Fine Art, Jewelry, & Important Estates Pt 1
Sat, Sep 27, 2025 12:00PM EDT
Lot 179
Attributed to Jacques Callot, 1592-1635, Christ with Mary and St. John the Evangelist
Estimate: $400 - $600
Sold for
$437.50
Sold Price includes BP
Bid Increments
| Price | Bid Increment |
|---|---|
| $0 | $25 |
| $300 | $50 |
| $1,000 | $100 |
| $2,000 | $250 |
| $5,000 | $500 |
| $10,000 | $1,000 |
| $20,000 | $2,500 |
| $50,000 | $5,000 |
| $100,000 | $10,000 |
Attributed Jacques Callot French 1592-1635 Christ with Mary and St. John the Evangelist pen and brown ink on laid paper watermarked “D & C Blauw" Sight: 9 1/4 x 7 in. (23.5 x 17.8 cm.) Provenance: Gallery Chimera, Rome, May 2005, as Giovanni Battista Paggi (Genoa 1554 – 1672), circa 1620, Ex. Collection of Contessa Maria Fede Caproni, Rome Note: (From the Estate) "This drawing is after Jacques Callot’s celebrated Salvatoris Beatae Mariae Virginis Sanctorum Apostolorum Icones, a grand series of fourteen engravings of Christ, the Virgin, and the twelve Apostles, printed in 1631 (see British Museum 1861,0713.197, 195, and 207). Here, the figures of Mary and Christ are rendered with notable variations, appearing in the same orientation as Callot’s original drawings rather than the reversed forms of the printed engravings. The figure of St. John retains the orientation of the engraving, gazing toward Mary rather than upward. The vertical hatching differs from the cross-hatched technique of the engravings, and the halos are omitted, lending the composition a distinctive clarity. Callot, a pivotal figure in the development of the print medium, published this series through Israel Henriet (1590–1661), who may have overseen a reconfiguration of the design for a now-lost or unrealized print, possibly after Callot’s death. Henriet is recorded to have purchased the original plates from Callot’s estate, suggesting a date for this drawing between 1631 and 1661. The D&C Blauw paper on which it is executed was widely available in Northern Europe during this period. The drawing was undoubtedly prepared for engraving: Christ raises his right hand in benediction, freeing the left for a gospel or orb, and the careful interplay of light and heavy vertical hatching indicates the translation of form into print. This technique, characteristic of Callot’s later works such as Mysteries of the Passion (1631) and Christ’s Triumphant Entry into Jerusalem (1635), underscores the drawing’s purpose as a preparatory work for the print medium.
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Provenance: Gallery Chimera, Rome, May 2005, as Giovanni Battista Paggi (Genoa 1554 – 1672), circa 1620, Ex. Collection of Contessa Maria Fede Caproni, RomeNote: (From the Estate) "This drawing is after Jacques Callot’s celebrated Salvatoris Beatae Mariae Virginis Sanctorum Apostolorum Icones, a grand series of fourteen engravings of Christ, the Virgin, and the twelve Apostles, printed in 1631 (see British Museum 1861,0713.197, 195, and 207). Here, the figures of Mary and Christ are rendered with notable variations, appearing in the same orientation as Callot’s original drawings rather than the reversed forms of the printed engravings. The figure of St. John retains the orientation of the engraving, gazing toward Mary rather than upward. The vertical hatching differs from the cross-hatched technique of the engravings, and the halos are omitted, lending the composition a distinctive clarity.Callot, a pivotal figure in the development of the print medium, published this series through Israel Henriet (1590–1661), who may have overseen a reconfiguration of the design for a now-lost or unrealized print, possibly after Callot’s death. Henriet is recorded to have purchased the original plates from Callot’s estate, suggesting a date for this drawing between 1631 and 1661. The D&C Blauw paper on which it is executed was widely available in Northern Europe during this period.The drawing was undoubtedly prepared for engraving: Christ raises his right hand in benediction, freeing the left for a gospel or orb, and the careful interplay of light and heavy vertical hatching indicates the translation of form into print. This technique, characteristic of Callot’s later works such as Mysteries of the Passion (1631) and Christ’s Triumphant Entry into Jerusalem (1635), underscores the drawing’s purpose as a preparatory work for the print medium.
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