Jaspar Isaac’s engraving, “Evadne”, c1609

Jaspar Isaac (aka Gasper Isac; Jaspar Isac; Gaspard Isac; Jaspar Isacsz; Jasper de Isaac) (fl.1585–1654)

“Evadne”, c1609, after Antoine Caron (aka Antoine Charon) (1521–1599), illustration to Blaise de Vigenère’s (1523 –1596) translation of Philostratus’ (170?–245 AD) “Les images ou tableaux de platte peinture des deux Philostrates …”, first published in Paris in 1609 by Claude Cramoisy and later republished in 1614/15, 1617 and 1637 (see the plates from the 1637 edition at http://jjgueron.free.fr/LIVRES-VIGENERE-1637-MINIATURES.htm and this plate at http://jjgueron.free.fr/LIVRES-VIGENERE-1637-P533-EVADNE.htm).

This plate is the illustration to the episode of Evadne’s throwing herself to her death onto the funeral pyre of her husband who was killed by a bolt of lightning during the siege of Thebes.

Note that Getty images attribute this engraving (“Evadne”) to Leonard Gaultier who also engraved plates in the same publication, but to my eyes the style of this image is much closer to Isaac than Gaultier and, importantly, the plate is signed to Isaac

(see https://www.gettyimages.com.au/detail/news-photo/evadne-1615-a-daughter-of-iphis-and-wife-of-capaneus-with-news-photo/463922553).

Note: the 1637 edition of the publication in which this plate features (p. 553) is available online or may be downloaded free of charge from archive.org: https://archive.org/details/gri_33125008279552/page/n551.

Engraving with letterpress text (recto and verso) on fine laid paper backed with a support sheet with the verso of the support sheet cut with a “window” exposing an ornamental woodcut panel of scrolls, grotesques and animals (viz. hares, horses and snails).

Size: (sheet) 31.6 x 21.4 cm; (plate) 24 x 20 (image borderline) 23.2 x 19 cm; (verso woodcut) 3.9 x 16.7 cm.

Inscribed on plate within the image borderline: (lower left corner) “Iaspar Isac f.”

Letterpress text and numbered above the plate: (centre) “EVADNE.”; (right) “533”

Letterpress text below the plate: (centre) “DIALOGVE’.”; (five lines of text in two columns) “D. Euadné qui te faiet couir ur ce rocher [D. Euadne who makes you go on this rock] …/ …/ …/ …/ D. Qui causa tes ennuys er ta douleur extremes? [D, Which caused your troubles and your extreme pain/] // R. La mort de mon mary qui se ruina soy-mesme. [R. The death of my husband who ruined himself.] / …/ …/ …/ Voicy que par ma mort i'expieray son offence. [Here, by my death, I will express his offense.] / Yy iiij”

Condition: crisp impression of the full sheet as published. There are fractures to the edges of the sheet, a restored printer’s crease at the lower left and the lower left corner is chipped. The sheet has been laid onto a support of archival (millennium quality) washi paper with a “window” cut into the support sheet (verso) to expose the woodcut printed on the back.

I am selling this graphically arresting engraving from c1609 for AU$320 (currently US$229.14/EUR203.55/GBP176.12 at the time of this listing) 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 marvellous example of the stylistic attributes of late Mannerism featuring a highly stylised treatment of fire and swirling smoke, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

woodcut on verso of sheet

 

Schelte Adamsz Bolswert’s engraving, “Moses and the Brazen Serpent”, c1612, after Rubens

Schelte Adamsz. Bolswert (aka Scheltius à Bolswert) (c1586–1659)

“Moses and the Brazen Serpent”, c1612 (1590–1633), after the painting by Peter Paul Rubens (1577–1640) in the National Gallery, London, inv.no.NG59 (Rooses 112), published by Gillis Hendricx (aka Gilles Hendrikx) (fl.1640–1677) in Antwerp.

Engraving on laid paper with small margins backed with a support sheet.

Size: (sheet) 50.5 x 64.4 cm; (plate) 47.7 x 62.2 cm; (image borderline) 45.2 x 615 cm.

Lettered on plate below the image borderline: (left) "Pet. Paul Rubbens pinxit. / S. à Bolswert sculpsit.”; (centre) coat of arms at middle dividing Latin text "FECIT ERGO MOYSES SERPENTEM ... SANABANTVR. Numeri 21 / NOBILI AC … ÆGIDIVS HENRICI."

Lifetime impression. State ii (of v) before inscribed the publication detail, “Antwerpiae”, of the third state (see Rijksmuseum’s impression: RP-P-OB-67.522) and the extended publication detail of the fourth state “Gillis Hendricx excudit Antwerpiae” (see British Museum: R,3.13).

Hollstein Dutch 2-2(5); Corpus Rubenianum III 24 (copy 20); Schneevoogt 1873 5.33

The Rijksmuseum offers the following description of this print:

(Transl.) “Aaron and Moses are standing on the right, next to the copper snake that is shaken on a stake. Men, women and children who are bitten by poisonous snakes look at the copper snake to stay alive. Below the show the title in Latin and a reference to the Bible text in Num. 21.”

(http://hdl.handle.net/10934/RM0001.COLLECT.335917)

See also the British Museum’s description:

“Moses and the brazen serpent; the high priest standing at far right and shows the healing Serpent to the Israelites who are being attacked by poisonous snakes; Moses stands next to him holding a staff, addresses the people with rays projecting from his head; a naked man wrestling painfully with a huge snake in foreground; others at left fighting off the snakes which are raining down from a heavily clouded sky”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3079596&partId=1&searchText=Bolswert+Brazen&page=1)

Condition: richly inked and well-printed lifetime impression (based on the crisp quality of the line showing no sign of wear to the printing plate and absence of the publication details of later states), with small margins and laid upon an archival support sheet of millennium quality washi paper. The sheet is in very good condition for its considerable age, nevertheless, there are restored tears on the lower edge.

I am selling this large engraving from the early 1600s illustrating an episode from the Bible where Moses erects a brass sculpture of a snake and advises his followers to gaze upon it so that they would not be harmed by the “fiery serpents” sent by God to bite those who were grumbling about the hardships that they were facing during their exodus from Egypt—my apologies if my version of the story is not quite correct—for AU$550 (currently US$395.83/EUR349.91/GBP303.35 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 engraving exemplifying the Baroque period style of theatrical lighting, swirling rhythms, grand scale and dramatic gestures, 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

François Ragot’s engraving, “Christ Carrying the Cross”, 1632–57, after Paulus Pontius and Rubens

François Ragot (fl.1630s–1670)

“Christ Carrying the Cross”, 1632–57, copy in reverse after the engraving by Paulus Pontius (aka Paulus du Pont) (1603–1658) and after the 1632 painting by Peter Paul Rubens (1577–1640) in the Musées Royaux des Beaux-Arts, Brussels, inv.no.163 (Rooses 274). Ragot’s engraving was published by Pierre Mariette I (c1603–1657) in Paris.

Engraving on laid paper trimmed around the platemark and backed with a support sheet.

Size: (sheet) 61.5 x 43.3 cm; (image borderline) 59 x 43.3 cm

Lettered on plate below the image borderline: (left) “Petrus Paul. Rubens pinxit,”; (centre) “IESVS BAIVLANS CRVCEM ... / Apprehenderunt Simonem … interficerentur. Luc. cap. 23. / F. Ragot fecit cum privilegio Regis.”; (right) “Typis Petri Mariette via lacoboeca, ad Insigne Spei.”

Corpus Rubenianum VI 18 (copy 13) (J Richard Judson 2000, “The Passion of Christ”, VI, Turnhout, Harvey Miller Publishers); Schneevoogt 1873 41.264 (C G Voorhelm Schneevoogt 1873, “Catalogue des estampes gravées d'après P.P.Rubens”, Haarlem); Nagler 14; cf Hollstein 8 (Pontius).

The British Museum offers the following description of this print:

“Christ carrying the cross; Christ struggling at right but pushed on by a henchman; Simon of Cyrene supporting the cross at far right; St Veronica holding the sudarium, the Virgin and St John at left; soldiers on horseback beyond”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1633255&partId=1&searchText=Ragot+&page=1)

Condition: richly inked and well-printed early impression (based on the crisp quality of the line showing no sign of wear to the printing plate), trimmed near the platemark and laid upon an archival support sheet of millennium quality washi paper. The sheet is in very good condition for its considerable age. There is a restored centre-fold and a few tears.

I am selling this large engraving from the early 1600s that (to my eyes) captures the “spark of life” of Ruben’s painting through the layered rhythms of lines following the figures’ contours, for AU$450 (currently US$322.60/EUR285.38GBP246.77 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 engraving exemplifying the Baroque period style of startling viewpoints, swirling rhythms, grand scale and dramatic gestures, 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

Raffaele Albertolli’s etching, “Eagle with outstretched wings resting on a section of a laurel wreath“, 1794

Raffaele Albertolli (1770–1812)

“Eagle with outstretched wings resting on a section of a laurel wreath“ (descriptive title only) (aka “Dal naturale l'anno 1794” [“From the natural year 1794]), 1794, plate 9 (“Tav. IX”) in the series of 20 plates (with the addition of a title and dedication plate to Lodovico Galeazzo Busca Arconati Visconti, marchese di Lomagna) after Giocondo Albertolli (1742–1839) in “Miscellanea per i giovani studiosi del disegno .... Parte terza” (Miscellanea for young scholars of drawing .... Third part), 1796, published by Giocondo Albertolli in Milan, page 22. 

(This book is available to view online or to download free of charge from archive.org which also offers detailed information about the publication: https://archive.org/details/gri_33125009355229/page/n21)

Etching with engraving on heavy laid paper with watermark.

Size: (sheet) 44.8 x 55.6 cm; (plate) 42.8 x 53.8 cm.

Numbered on plate at upper right: “Tav. IX.”

Lettered on plate along the lower edge: (left) “Gioc. Albertolli dis.”; (centre) “Dal naturale l'anno 1794”; (right) “Raffaello Albertolli figlio inc.”

Condition: crisp, richly inked and near faultless impression with small margins. The sheet is in an excellent condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of use).

I am selling this impressive etching an eagle that I understand is based on the symbol of the Cisalpine Republic—a sister republic of France in Northern Italy from 1797 to 1802 (see the discussion about this print in the pdf file offered by robinhalwas.com [p. 5]: https://ilab.org/sites/default/files/catalogs/files/1722_18033_20albertolli.pdf—for AU$350 (currently US$248/EUR218.54/GBP18.43 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 visually arresting print executed with the highest level of skill and discipline, 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

Pieter van der Heyden's engraving, "Zomer", 1566

Pieter van der Heyden (aka Pieter Verheijden; Pieter Verheyden; Petrus Ameringius; Petrus a Merica; Petrus Mericinus; Petrus Miricenys; Petrus Miricinus; Petrus Miriginus; Petrus Myricenis) (c1525–1569)

“Zomer” (Summer), 1566, after Jacob Floris the Elder (1524-1581) from the series of 16 engravings (including the title plate), “Compertimentorum Quod vocant Multiplex genus Lepidissimis Historiolis Poetarumque Fabellis Ornatum”, published by Hieronymus Cock (c1510–1570) in Antwerp in 1570.

Engraving on fine laid paper trimmed to the image borderline and backed with a support sheet.

Size: (sheet) 6.5 x 10cm.

Lifetime/early impression (based on the print showing no sign of wear to the printing plate and the crisp quality of the lines).

Orn Cat I 81.4 (Irene Margaretha de Groot 1988, “Ornamentprenten in het Rijksprentenkabinet”, Den Haag, Rijksprentenkabinet, Rijksmuseum Staatsuitgeverij).

The Rijksmuseum offers the following advice about this print and the series of which it is a part:

(Transl.) “Representations of the four seasons: the summer (Ceres). Sheet from series consisting of a title sheet and 15 of the 16 sheets with cartouches with biblical and mythological representations in a frame of scroll and grotesques.”

(http://hdl.handle.net/10934/RM0001.COLLECT.409552)

Condition: faultless impression showing no sign of wear to the printing plate, trimmed along the image borderline and laid upon an archival support sheet of millennium quality washi paper. The sheet is in pristine condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of use).

I am selling this SMALL but important masterwork of early engraving commissioned by the great, Hieronymus Cock, as a part of a pattern book of ornament designs showing use of elaborate frames of strapwork, grotesques and putti surrounding allegorical scenes, for the total cost of AU$265 (currently US$190.14/EUR168.26/GBP145.42 at the time of this listing) 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 interesting example of how designers of the 16^th century maintained design harmony, despite a clear joy in creative inventiveness, by using symmetry as an underlying principle—note also how this design is crafted within the convention of colour codes so that dots in the strapwork would be read as gold—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