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Engraving Allegory of a solar mirror - Leonardo da Vinci
Limited editions

Engraving Allegory of a solar mirror - Leonardo da Vinci

Based on Leonardo da Vinci's drawing (1452-1519) No. 2247
Etching technology
Modern proof printed on handmade Jeanjean paper: 25 x 33 cm
From an original 10.3 x 12.5 cm plaque from the Collection of
the Chalcographie of the Louvre, Inv. 193
Dated, numbered, stamped and sold with a certificate of authenticity. ...
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€350
Only 6 copies available

Characteristics

Delivery :
Order shipped directly from the Art Workshops within 3 weeks
Maintenance :
Eviter toute source d'humidité et de lumière directe. Ne pas plier la feuille
Artist :
Anne-Claude-Philippe de Caylus
Dimensions :
33 x 25 cm
Museum :
Musée du Louvre
Art movement :
Renaissance
EAN :
3336727314494
Material :
Papier hahnemühle
Reference :
KM000193

Editor

Editor :
Ateliers d'art de la Rmn-GP
Original work kept at :
Chalcographie du Louvre

Our selection

The artist

Anne-Claude-Philippe de Caylus

A sword man, little nephew of Louis XIV, Anne-Claude de Tubières, Count of Caylus, left the army in 1714 to enter the Academy of Letters; the same year he went to Italy. Friend of Watteau and Mariette, Caylus was an enlightened amateur of Italian painting from the Upper Renaissance (Roman and Venetian). The Count is responsible for an astonishing production in terms of the number of engravings made after the Italian masters, particularly after Piero Santi Bartoli's drawings. This prolific author left us, because in addition to being an engraver, he was a writer, he published various works: in 1730, in the Portraiture des dessins d'après les maîtres, he published the collection of Têtes de caractères engraved after Leonard de Vinci. In addition, he had Winckelmann's first essay on the excavations at Herculaneum translated and published (which he visited in person in 1715 and which would remain his obsession for nearly 30 years...). The reason why there are not many original prints of Caylus left can be explained by the following fact: the author, it seems, engraved his brass with etching, made a few prints and then polished the copper in order to use it again.