Stefano della Bella, “Landscape with Herd and Corinthian Capital”, c. 1641

Stefano della Bella (1610–1664)
“Landscape with Herd and Corinthian Capital” (descriptive title only), circa 1641

Technical Details & Condition:
Etching on wove paper without watermark, with a small margin around the platemark. The impression is strong and well-printed from a later edition. The plate is inscribed in the plate with the number “7,” from the series of thirteen round etchings on square plates “Landscapes and Ruins of Rome” (also known as “Paysages et Ruines de Rome” or “Views of Roman Ruins and Landscapes”). Please note that Charles Antoine Jombert’s 1772 catalogue of Della Bella’s prints describes this plate as number 7, whereas De Vesme & Massar (1971) describe it as number 4, as this is the number inscribed in the plate in the second state. (See https://www.britishmuseum.org/collection/object/P_1871-0713-5-724)
The sheet is in near pristine condition, free from tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 14.3 x 14.3 cm
• Plate mark: 13.7 x 13.7 cm
• Image borderline (diameter): 13 cm

Plate Lettering:

• Lower left: “Stef. Della Bella inuent fecit”
• Upper right corner: “7”

References:

• De Vesme & Massar 822 (Alexandre de Vesme, revised by Phyllis Dearborn Massar, 1971, “Stefano della Bella: Catalogue Raisonné”, New York, Collectors Editions, p. 127, cat. no. 822, p. 165)
• De Vesme & Massar describe this print as: (transl.) “Landscape with a Corinthian capital, in the foreground, lying on the ground. Further on, to the left, among the trees, one can see a monument with two figures in bas-relief. In the middle and to the right, two standing shepherds and a flock.” (p. 127)

Price & Shipping:
AU$263 (approximately US$172.29 / €148.38 / £130.24), including worldwide express shipping. Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this exquisite etching—likely a scene drawn on location by the artist, as De Vesme & Massar (1971) note that the Roman views portrayed in the series “checked against other contemporary and more purely topographic prints, are found to be extremely accurate. They are based on drawings made on the spot…” (p. 126)—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Pieter de Jode II, “Christ Healing the Lame Man”, c. 1655, after Anthony van Dyck

Pieter de Jode II (also known as Pieter de Iode; Petrus iunior de Jode; Pieter de Jonge Jode) (1606–1670/4)
“Christ Healing the Lame Man”, circa 1655 (1641–1670)

Technical Details & Condition:
Engraving on laid paper, trimmed around the image borderline and writing edge, backed with a sheet of archival-quality washi paper to ensure support and wide margins. This engraving is after the painting by Anthony van Dyck (also known as Sir Anthony van Dyck; Anthoni [Ridder] van Dijck; Antoon van Dijk; Anton van Dyck) (1599–1641) in the Royal Collection, inv.no.RCIN 405325.

In the first state, the print was published by Jan Meyssens (also known as Joannes Meyssens; Johannes Meijssens; Jean Meyssens) (1661–1663), whose name (“Joannes Meÿssens”) is inscribed in the dedication text. In the second, and final state, the print was published by Cornelis Galle I (1576–1650), whose name (“C. Galle”) is inscribed, as shown in this impression.

This is a strong and well-printed engraving, likely to be a lifetime impression, evidenced by the quality of line work showing no sign of wear to the printing plate. Beyond age-toning, the sheet is in excellent condition with no tears, holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet: 27.7 x 36 cm
• Image borderline: 25.2 x 36 cm

Plate Lettering below the image borderline:

• Left: “Ant. Van Dÿck pinxit.”
• Centre (with translation of each line):
  “SVRGE, TOLLE GRABATVM TVVM, ET AMBVLA. Ioan. 5.
  Arise, take up thy bed, and walk. John 5.
  Claro Genere Virtute Ornatissimo Reverendoq[uez], DOMINO D. PHILIPPO BAECX alias FOXIO.
  To the most renowned in lineage and virtue, the most reverend Lord D. Philip Vaecx, also known as Foxio.
  Sancti Anthonÿ Domûs Preceptori Commendatoriq[ue], ac eiusdem Ordinis Commissario Generali, honoris et fauoris ergo, Offert. Joannes Meÿssens.
  Preceptor and Commander of Saint Anthony’s House, and Commissary General of the same Order, for honour and favour, offers Joannes Meÿssens.
  Petrus de Io de Sculpsit.”
• Right: “C. Galle excudit”

References:

• Hollstein (Jode) 11 (FWH Hollstein, 1949, Dutch and Flemish Etchings, Engravings and Woodcuts ca.1450–1700, vol. IX, Amsterdam, Menno Hertzberger, p. 211, cat. no. 11 [II])
• The British Museum describes this print as: “Christ healing the Paralytic; Christ standing at centre, a poor man standing next to him with two figures behind him, all figures half-length; after Anthony van Dyck” (https://www.britishmuseum.org/collection/object/P_R-2-16).

Price & Shipping:
AU$366 (approximately US$239.81 / €206.72 / £181.27), including worldwide express shipping. Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this large engraving depicting the biblical event described in the Gospel of John, chapter 5, where Jesus heals a paralytic man unable to walk for 38 years at the Pool of Bethesda, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

This print has been sold

Alexandre Calame, “Shipwreck”, 1840

Alexandre Calame (also known as Alexandre Calam; Alexandre Calamy) (1810–1864)
“Shipwreck”, 1840

Technical Details & Condition:
Etching and roulette on chine collé on wove paper. Plate 29 from the series of etching tests, “Essais de gravure à l'eau forte par Alexandre Calame”. This is a strong and well-printed impression executed in Geneva after the artist’s painting (as inscribed in the plate). The sheet is in near pristine condition and has been laid upon a sheet of archival-quality washi paper to provide support and generously wide margins.

Dimensions:
• Sheet: 16.2 x 12.5 cm
• Plate mark: 11 x 8.1 cm
• Chine collé: 10.7 x 8 cm
• Image borderline: 10.6 x 7.3 cm

Plate Lettering:
Scratch-inscribed in plate on right margin: “A. Calame pinx et aqu. forte Geneve 1840”

References:
• Calabi & Schreiber-Favre 16 (Augusto Calabi & Alfred Schreiber-Favre, 1937, Les Eaux-Fortes et les lithographies d'Alexandre Calame, Die Graphischen Künste, pp. 64-77, 110-117, cat. no. II, 16).
• The British Museum offers the following description of this print: “Three castaways stranded on a small rock surrounded by high waves.”
https://www.britishmuseum.org/collection/object/P_1863-0725-507
• See also the description of the print by the National Gallery of Art (Scotland):
https://www.nga.gov/artworks/152396-shipwreck

Price & Shipping:

AU$257 (approximately US$168.39 / €145.14 / £127.26), including worldwide express shipping. Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this small, dark, and drama-filled etching showing figures clinging to shipwreck flotsam in a wild sea, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase. 

Jules Jacques Veyrassat, “Le Marché aux Chevaux”, 1858, after Rosa Bonheur

Jules Jacques Veyrassat (1828–1893)
“Le Marché aux Chevaux” (The Horse Fair), 1853
after the painting (1852–1855) held in the Metropolitan Museum of Art by Rosa Bonheur (also known as Marie Rosa Bonheur) (1822–1899): https://www.metmuseum.org/art/collection/search/435702.

Regarding the painting that this etching translates into line, the MET offers the following insights: “This, Bonheur’s best-known painting, shows the horse market held in Paris on the tree-lined Boulevard de l’Hôpital, near the asylum of Salpêtrière, which is visible in the left background. For a year and a half Bonheur sketched there twice a week, dressing as a man to discourage attention.” (see op. cit.)

Technical Details & Condition:
Etching on buff chine collé, trimmed with a small margin around the image borderline (with loss of the title and publication details) and laid upon a support sheet of archival-quality washi paper, providing support to the print and generously wide margins.
This print was published in Paris by Marchant (also known as Alliance des Arts) (fl. c.1830–1880).
The impression is richly inked and well-printed (near flawless). The sheet has minor chipping at the lower-left corner of the margin.

Dimensions:
• Sheet: 12.6 x 25.8 cm
• Image borderline: 11.9 x 24.9 cm

Plate Lettering:
• Lower left: “Rosa Bonheur 1853.”
• lower right: “Veryressat sc.”

References:
• Beraldi 14 (Henri Béraldi 1892, Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: SAINT-MARCEL–ZWINGER, vol. 7, Paris, Librairie L. Conquet, p. 227, cat. no. 14)
• See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1916-0411-3.

Price & Shipping:
AU$273 (approximately US$178.41 / €153.88 / £134.76), including worldwide express shipping.
Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this lively scene of horses at market — a view Rosa Bonheur likened to “her own Parthenon frieze” (see the MET URL above) — please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.