17th Century: Original Jacques Callot engravings

 Jacques Callot              The Gobbi              Les Caprices             Varie Figure              Les Gueux          Israel Silvestre         

Jacques Callot (1592-1632) was one of the earliest great creative artists to practice the graphic arts exclusively. His career can be divided into two periods: an Italian period, c. 1609-1621, and a Lorraine period from 1621 until his death. Callot studied the technique of engraving under Phillipe Thomasin in Rome. About 1612 he joined Guilio Parigi in Florence. At that time Medici patronage expended itself almost exclusively on "feste," and both Parigi and Callot were employed by Cosimo II (de Medici) to create visual records of these entertainments. Callots compositions are organized as if they were a stage setting and reduced the figures to a tiny scale, each one being rendered by the fewest possible strokes. This required an extremely fine etching technique. Callot enjoyed a lasting popularity all over Europe. He returned to Nancy after Cosimo*s death in 1621. During the Lorraine period Callot illustrated sacred books, made a series of plates of the Apostles, and visited Paris to make animated maps of the sieges of La Rochelle and the Ile de RÈ. Callot was one of the first etchers to used the technique of repeated biting, and sometimes combined graver work with etching


LES CAPRICES

Forty-one from a series of fifty plates (including a title and a dedication) from the second series engraved by Callot when he came back to Nancy in 1621. 
A first series was engraved on relatively soft copper plates, on 1617. Details were rapidly lost and the set gave very few good impressions. Callot engraved a second 'Capricci' series when he came back to Nancy (1621) using hard copper plates. The two series are almost identical and many sets today actually mix plates from both series. The most obvious difference is that the plates from the Nancy series were numbered in the second state. The smaller differences are described in detail in Lieure's & Meaume's catalogues.

The etchings below are from the first state before the adding of the numbers in the second state.
Important valuable work, you will hardly find a selection like this on the market elsewhere.

In this series Callot used for the first time the harsh varnish used by the lute players of Florence instead of the tender varnish used before by engravers.

Les Caprices Second series, first state ( I / II )

L.428 ( II / III )
Frontispice: Deux satyres soutiennent les côtés d'un cartouche surmonté de deux ailes de dragon entre lesquelles se trouvent les armoiries des Médicis, et qui se termine au bas par une tête grimaçante

L.429 ( II / III )
Dédicace a Laurent de Médicis, brother of the grand duke Cosimo II

The text, as in the title
 is written by Callot.

Les Caprices 40 From the series of 50 in first state ( I / II )  

L.430 ( I / II )
UN GENTILHOMME ET SON PAGE
L.431 ( I / II )
DEUX PERSONNAGES ASSIS

L.432 ( I / II )
LE PATRE ET LES RUINS

L.433 ( I / II )
LA FACTORIA

L.434 ( I / II )
LE PONTE VECCHIO A FLORENCE
L.435 ( I / II )
LA CAVERNE DE BRIGANDS

L.436 ( I / II )
LA PROMENADE

L.437 ( I / II )
LA ONDE

L.438 ( I / II )
CHEVAUX COURANT EN LIBERT'E
L.439 ( I / II )
L'HOMME QUI COURT

L.440 ( I / II )
LE JOUEUR DE VIOLON

L.441 ( I / II )
LE PAYSAN QUI SALUT

L.442 ( I / II )
L'HOMME ENROULE DANS SON MANTEAU
L.443 ( I / II )
LE GENTILHOMME A LA GRANDE CANNE

L.444 ( I / II )
L'HOMME VU DE DOS AVEC EPEE

L.445 ( I / II )
L'HOMME VU DE DOS LA MAIN TENDUE

L.446 ( I / II )
DEUX FEMMES DE PROFIL
L.447 ( I / II )
LA DAME AU VETEMENT AMPLE

L.448 ( I / II )
LE GENTILHOMME AU GRAND MANTEAU

L.235 ( I / II )    L.449 ( I / II )
GENTHILHOMME AU GRAND MANTEAU DOS

L.450 ( I / II )
GENTILHOMME, MAIN SUR LA HANCHE
L.451 ( I / II )
LE PAYSAN TENAT UN GOBELET

L.452 ( I / II )
GENTILHOMME AU MANTEAU POSE SUR LA HANCHE

L.453 ( I / II )
LE PAYSAN PORTANT SA PELLE SUR L'EPAULE




L.454 ( I / II )
LE DUEL A L'EPEE
L.455 ( I / II )
DUEL A L'EPEE ET AU POIGNARD

L.456 ( I / II )
LE PAYSAN ASSAILLI PAR LES ABEILLES

L.457 ( I / II )
LE PAYSAN SE DECHAUSSANT

L.458 ( I / II )
LE PAYSAN PORTANT SON AC
L.459 ( I / II )
LE PAYSAN ACCROUPI

L.460 ( I / II )
dANSEUR A LA FLUTE ET AU TAMBOURIN

L.461 ( I / II )
LES DANSEURS AU LUTH

L.462 ( I / II )
DEUX PANTALONS SE TOURNANT LE DOS
L.463 ( I / II )
DEUX PANTALONS SE REGARDANT

L.464 ( I / II )
LE BERGER JOUANT DE LA FLUTE

L.465 ( I / II )
L'HOSPICE

L.466 ( I / II )
L'AUBERGE
L.467 ( I / II )
LE COMMANDANT A PIED

L.468 ( I / II )
LE COMMANDANT A CHEVAL

L.469 ( I / II )
LE PORTE-ETENDARD

L.470 ( I / II )
ESCARMOUCHE DANS UN CIRQUE
L.471 ( I / II )
LE MARCHE DE LA PLACE DE L'ANNONCIADE A FLORENCE

L.472 ( I / II )
LE FEU D'ARTIFICE SUR L'ARNO

L.473 ( I / II )
UNE FETE SUR LA PLACE DE LA SIGNORIA A FLORENCE

L.474 ( I / II )
LA PLACE DU DOME A FLORENCE
L.475 ( I / II )
LA COURSE DE CHARS SUR LA PLACE SANTA MARIA NOVELLA A FORENCE

L.476 ( I / II )
LACOURSE DE CHEVAUX SUR LA PLACE PITTI A FLORENCE

L.477 ( I / II )
LE JEU DE PAUME SUR LA PLACE SAINTE-CROIX A FORENCE

click on the thumbnails to see a larger image

 


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