Léonard Gaultier's engraving, “Last Judgment with portrait of Michelangelo”, c1620

Léonard Gaultier (aka Léonard Gautier) (c1561–c1635)

“Last Judgment with portrait of Michelangelo” (Rijksmuseum title), c1620 (1600–41), after the engraving (1569) by Martino Rota (c1520–1583), after Michelangelo (1475–1564).

Engraving on laid paper trimmed close to the plate mark.

Size: (sheet) 321.6 x 23.4 cm; (image borderline) 31.2 x 23.1 cm.

Lettered on plate surrounding the oval portrait of Michelangelo: “MICHAEL ANGEVS BONAROTVS PATRICIVS FLORENT. AN. AG. LXXIII”.

Inscribed on plate along lower edge at left: “leonardus gault[i]er fecit”.

Lifetime impression. State i (of ii) before the added address of the publisher, Pierre Mariette.

IFF 17e siècle 17 (Département des Estampes 1930, “Inventaire du Fonds, Français: graveurs du XVIIe siècle”, vol. 4, Paris, Bibliothèque Nationale, p. 420, cat. no 17); LeBlanc 18-1(2) (Ch Leblanc 1854 [–1889], “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet / Ch. Leblanc”, Paris, vol. 2, p. 273, cat. no. 18).

The British Museum offers the following description of this print:

“Copy after Michelangelo's Last Judgement, with portrait of the Italian artist in oval medallion in the upper part”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1455965&partId=1&searchText=Gaultier+&page=1)

See also the description of this print offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.115588

Condition: richly inked and crisp lifetime impression in museum quality, near faultless condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of use—but there are ink notations by an early hand verso).

Note: This is the second impression of this engraving that I have posted. The earlier listed copy has been sold.

I am selling this exceptionally fine lifetime engraving of Michelangelo’s famous fresco—before the painting was modified with drapery to conceal the portrayed figures’ nudity—for AU$569 in total (currently US$403.83/EUR357.01/GBP306.43 at the time of posting this print) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this masterwork of early engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Romeyn de Hooghe’s etching, “Apocalypse of St John”, c1704

Romeyn de Hooghe (aka Romeijn de Hooge: Gisling) (1645–1708)

“Apocalypse of St John” (aka “Apocalypse de St Jean”; “Revelation of St John”; “Het Lam op den Throon en de Aarde geplaagt” [“The Lamb on the Throne and the Earth plagued]”), c1704, Plate CXXXVII (137) illustration to Jacques Basnage’s (1653–1723), “Histoire du Vieux et du Nouveau Testament / representée en tailles douces dessignées [et] faites par Mr. Romein de Hoogue ; avec une explication dans laquelle on éclaircit plusieurs passages obscurs [et] on leve les principales difficultez de l'Ecriture Sainte ; on y ajoûte deux discours pour prouver l'existence d'un Dieu, l'inspiration de Moyse [et] des prophetes [et] la verité de la religion chrêtienne par Mr. Basnage” ([Google Transl.] “History of the Old and New Testaments / represented in … [intaglio plates] by Mr. Romein de Hoogue; with an explanation in which several obscure passages are clarified [and] the main difficulties of Sacred Scripture are removed; two speeches are added to prove the existence of a God, the inspiration of Moyse [and] the prophets [and] the truth of the Christian religion by Mr. Basnage[), published by Jaques Lindenberg in either the French edition of 1704, (p. 43) or more likely (because there is no letterpress text verso) in the earlier Dutch edition of 1702 in Amsterdam.

The French edition of this publication may be viewed online (and downloaded) from Babel: https://babel.hathitrust.org/cgi/pt?id=ucm.5320303535;view=1up;seq=71

Etching on fine laid paper trimmed with narrow margins backed with a support sheet.

Size: (sheet) 15.7 x 19.9 cm; (plate) 15.4 x 19.3 cm.

Numbered on plate within the image borderline: (upper left) “I”; (upper right) “2”; (lower left) “3”; (lower right) “4”; (left of centre) “5”.

Inscribed on plate within the image borderline: (left) “Openb:/ Cap. 8 V.1/ Openb. Cap. 10 V.1.”; (right) “Openb:/ Cap. 8: V.10/ Openb. Cap. 11 V.8.”.

Inscribed on plate below the image borderline: (left) “R: de Hogg. Inv et fec;”; (centre) “Openb: Cap. … [12?]”; (right) “J Lindenb: exc: cum Privil.”

For those interested in the reference numbers inscribed on the plate, I have tried—with shortfalls and I apologise for these—to translate the relevant text from the Dutch edition designed as explanatory guides written by Jean de Labrune:

1. The Lamb sits on the Throne: the [“Aardryk” — perhaps meaning the earth?] mourns.

2. A [“sterr '’] spoils the Stream, God's hand beats fiercely.

(3.) The Wonder[ous?] Angel swings; the Book was swallowed.

(4.) The beast blows blood and murder.

(5.) The red Dragon is startled.

Condition: a crisp and well-printed impression, but with signs of wear to the printing plate in terms of legibility of the text lines below the image borderline. The sheet is in excellent condition for its age (i.e. there are no tears, holes, folds, abrasions, stains, foxing or blemishes of use), trimmed with narrow margins around the platemark and backed with a conservator’s support sheet.

I am selling this intriguing etching featuring a composite of small narratives by one of the most important and inventive illustrators of the late Dutch Golden Age for AU$194 in total (currently US$137.53/EUR121.65/GBP104.05 at the time of posting this print) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this visual thesis inscribed with relevant biblical chapters, verses and numbered for an appendix of explanatory notes regarding the revelations of St John, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jacob van Ruisdael's etching, “The Great Beech with Two Men and a Dog”, c1650

Jacob Isaaksz van Ruisdael (aka Jacob van Ruysdael; Jacob de Goyer) (1628/29–1682)

“The Great Beech with Two Men and a Dog” (aka “The Wooded Landscape with a Great Tree”), c1650, from the series of four etchings of similar format and dimensions, from McCreery’s 1816 edition of “200 Etchings” pulled from the original plates.

Etching on fine wove paper trimmed on or within the platemark (as published by McCreery) and lined onto a conservator’s support sheet.

Size: (sheet) 19.5 x 28 cm; (image borderline) 18.6 x 27.4 cm.

Inscribed on plate below the image borderline: (centre) "JVRuisdael f."

State ii (of ii)

Slive EII; Bartsch I.312.2; Hollstein 2.II

The British Museum offers the following description of this print:

“Two farmers with their dog; landscape with the farmers on a road in lower left, walking through a forest, a mature and gnarled tree in right foreground. c.1650” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3097027&partId=1&searchText=ruisdael&page=3)

Clifford S Ackley (1981) in “Printmaking in the Age of Rembrandt” (Boston, Museum of Fine Arts) advises that in this second and final state of the print:
“… stiff, puffy cumulus clouds and parallel shading were added to the sky, crowding the space of the landscape and diminishing the sense of light and atmosphere. The clouds resemble those in some of the latter landscape painting of Ruisdael but are clumsily executed” (p. 227).

Needless, to say, these additions are not by the hand of Ruisdael and are probably by his son who wished to “improve” his father’s plate. Regarding the wriggly lines in the sky at the top right, these are not by Ruisdael’s son. Instead, they are accidents—arguably serendipitous—resulting from craquelure breaks in the etching ground. This fault is not uncommon and De Groot (1979) points out that this issue also occurs in Rembrandt’s “The Little Stink Mill”—a windmill (see Slive [2001], p. 604).

Condition: crisp, richly inked and well-printed impression slightly tanned with age toning and there is a little unevenness to the colour (water staining?) towards the upper edge. There are small tears and thin areas along the upper edge but these issues have been addressed by the sheet having been laid onto a conservator’s support sheet.

I am selling this very beautiful impression of one of Ruisdael’s most celebrated etchings for AU$400 in total (currently US$283.57/EUR250.82/GBP214.54 at the time of posting this print) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this important masterwork by the almost legendary old master, Jacob van Ruisdael, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Engraving published by Gerard de Jode, “Third vision of Ezra: the crowd fights the man from the sea”, c1585

Unidentified engraver

(Publisher) Gerard de Jode (aka Geeraert de Jode; Gheerde de Jode; Girard de Jode; Gerardo de Jode; Gheraerde de Jode) (1516/17–1591)

“Third vision of Ezra: the crowd fights the man from the sea” (aka ” Ingens hominum multitude …” [as titled on plate]), c1585, plate 3 from the series of four engravings, “Visions of Ezra” (aka “Van Esdras and Nehemias”), after Maarten de Vos (aka Marten de Vos; Maerten de Vos) (1532–1603), published by Gerard de Jode in 1585 as an illustration to “Thesaurus sacrarum historiaru[m] veteris (et novi) testame[n]ti, elega[n]tissimis imaginibus expressu[m] excelle[n]tissimoru[m] in hac arte viroru[m] opera: nu[n]c primu[m] in luce[m] editus” ([Google transl.] "Treasure of sacred stories old and new, elegant expressed finest pictures of her art works now for the first time to light"), in Amsterdam.

Engraving on fine laid paper backed with a support sheet.

Size: (sheet) 25.3 x 33.9 cm; (plate) 20.3 x 28.9 cm; (image borderline) 19.1 x 28.7 cm.

Numbered on plate within the image borderline at lower centre: “3”.

Lettered in Latin below the image borderline: “Ingens hominum multitudo de quatuor vetis cœli debellat hominem qui descenderat de mari. 4 Esd. Cap. 13”.

State i (of ii) Lifetime impression before the addition of “v. 3” below the text line (compare with the Rijksmusuem state ii impression, RP-P-1982-306-314).

Hollstein 164.I (2) (Vos) (Dieuwke de Hoop Scheffer [ed.] 1996, [Hollstein’s] “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700: Maarten de Vos [text]”, vol. 44, Rotterdam, Sound & Vision Rijksprentenkabinet, pp. 44-45, cat. no. 164); Mielke 33 (H Mielke 1975, “Antwerpener graphic in the second half of the 16th century. The Thesaurus Veteris Testamenti of Gerard de Jode [1585] and his Artists”, Zeitschrift fur Kunstgeschichte 38, p. 80, cat. no. 33).

See also the descriptions of this print offered by the Rijksmuseum and the British Museum:

http://hdl.handle.net/10934/RM0001.collect.530801; 

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1631667&partId=1&searchText=Ingens+&people=119719&page=1.

Condition: richly inked, crisp, museum quality impression (apart from a fine printer’s crease at lower centre), laid upon an archival support sheet of millennium quality washi paper. The sheet has breaks in the margins (well away from the image) otherwise the sheet is in excellent condition for their considerable age.

I am selling this exceptionally rare lifetime impression glowing with strong contrasts for AU$320 in total (currently US$227.06/EUR200.93/GBP173.20 at the time of posting this print) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this superb engraving exemplifying the period style of Mannerism, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

For those who may be unfamiliar with Esdras’ third vision illustrated here, the following extract is from the first 7 verses of chapter 13 of the Apocryphal Bible (extracted from the Revised Standard Version of the Bible [1971]):

“After seven days I dreamed a dream in the night; and behold, a wind arose from the sea and stirred up all its waves. And I looked, and behold, this wind made something like the figure of a man come up out of the heart of the sea. And I looked, and behold, that man flew with the clouds of heaven; and wherever he turned his face to look, everything under his gaze trembled, and whenever his voice issued from his mouth, all who heard his voice melted as wax melts when it feels the fire.

After this I looked, and behold, an innumerable multitude of men were gathered together from the four winds of heaven to make war against the man who came up out of the sea. And I looked, and behold, he carved out for himself a great mountain, and flew up upon it. And I tried to see the region or place from which the mountain was carved, but I could not.”

(https://www.biblesociety.org.uk/explore-the-bible/read/eng/rsv/2esd/13/)

François Perrier's pair of etchings, "Sculpture of Alexander Taming Bucephalus", 1638

François Perrier (aka Le Bourguignon) (1594­–1649)

(Left)

“Sculpture of Alexander taming Bucephalus facing right” (descriptive title only) (aka “Horse Tamer”), 1638, from the series of 101 plates, “Segmenta nobilium signorum et statuarum”, published in 1638 by Veuve Perrier (fl. early 1600s). Note that the series was reprinted five times in the 1600s (see British Museum no. 1895,1031.28).

Etching on fine laid paper backed with a support sheet.

Size: (sheet) 29 x 23 cm; (plate) 22.8 x 17.2 cm; (image borderline) 22.5 x 16.8 cm

Inscribed on plate at lower left with the artist’s monogram and the plate number.

Robert-Dumesnil 1835–71 VI.180.64

The British Museum offers the following description of this print:

“Horse tamer, sometimes identified as one of the Dioscuri or as Alexander taming Bucephalus; after the statue now standing outside the Palazzo del Quirinale.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3070098&partId=1&searchText=+Alexander+%27Segmenta+nobilium+signorum+et+statuarum%27&page=1)

(Right)

“Sculpture of Alexander taming Bucephalus facing left” (descriptive title only), 1638

Size: (sheet) 29.8 x 21.5 cm; (plate) 23.7 x 16 cm; (image borderline) 23.8 x 15.5 cm.

Robert-Dumesnil 1835-71 VI.180.63

___________

Condition: crisp, near faultless impressions laid upon archival support sheets of millennium quality washi paper.  The sheets are in excellent condition for their considerable age (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing, but there are minor signs of handling in the margins).

I am selling this pair of superb early etchings—showing opposing sides of the same sculpture of Alexander the Great training his stallion, Bucephalu—for AU$300 in total for the pair (currently US$213.33/EUR187.66/GBP162.58 at the time of posting these prints) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing these graphically strong etchings from 1638, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.