2 FLAMEN, A./ series of 25 battles/ landscapes /Virtual Fair 106


Description: 25 beautiful ca. 1660 etchings depicting a cavalry battle, animals and landscapes, including 3 complete series

[5 etched print series:]
1) Divers combats.

Paris, [Jacques Lagniet (ads 1, 3), Jacques van Merlen (ad 4), unknown publisher (ads 2, 5)], [ca. 1660]. Small 4to (16.5 x 13 cm). Dark green goatskin morocco (ca. 1890), on 4(?) cords but with 5 false bands, gold-tooled spine, with a frame of gold triple fillets on each board, gold-tooled turn-ins and board edges, nonpareil-marbled endpapers, gilt edges, headbands in red, green and white. Five series of small oblong folio etched views (16 x 21.5-23 cm; plate size: 10 x 17 to 12.5 x 21.5 cm), 3 complete, 1 incomplete and 1 documented only as separate prints. Each print folded to form a double leaf and mounted on a stub so that it can open flat. [6]; [7]; [6 of 12]; 4; [2] etched ll.

Five series of finely executed and well-printed etchings by Albert Flamen, mostly in their first states and all in early states, the five series showing: 1) cavalry fighting viewed from the thick of the battle; 2) wild and domestic animals on or around a farm; 3) views of Château de Longuetoise and its surroundings in Chalo-Saint-Mars, southwest of Paris; 4) views of several areas near Paris; and 5) pastoral views in an unidentified location. Flamen (ca. 1620?-1693 or soon after), a painter, draughtsman and etcher born in Bruges, worked in Paris from 1648 to 1692. He belonged to the French school of Callot and worked mostly after his own designs.

Details of the five etched print series:
1) Divers combats[,] dediez a Monseigneur le Marquis d'Albert[,] Comte de Sorel, Baron de Chars, &c. Par son tres humble serviteur Albert Flamen. Avec privil. du Roy.
A series of 6 prints including the illustrated title-print, with the title in a banderole at the head and the crowned, crested, mantled and supported d'Albert and Rohan arms of the dedicatee, Louis Charles d'Albert (1620-1690), Duc de Luynes, in the centre, with cavalry battle scenes on either side. The five views depict cavalry in the midst of a battle, fighting with swords and firearms. The viewer is placed in the middle of the fight, giving an intimacy and showing details of the clothing, riding gear and weapons. One view shows the fortifications of a burning city[?] in the background. Each print is signed in the plate. In the first state, without the name or address of the publisher Jacques Lagniet.
2) Diverses especes d[']animaus faits apres nature, dediees a Monsieur le Marquis de Gyé d'Entraques [recté Entragues], Comte de Marcoussy Boismalesherbes, Baron d'Yeure le Chastel, et autres lieux &c. Lieutenant Colonnel d'un regiment de cavallerie Allemande. Par son tres-humble serviteur AB. Flamen. Avec privil. du Roy.
A series of 7 prints, including title-print with a scrollwork cartouche with garlands of fruit and at the foot the quartered Entragues and d'Illiers arms of the dedicatee Léon I de Balzac d'Illiers (ca. 1600?-1664), seigneur de Marcoussis le Bois-Malesherbes, Marquis of Entragues and of Gié. The six views depict animals in a landscape, 2 including a farmhouse in the background, showing horses, sheep, cattle, goats, guinea pigs and foxes, all signed in the plate, with titles in French below. First state, before the numbering.
3) Veuës et païsages du Chasteau de Longuetoise et des environs. Dediés a Mr. de Seve, Abbé de l'Isle. Dessinés et gravés par Albert Flamen. Avec privil. du Roy.
6 prints from a series of 12, including illustrated title-print with a drape containing a landscape with Château Longuetois in the background, framed by garlands of fruit, with a scrollwork title cartouche at the head and at the foot the arms of the dedicatee Antoine de Sève (d. 1662), Abbot of Isles-en-Barrois, topped by a mitre and crosier and held by two putti. The 5 further views show Château Longuetois, its gardens and the surrounding landscape. Antoine de Sève occupied the chateaux from 1654 to his death in 1662. These may be the earliest views of the surviving château, which was apparently built about 1654 and expanded and revised into the 19th century. The present series therefore gives us our best idea of the château's original form. Each print is signed and has a brief caption in French. In the first state, before the numbering and the name and address of the publisher Jacques Lagniet.
4) [Views in the vicinity of Paris].
A series of 4 numbered etched views of various places outside Paris, issued without a general title, but with a brief caption at the foot of each view. All are within about 25 km of Paris. The captions read: 1. "Veuë du port a l'Anglois du coste de Charenton.", a view across the River Seine near Charenton-le-Pont, with male and female bathers, a boat and in the background a few houses. 2. "Veuë de Conflan du coste d'Ivry.", with a pastoral scene of a shepherd with sheep, people on horse-back and on foot and a few houses at "Conflan" near the confluence of the Marne and the Seine, with Ivry-sur-Seine in the background. 3. "Veuë u Peray du costé de Corbeil.", with a man riding one donkey and leading another fully laden through the woods past the small town of Saint-Pierre-du-Perray near Corbeil-Essonnes. 4. "Veuë de Marcoussy du costé de Montlehery.", a beautiful view of Château de Montagu at Marcoussis near Montlhéry, south of Paris, a charming 14th-century fairy-tale castle with its moat, drawbridge, gate-house and turrets, sadly demolished about 1805. It is viewed here from a clearing in the woods, with people on horse-back, on foot and in a boat. In an early state with each print signed in the plate and numbered but before the name and address of the publisher Jacques van Merlen.
5) [Pastoral views].
2 pastoral views at unidentified locations, documented only as separately published prints, but matching in dimensions and style and perhaps forming a series or part of a series. The first shows a young man (the cowherd?) walking on a road through the woods with his dog on a leash, past a small rustic house with a heard of cattle, fence and out house, with a couple other houses in the background. The second shows a road curving along a low promontory in a woods, with a cowherd with his cattle in the foreground, another man leading a pack-horse further along the road and a hilly landscape with two more men and a horse visible through a gap in the trees. Each print is signed in the plate "AB flamen fe." but they bear no further text. In the first state, before the numbering.

The dedicatees of series 2 and 3 died in 1664 and 1662 respectively (and the latter seems to have acquired the estate shown around 1654), and series 2 to 5 are printed on a single paper stock. We therefore date these series ca. 1660 and the watermark of series 1 suggests it was printed around that time as well. Van Merlen, who signed later states of series 4 as publisher, published dated Flamen prints in 1659 and 1664. The title-print of the first series may show a coat of arms watermark but only the crown can be clearly seen. The paper stock of the other prints in the first series is watermarked: arms of Cardinal Jules Mazarin (94 mm tall) topped by a trefoil cross (cross bottony) and a hat with 12 tassels = crossed fasces, very close to Heawood 800, including even the upside-down stars (undated, but Mazarin was elected cardinal in 1641 and died in 1661). The other four series are printed on a single paper stock, watermarked: variant crowned arms of Anne of Austria, regent of Louis XIV, surrounded by a heraldic collar alternating knots and striped balls (101 mm tall) = I[?] [heart] HERITIER [or possibly HERMIER], with decorative terminals to the name panel, similar to Gaudriault 69 (1665, which has no countermark and only knots in the collar). Anne was regent for Louis XIV from 1643 to 1651 and died in 1666. Gaudriault records a Héritier family of papermakers in Riom ca. 1660 and various Hermiers over a wide range of dates. The dexter half of the arms shows half the arms of France (dimidiated), while the sinister half is elaborately quartered, with a bordured arms (bearing a quatrefoil?) above left and centre and a field divided per saltire above right with no visible bearing but apparently intended as Sicily. The lower two-thirds of this half is quartered, the four quarters with a fess (Austria), a single fleur-de-lis (intended as France), a field bendy (Burgundy) and a rampant lion (Palatinate), apparently with a smaller escutcheon en abyme, though it cannot be clearly made out.
With two gold-stamped morocco bookplates, the first ca. 1890 with a hand pointing at a star above monogram “ARD” and the second of Roger Paultre (d. 1993?), collector of and writer about illustrated books. With a faint stain in the upper right corner of the prints in series 3 and 4, but still in very good condition. The hinges are worn, but the binding is otherwise very good. Lovely and rare etchings, mostly in their earliest states, including three complete series.
Bartsch V, Flamen 112-117 (ad 1), 093-095, 099-100, 103 (ad 3), 105-108 (ad 4), 110-111 (ad 5) and supp. 520-526 (ad 2); Robert-Dumesnil, Flamen 365-370 (ad 1); 382-388 (ad 2); 524-526, 530, 531, 534 (ad 3); 520-523 (ad 4); 561-562 (ad 5); (ad 3); for Flamen: Thieme & Becker XII, pp. 66-67.
Series of 6 unnumbered prints including title-print.
2) Diverses especes d[']animaus faits apres nature.
Series of 7 unnumbered prints including title-print.
3) Veuës et païsages du Chasteau de Longuetoise et des environs.
6 unnumbered prints, including title-print, from a series of 12.
4) [Views near Paris].
Series of 4 numbered prints, published without title.
5) [Pastoral views].
Series(?) of 2 unnumbered prints without title.
  • Number: 1060604
  • Dealer: Speculum Orbis Nauticum