Calcografia, [after 1855]. A famous copy of the Mona Lisa, considered the finest produced before the advent of photography, which earned Luigi Calamatta the gold medal at the 1855 Universal Exhibition in Paris. Thanks to the intervention and support of Ingres, who allowed Calamatta to copy the painting, it was completed after a long and meticulous process that began in 1829 and lasted almost 30 years. The work was finally engraved in Paris by Chardon and published by Goupil, which was then followed by the printing by the Regia Calcografia in Rome. Burin, etching and drypoint, (560 x 440mm). Italian edition by the Regia Calcografia after the Paris edition by Chardon and Goupil and before the galvanic replica (some spotting) within a modern frame. (1)

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