AGOSTINO CARRACCI Mercury and the Three Graces * Harmony of the Spheres.
AGOSTINO CARRACCI
Mercury and the Three Graces * Harmony of the Spheres.
Mercury and the Three Graces, engraving, 1589. 199x255 mm; 7¾x10¼ inches, wide margins. Third state (of 3). A very good impression of this scarce engraving with strong contrasts * Harmony of the Spheres, etching with engraving, 1589-92. 242x345 mm; 9⅝x13⅝ inches, thread margins. First state (of 3).
According to Bohlin, Harmony of the Spheres is one of two etchings by Carracci (1557-1602) that record, "Part of the festivities honoring the marriage of Ferdinando I de' Medici and Christine of Lorraine in 1589. Throughout the month of May, the festivities continued, following the entry of Christine in Florence. Through the numerous contemporary records, both written and visual, the elaborate costumes, plays, triumphal arches, mock battles, etc., are vividly bought to life . . . Bernardo Buontalenti was responsible for the costumes and machines made for the intermezzi [on which both of these etchings are based]." Bartsch 117 and 121; Bohlin 149 and 153.
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AGOSTINO CARRACCI
Mercury and the Three Graces * Harmony of the Spheres.
Mercury and the Three Graces, engraving, 1589. 199x255 mm; 7¾x10¼ inches, wide margins. Third state (of 3). A very good impression of this scarce engraving with strong contrasts * Harmony of the Spheres, etching with engraving, 1589-92. 242x345 mm; 9⅝x13⅝ inches, thread margins. First state (of 3).
According to Bohlin, Harmony of the Spheres is one of two etchings by Carracci (1557-1602) that record, "Part of the festivities honoring the marriage of Ferdinando I de' Medici and Christine of Lorraine in 1589. Throughout the month of May, the festivities continued, following the entry of Christine in Florence. Through the numerous contemporary records, both written and visual, the elaborate costumes, plays, triumphal arches, mock battles, etc., are vividly bought to life . . . Bernardo Buontalenti was responsible for the costumes and machines made for the intermezzi [on which both of these etchings are based]." Bartsch 117 and 121; Bohlin 149 and 153.
