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. Abell provides in-house shipping for select items. Our office is open Monday to Friday from 8:00 AM to 12:00 PM and 1:00 PM to 3:00 PM for item pickups. Items that cannot be shipped will be noted. An email will go out after invoices are sent. For assistance with shipping, please refer to our shippers' page at https://www.abell.com/buy-sell/how-to-ship/. Payment: Jewelry and coins must be paid by wire transfer, cash, or check (checks subject to clearance before release). The Condition Report states Abell Auction's reasonable opinion as to the lot’s general condition in the terms stated in the particular report, and Abell does not represent or guarantee that a Condition Report includes all aspects of the internal or external condition of the Lot. Items sold at auction are of considerable age and may exhibit wear, usage, repairs, and damage. Therefore, all lots are sold 'as is' and there are no returns or refunds. Abell does not owe the buyer any obligation to report on the condition of the lot and makes no guarantee the condition will be given for the lot. Abell attempts to provide accurate descriptions and images of products online. It is the buyer's responsibility to review all of the information provided about a lot before placing a bid. The buyer acknowledges that the products are sold on an “as-is” basis. 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.