Single sheet, float mounted and framed, (sheet size: 8 ½ x 11 inches; frame size: 13 ¾ x16 ¼ inches). Fine etching. CONDITION REPORT: A brilliant impression with superb contrast, in near fine condition with thread margins all around.
Provenance: Ex-collection of Adalbert von Lanna (Lugt 2773); Julian Marshall (Lugt 1494); Arkady Alferoff (Lugt 1727); and Robert Hartshorne (Lugt 2215b).
Fourth state (of five). “Jacques Callot was born about 1592 at Nancy in Lorraine, which is a busy crossroads of Europe, being on 200 to 500 miles from Paris, Vienna, Antwerp and Amsterdam. Thus Europe came to Callot even before he started to travel, making him, almost inevitably, into the first international personality among the inventive print-makers. His art, which had culled something from everywhere, in turn imparted something to practically all subsequent etching and engraving” (Mayor and Baskin).
Callot “is the first important etcher who was not a painter. To ensure that his plates would print enough impressions to secure his livelihood and to simulate the effect of the then much-admired line-engraving, he developed a new sort of etching needle, the échoppe, which has a sharp but rounded end. Used on a hard etching ground which forces the acid to bite a much sharper line than it does on more conventional etching grounds, this tool can imitate the swelling line of a burin. In this way Callot could etch his plates deep enough for them not to wear out too quickly and also preserve the gradations of tone by a deft use of stopping out. Callot was in Italy between 1608 and 1621 working in Florence for the Grand Dukes of Tuscany before returning to spend the rest of his life in Nancy” (Griffiths, p. 63). A. Hyatt Mayor and Leonord Baskin, “The Etchings of Jacques Callot.” Antony Griffiths, “Prints and Printmaking: An Introduction to the History and Techniques.” Lieure 406.