Les Miseres Et Les Mal Heurs Guerre (5 results)

Condition: Very Good. Plate 18 from Les Miseres et les Mal-heurs de la Guerre, by Jacques Callot, from the early 17th century. ?Les Grandes Misères de la guerre? are a series of 18 etchings titled in full "Les Misères et les Malheurs de la Guerre". Despite the grand theme of the series, the images are in fact only about 83 mm x 180 mm each, and are called the "large" Miseries to distinguish them from an even smaller earlier set on the same subject. The series, published in 1633, is Callot's best-known work and has been called the first "anti-war statement" in European art. Les Grand Misères depict the destruction unleashed on civilians during the Thirty Years' War; no specific campaign is depicted, but the set inevitably recalls the actions of the army that Cardinal Richelieu sent in 1633 to occupy Callot's native Lorraine before annexing it to France. The series begins with a florid title page, followed by an enrollment parade and a battle scene. Plates 4?8 show bands of the victorious soldiers successively attacking a farm, convent, and coach, and burning a village. In plates 9?14 they are rounded up and subjected to various methods of public torture and execution. Plate 15 shows crippled soldiers in a grand neo-classical hospital, Plate 16 unemployed soldiers dying in the street, and Plate 17 the peasants taking revenge on a group they have captured, killing them with flails. Plate 18 shows an enthroned king distributing rewards to the victorious generals. Jacques Callot (1592-1635) was a baroque printmaker and draftsman from the Duchy of Lorraine (an independent state on the north-eastern border of France, southwestern border of Germany and overlapping the southern Netherlands). He is an important person in the development of the old master print. He made more than 1,400 etchings that chronicled the life of his period - featuring soldiers, clowns, drunkards, Gypsies, beggars, as well as court life. He also etched many religious and military images, and many prints featured extensive landscapes in their background. , Image Size : 72x184 (mm), 2.83x7.24 (Inches), Platemark Size : 82x188 (mm), 3.23x7.40 (Inches), Paper Size : 92x194 (mm), 3.62x7.64 (Inches), Black & White, Etching.

Plate 15 from Les Miseres et les Mal-heurs de la Guerre, by Jacques Callot, from the early 17th century. ?Les Grandes Misères de la guerre? are a series of 18 etchings titled in full "Les Misères et les Malheurs de la Guerre". Despite the grand theme of the series, the images are in fact only about 83 mm x 180 mm each, and are called the "large" Miseries to distinguish them from an even smaller earlier set on the same subject. The series, published in 1633, is Callot's best-known work and has been called the first "anti-war statement" in European art. Les Grand Misères depict the destruction unleashed on civilians during the Thirty Years' War; no specific campaign is depicted, but the set inevitably recalls the actions of the army that Cardinal Richelieu sent in 1633 to occupy Callot's native Lorraine before annexing it to France. The series begins with a florid title page, followed by an enrollment parade and a battle scene. Plates 4?8 show bands of the victorious soldiers successively attacking a farm, convent, and coach, and burning a village. In plates 9?14 they are rounded up and subjected to various methods of public torture and execution. Plate 15 shows crippled soldiers in a grand neo-classical hospital, Plate 16 unemployed soldiers dying in the street, and Plate 17 the peasants taking revenge on a group they have captured, killing them with flails. Plate 18 shows an enthroned king distributing rewards to the victorious generals. Jacques Callot (1592-1635) was a baroque printmaker and draftsman from the Duchy of Lorraine (an independent state on the north-eastern border of France, southwestern border of Germany and overlapping the southern Netherlands). He is an important person in the development of the old master print. He made more than 1,400 etchings that chronicled the life of his period - featuring soldiers, clowns, drunkards, Gypsies, beggars, as well as court life. He also etched many religious and military images, and many prints featured extensive landscapes in their background. , Image Size : 72x184 (mm), 2.83x7.24 (Inches), Platemark Size : 82x187 (mm), 3.23x7.36 (Inches), Paper Size : 87x208 (mm), 3.43x8.19 (Inches), Black & White, Etching Very Good, laid on acid free tissue paper for long term preservation.

À Paris, 1633 avec privilège du Roy. 18 eau-fortes, y compris le titre, de format 19 par 9,2 cm environ coupées à raz de la cuvette et contre-collées sur vélin fort. Il s'agit du 3ème état avec la mention « Callot inv. et fec. » y compris la planche 18 marquée « Callot fécit » (564 - 581 du catalogue de l'oeuvre), mais sans l'excudit d'Israel. Au format oblong broché (25,5 par 14 cm), brochage tenu par juste une ficelle et deux points. Petits défauts : couverture du brochage défraichie avec de petites déchirures et dos abimé, petites déchirure sur quelques point de collage des eaux fortes sans manque. Dixit Wikipédia : « La conception des Misères de la guerres, qui évoque la Guerre de Trente Ans qui ravageait l'Europe depuis quinze ans déjà lorsque Callot publie son oeuvre, est sans doute également liée aux influences littéraires qui s'exerçaient alors en France [.] L'esprit du temps était donc déjà imprégné par le goût des histoires tragiques ; les ravages de la Guerre de Trente Ans, qui éclate en 1618 et dévastera l'Europe, vont lui donner une dramatique actualité ». Toutes les gravures sont montées sur vélin fort sans rousseurs. Cet ouvrage rare comporte toutes les caractéristiques d'une édition ancienne sans toutefois pouvoir l'affirmer. Jacques Callot apporta à la technique de l'eau-forte trois innovations essentielles : l'utilisation du vernis dur, de l'échoppe, et des morsures multiples. Il recouru à la taille simple ou unique afin de donner plus de force à ses eaux-fortes et plus de netteté au trait. Il eu une influence considérable sur la gravure et fut un témoin réaliste des cruautés de son époque. ».

Edition : First Edition. , 18th century marbled boards, rebacked. Spine in six compartments of raised bands. Gilt text on 2. Gilt ornamentation and rules on 1, 3, 4, 5, and 6. , ?Les Grandes Misères de la guerre? are a series of 18 etchings titled in full "Les Misères et les Malheurs de la Guerre". Despite the grand theme of the series, the images are in fact only about 83 mm x 180 mm each, and are called the "large" Miseries to distinguish them from an even smaller earlier set on the same subject. The series, published in 1633, is Callot's best-known work and has been called the first "anti-war statement" in European art. Les Grand Misères depict the destruction unleashed on civilians during the Thirty Years' War; no specific campaign is depicted, but the set inevitably recalls the actions of the army that Cardinal Richelieu sent in 1633 to occupy Callot's native Lorraine before annexing it to France. The series begins with a florid title page, followed by an enrollment parade and a battle scene. Plates 4?8 show bands of the victorious soldiers successively attacking a farm, convent, and coach, and burning a village. In plates 9?14 they are rounded up and subjected to various methods of public torture and execution. Plate 15 shows crippled soldiers in a grand neo-classical hospital, Plate 16 unemployed soldiers dying in the street, and Plate 17 the peasants taking revenge on a group they have captured, killing them with flails. Plate 18 shows an enthroned king distributing rewards to the victorious generals.Jacques Callot (1592-1635) was a baroque printmaker and draftsman from the Duchy of Lorraine (an independent state on the north-eastern border of France, southwestern border of Germany and overlapping the southern Netherlands). He is an important person in the development of the old master print. He made more than 1,400 etchings that chronicled the life of his period - featuring soldiers, clowns, drunkards, Gypsies, beggars, as well as court life. He also etched many religious and military images, and many prints featured extensive landscapes in their background. , Size : Oblong 8vo (144x235mm). , Illustrated with 17 etchings. Lacking plate 3. , References : Meaume, 564-581; Lieure, 1339-1356, P. 1-18 In very good condition. Plates are clean and crisp.

FIRST EDITION, third state; full engraved title page and 17 copperplate engravings (85 x 190 mm) pasted onto thick paper; title (which once served as the wrapper) is browned, lower margins a little frayed with some very light foxing in places, but withal a very clear set; ff. [1], 17; oblong 8vo (154 x 242 mm); nineteenth-century full red coarse grained morocco, panelled and decorated blind with the central arms of the Kingdom of the Netherlands; a little scuffed at extremities, but good. A handsome volume containing Callot's best known suite of engravings, which has been described as the first antiwar statement in European Art (Sutherland Harris, p. 258). Also known as Les Grandes Misères de la Guerre, to distinguish it from the earlier Petites Misères, it is characterised by the finesse of line for which Callot was celebrated, and for the unflinching brutality of its imagery. The evocative scenes show soldiers rampaging through town and country, through churches and convtents, before being variously arrested and executed by their superiors, lynched by peasants, or surviving - maimed - to live as beggars. Pointedly, the officer class escape this fate, receiving royal honours. Jacques Callot (1592-1635) belonged to a noble family in Lorraine - then an independent principality - which was invaded by the French during 1633, when this set was produced. Along with Francisco Goya's Los Desastres de la Guerra (1863), which was directly influenced by Callot, it is onsidered one of the most powerful artistic statements of the inhumanity of war. This is the first edition, third state, as denoted by the arabic numeration and the six line verse by l'Abbe Marolle set in three two-line columns beneath each etching, except at the title. The Israel imprint and royal privilege do not appear on the individual platesis also See: Ann Sutherland Harris,Seventeenth-Century Art & Architecture (2005).