Emanuel von Baeyer
17th century French prints from the Newbattle Abbey album
17th century French prints from the Newbattle Abbey album
Emanuel von Baeyer Cabinet is pleased to present a selection of works from our new online exhibition of prints from mid-17th century France.
The prints formed part of a larger folio album which was part of the library of Newbattle Abbey in Scotland. One rarely sees a group of prints on the market from this era in their original condition.
Representing bacchanal and dyonisiac subjects along with other mythological scenes, many of the etchings and engravings are rare impressions in first states. The prints are mainly by French 17th century artists, except for the Italian Sefano della Bella, whose French connection and presence in Paris since 1693 was well known, and the German artist Johann Christophorus Storer.
Please visit https://evbaeyer-cabinet.com/ to view the full exhibition.
Bacchanalia or Childhood of Bacchus
37.8 x 51.8 cm
Watermark: grape above cartouche with letters P H, similar to Heawood 2338: England 17th century. Wonderful impression of the first state of this large and impressive print, on a full sheet with even plate tone. Very rare. Lettered N. Poussin invent. F.L.D. Ciartres excud. Cum Privil. Regis. Published by François Langlois, il Ciartres (1588-1647). After the painting by Nicolas Poussin, c. 1630, now in the Musée Condé in Chantilly, France (inv. 298, Thuillier 46).
Diana rescues a young man
Second half of 17th century
Size of plate: 18.8 x 23.2 cm. Size of sheet: c. 22.4 x 33.5 cm.
Fine impression with wide margins of the first state before the lettering D: Titian in. F.Bourlier excu. P.R.C. Lettered .D. in the bottom right. Published by François Bourlier (active between 1651-1682). According to Nagler this is the only etching by this unknown artist. Unusually, for just one print, he devotes a fair deal of attention to this particular printmaker in his entry. It seems that he corresponded with Baron von Rumohr (Karl Friedrich von Rumohr), who first proposed a French artist rather than an Italian reproduction printmaker as previously suggested (Brulliot, App. II, no. 70). Rumohr, not knowing the second state with the inscription to Titian, believed it could have been an artist from the Carracci's circle and mentions Gerhard Duffet (Doufeet or Duffeit, 1594 - 1660/1661), who was a Flemish artist close to the school of Rubens. As Nagler concludes, probably neither Rubens nor Titian are the inventors of this composition. In this unusual and intriguing image Diana and a follower are rescuing a young man tied to a tree by a satyr. Such a scene recalls the episode in the 16th century pastoral play Aminta by Torquato Tasso (1544 – 1595), where a lustful satyr has tied the nymph Silvia to a tree and the shepherd Aminta rescues her. An example of the success of the subject in 17th century France is the painting Aminta about to rescue Silvia by Gaspard Dughet (1615 - 1675) (1). Nagler takes it for granted that the man represented in our image is Apollo. If we assume that this is the case, the scene might represent a sort of inversion of Apollo and Marsyas' episode, where this time the God is tied to a tree and rescued by his sister Diana. We are grateful to Paul Holberton for noting a possible connection between the two male figures and Pan and Daphnis as well as suggesting a very interesting reading of the scene as an allegory of chastity. The satyr would somehow stand "for the young man's own lust, from which he is liberated by the approaching Diana"; for that, he is throwing her a grateful glance and she "smilingly indicates what she has done for him" (2). However, according to Elizabeth McGrath, the presence of a follower of Diana would look strange in an allegorical context and both the format and the composition suggest more of a narrative scene (3). Our thanks to Elizabeth McGrath and Paul Taylor from the Warburg Institute for their help.
Claude Mellan, after
Perseus Delivering Andromeda
20 x 24 cm
Good and dark impression with margins all around. Attached by the corners only on 17th century album sheet with grape watermark, similar to Heawood 2095: London 1616. Inscribed i in pen and ink. Lettered bottom right Cl. Mellan / in pinx Rom. Listed as a copy although it shows all the hallmarks of an engraver as refined as Claude Mellan; the quality of this engraving is by no means far off from the master himself.
Pan foiled by Diana
33 x 28.2 cm
Fine impression with large margins all around. Lettered at the bottom Hic Satyrus castae correptus amore Diana,/Offert lanigeri rustica dona gregis:/Accipit illa, vasri insidias nec cernis amantis/Quas placida insonti vellere texit onis/Casta Diana quidem est, verum insidiosus amator:/Sunt etiam castis dona timenda virum. and below F.L.D. Ciartres excudit Domini Bonon Invent. Cum Privilegio Regis Christ. Published by François Langlois, il Ciartres (1588-1647). After the fresco by Domenichino in the Palazzo Giustiniani-Odescalchi in Bassano di Sutri, illustrating an episode of the Georgics by Virgil (Book III, 391-392). For the subject see E. McGrath, "Pan and the wool" in The Ringling Museum of Art Journal, I, 1983, pp. 52-67.
Dorigny, Michel and Nicolas Cochin
Title page of the "Recueil de Diverses Baccanalles de Poussin, Chappron, D’origny, et autres"
Size of plates: 18.4 x 16.3 cm; 7.8 x 16.2 cm. Size of sheet: c. 27.6 x 26 cm
Watermark: grape inscribed in a circle with inscription Colonbier, similar to Heawood 2427: France, after 1654. Beautiful and dark impression of the first state from two plates with uncleaned plate edges. With margins all around. Laid on 17th century album sheet with grape watermark, similar to Heawood 2095: London 1616. The title page first state of two lettered RECUEIL DE DIVERSES BACCANALLES/ De Poussin, Chappron, D'origny, et autres/ A PARIS,/ Chez F. Langlois dit Chartres rue Sainct Jacques/ aux colonnes d'Hercule contre le lyon d'Argent. Published by François Langlois, il Ciartres (1588-1647), in Paris, before Mariette's address. While the text plate is a first state of three (1), our impression of the image is an unrecorded state, before the number 1. The series poses several unsolved issues, including the authorship of the title plate and others. According to S. Laveissière, none of the ten images seem to be by Poussin, whose name was probably used to drum up customers. Similarly, besides Dorigny and Chaperon, the "autres" artists have not been identified. Out of the ten plates, three were by Chaperon as both inventor and engraver (two of them are included in our display), all the others are anonymous, including the present title page. (2) According to Pierre-Jean Mariette (1694-1774) - great-grandson of the Mariette who had published the series of six Bacchanales by Dorigny and grandson of Pierre Mariette II who had married Langlois' widow in 1655 - all the plates were engraved by the younger Dorigny after drawings by Chaperon. The success of the images is demonstrated by their use as models for the painted decoration of the Mornay castle in France, Poitou - destroyed by a fire in 1947 - as well as several painted copies, drawings and faience decorations (3). A example of the two plates on the same sheet is in the Musée de beaux-arts of Nancy (inv. TH.99.15.1879, cf. French Gov. website POP: no. TH.99.15.1826, Musée de beaux-arts, Nancy).
Bacchanal with herm cut at the top
27.7 x 34.3 cm.
Literature: Dumesnil IV.256.17, not recorded state, as Dorigny;
I.F.F. 17, as Dorigny;
S. Laveissière, Nicolas Chaperon, 1612 - 1654/1655: du graveur au peintre retrouvé, Exh. Cat., Musée des Beaux-Arts de Nîmes, 1999, cat. no. 23.
Fine and fresh impression with good margins all around. Unknown intermediate state, probably between the first and the second state after the erasion of F.L.D.Ciartres excudit cum Privilegio Regis Christianissimi but before the later impression of Petrus Mariette excud.
Lettered at the bottom A Paris Chez Pierre Mariette le fils rue St. Jacques aux Collomnes d'Hercule.
Published by Pierre Mariette I (c. 1603-1657).
From the series Recueil de Diverses Baccanalles de Poussin, Chappron, D’origny, et autres,
This is the only print from the series Recueil de Diverses Baccanalles for which Chaperon's preparatory drawing is known, dated around 1638-39, now in a private collection and illustrated in D. Tellas, Michel Dorigny 1616-1665, Exh. Cat., Paris 2019, p. 6, fig. 5.
Le faune et sa famille (The faune and her family)
26.7 x 29.4 cm.
Fine impression of the first state, with wide margins. Lettered on the left Chaperon J. f. and at the bottom F.L.D. Ciartres excudit cum Privil. Regis Christ. Published by François Langlois, il Ciartres (1588-1647). From the series Recueil de Diverses Baccanalles de Poussin, Chappron, D’origny, et autres, this is one of the three plates from the set of ten both invented and etched by Chaperon.
33.1 x 30.3 cm
Beautiful and strong impression of the second state before the number, with large margins all around. Lettered at the bottom M. Dorigny in. et fecit Cum Privilegio Mariette exc. Published by Pierre Mariette I (c. 1603-1657). From the series of six Bacchanales. The black chalk preparatory drawing for this print, indented for transfer, is now in a private collection in Australia (formerly London, see D. Tellas, Michel Dorigny 1616-1665, Paris 2019, cat. n. 1).
Drunken Silenus in front of the altar of Pan
27.4 x 33.3 cm.
Fine impression with margins all around. Lettered at the bottom huart Excudit Cum privilegie regis. Published by Philippe Huart (father and son with the same name, c.1605-1670 after). From the series Recueil de Diverses Baccanalles de Poussin, Chappron, D’origny, et autres.
Drunken Silenus being carried by Satyrs and playing putti
24.8 x 36.4 cm.
Very good and dark impression of the first state, before Mariette's address. With wide margins. Lettered at the bottom F.L.D. Ciartres ex. Cum Privil. Regis Christianiss. Published by François Langlois, il Ciartres (1588-1647). From the series Recueil de Diverses Baccanalles de Poussin, Chappron, D’origny, et autres.