| Title: |
Felicite de Lamennais (F. de la Mennais) A Set of Three Original Working Proof Engravings |
| Artist: |
Calamatta, Luigi (Civitavecchia, Italy, 1801 - Milan, 1869) |
| Date: |
1847 |
| Medium: |
Original Engravings: A Set of Three Working Proofs, with Additions in Graphite |
| Publisher: |
Gihaut Freres, Paris |
| Note: |
Luigi Calamatta: A distinguished nineteenth
century Italian engraver of old master scenes and contemporary portraits,
both after his designs and the designs of others, Luigi Calamatta first studied drawing techniques in Rome,
under Giangiacomo. He then studied the art of engraving under both Marchetti and Ricciani. In 1822 Luigi
Calamatta went to Paris and practised his art in the circle of the great
artist, Jean Auguste Dominique Ingres (1780-1867). Most of his early
portraits, including those of Niccolo Paganini, George Sand, Mme. Dudevant,
Alexandre Martin, The Duke of Orleans, Duclos, Ingres and others are
based upon Ingres's drawings. |
| |
Luigi Calamatta first exhibited his art at the Paris Salon
in 1827. In 1834 he produced one of his most famous engravings, the "Mask
of Napoleon", from the death mask of the deposed French Emperor
taken by Dr. Antommarchi at St. Helena. In 1837 Luigi Calamatta accepted
the post of Professor of Engraving at the Ecole Royale in Brussels. He
remained at this position until 1861, when he accepted the Chair of Engraving
in Milan. |
| |
During his distinguished career Luigi Calamatta was commissioned
to engrave some of Europe's most famous individuals. His later portraits
include those of the King of Spain, Isabella, Queen of Spain, Princess
Matilde Bonaparte, Vittorio Emanuele II, Giuseppe Mazzini, Felicite de
Lamennais, Madame Marcotte, Guizote and Francesca da Rimini. Some of these
fine portraits were designed by such contemporary painters as Ary Scheffer,
Delaroche and Deveria. Almost half, however, were completely designed and
engraved by Calamatta. |
| |
Felicite de Lamennais (F. de la Mennais):
A religious, philosophical and political writer, Felicite Robert de Lamennais
often found himself in the centre of controversy. Opposed to Napoleon's
manipulation of the Church he anonymously published, Reflexions sur
l'etat de l'eglise en France (Reflections on the State of the Church in France),
in 1808. In this work Lamennais urged the clergy to organise against political
authority. Napoleon's officers attempted to remove all copies of the book
from circulation. |
| |
In 1811 Lamennais became professor of mathematics at an ecclesiastical
college in Saint-Malo, and continued to write numerous articles and essay's
condemning Napoleon's government. After the final defeat of Napoleon in
1815, Lamennais saw in the Bourbon restoration a hope for religious regeneration.
Despite personal doubts, Felicite de Lamennais was ordained a priest the
following year. The first volume of his most famous writings, Essai
sur l'indifference en matiere de religion (Essay on the Indifference in the
Subject of Religion), was published in 1817. Here Lamennais argued that
the liberal philosophies of Descartes, Rousseau and others had eroded the
present social and political states to faithlessness. Pope Leo XII formally
approved his writings. |
| |
During the 1820's Felicite de Lamennais completely renounced
royalist principles and favoured a form of theocratic democracy. In 1830
he created the journal, L'Avenir, which among other issues advocated for
complete freedom of assembly and of the press. Conservative factions within
the church fought back and Lamennais was forced to cease publication several
years later. His 1834 publication, Paroles d'un croyant (Remarks of a Believer)
marked his complete separation from the church, and the book was condemned
by Pope Gregory XVI. |
| |
After the Revolution of 1848 Felicite de Lamennais was elected
to the Constituent Assembly. He drew up plans for a Constitution but they
were rejected as being too radical. Disillusioned with politics, Lamennais
retired in 1851. His last years were spent translating a version of Dante's
Divine Comedy. |
| Provenance: |
Bearing the stamp, "J. Peoli", on the verso of
all three engravings. John J. Peoli (New York, 1825 - Sagua la Grande,
Cuba, 1893) was a nineteenth century artist and a major collector. Although
he was born in New York City and spent much of his later life there, most
of his career was spent in Cuba and in Spain. He also signed his art, 'Juan
Jorge Peoli'. His portrait painting of a Cuban general is in the collection
of the Smithsonian American Art Museum. |
| : |
A year after his death (1894), John J. Peoli's extensive
art collection was put up for auction in New York. The sale lasted several
days. It is not known who purchased these engravings at that auction, but
by the mid twentieth century they were included in the George Binet Print
Collection. George Binet (died, Brimfield, MA, 1962) was a prominent collector.
He also founded and directed the George Binet Gallery on East 57th Street,
New York City. Binet's catalogue tag is included with these engravings. |
| Size: |
15 1/2 X 12 (X 3) (Sizes in inches are approximate,
height preceding width of plate-mark or image.) |
| |
Matted with 100% Archival Materials |
| Buy Now |
Price: $1,295.00 US |
| Proof (#2) |
 |
The earliest proof (#2) contains minimal shades and tones.
Lamennais's hand, for example, is very lightly engraved. Here Calamatta
concentrates upon capturing the powerful countenance of his sitter.
The surrounding border is also lightly engraved and Calamatta has written
and positioned the title, F. de la Mennais, in pencil.
Click on the portrait of Felicite de Lamennais to your left to view a larger image of the second working proof. |
|
| Proof (#3) |
 |
For the proof impression #3, Luigi Calamatta has eliminated both the
border and the title and concentrates upon strengthening the contrasts
within the figure of his sitter. The actual form of Lamennais is almost
completed and now Calamatta will turn his attention to the sitter's surroundings,
the outside border and placement of the title.
Click on the portrait of Felicite de Lamennais to your left to view
a larger image of the third working proof. |
|
| Proof (#5) |
 |
In proof impression #5 the engraving in its entirety is nearing its
published form. A pen, an inkwell, papers and books surround Lamennais's
arm. The title is in place, but still needs stronger contrasts, as does
the outside border. As well, Lemennais's shadow has yet to be added to
the right. Presumably this took place in proof impression #6, and then
the finished plate was sent to the printer where the name of the artist
and publisher's address was added along the lower margin.
Click on the portrait of Felicite de Lamennais to your left to view a larger image of the fifth working proof. |
|
| |
Mention should be made that a double plate-mark exists on proofs #2
and #5. As these are the only proofs which contain the printed border
and the title (either written or engraved), one may assume that two plates
were used for the completed engraving. |
| Condition: |
All three engravings are printed on a heavy wove paper. Proof
#2 has margins trimmed to within 1/8" to the plate-mark. Minor foxing
is also evident. Proof #3 contains an overall toning due to water staining.
An archival cleaning would eliminate this completely. The margins are extra
large and the corners have been folded, presumably for plate registration.
A pin prick is also seen to the upper centre, just under the plate mark.
Proof #5 contains slight water staining in the upper right and lower right
margins. As noted earlier, proofs #2 and #5 contain the double plate-mark. |
| |
All three engravings are strongly printed impressions, as
one would expect for such early working proofs. These three original engravings
represent a most valuable record as to the methods used by Luigi Calamatta,
one of the great portrait engravers of the 19th century. |
| Subject: |
Luigi Calamatta, Felicite de Lamennais (F. de la Mennais),
Felicite Robert de Lamennais, a set of three working proofs, methods of
great portrait engravers of the 19th century, religious, philosophical
and political writer, John J. Peoli, 'Juan Jorge Peoli', George Binet. |
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