Valentin Lefebre’s etching, “Arithmetic and Geometry”, 1682, after Paolo Veronese

Valentin Lefebre (aka Valentin Le Fevre; Valentin Le Febre; Valentin Lefebure; Valentin Lefèvre) (1637–1677)

“Arithmetic and Geometry” (aka “Rekenkunde en Geometrie”; “Allégorie de l’Arithmétique et de la Géométrie”), 1682, plate 14 from the series of fifty-three plates, “Opera Selectiora” (aka “Opera selectiora quae Titianus Vecellius Cadubriensis et Paulus Calliari Veronensis inventarunt ac pinxerunt”), after a painting by Paolo Veronese (aka Paolo Caliari) (1528–1588) on the ceiling of the Salone of the Marciana Library in Venice, published by Jacobus van Campen (fl.1682) in Venice.

Note that Johann Gottfried Seuter (aka Gottifredo Saiter; Johann Gottfried Saiter) (1717–1809) made a copy in reverse direction to Lefebre’s etching in c1749; see https://www.britishmuseum.org/collection/object/P_1936-1007-23.

Etching on laid paper (with watermark) trimmed around the image borderline with a thread margin.

Size: (sheet) 31.8 x 29.1 cm.

Lettered in plate below the image borderline: (left) V. lefebre del. et sculp.”; (centre) “PAVLVS CALIARY, VERONENSIS, INVENT, & PINXIT,”; (right) “J, Van Campen, Formis. Venetÿs.”

Lifetime impression; state i (of ii) before the addition of the address of the later publisher (Teodoro Viero).

Ruggeri I.48 (Ugo Ruggeri 2001, “Valentin Lefèvre: Dipinti, Disegni, Incisioni”, Manerba, Merigo Art Books, pp. 224–25, cat. no. I.48); Hollstein Dutch 1–53 (FWH Hollstein 1953, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700: L'Admiral–Lucas van Leyden”, vol. 10, Amsterdam, Menno Hertzberger, p. 46, cat. no. 1–53); Villot 48 (Frédéric Villot 1844, "Valentin Lefebre, peintre et graveur à l'eau-forte", in 'Le Cabinet de l'amateur et de l'antiquaire', vol. 3, pp. 495–96, cat. no. 48).

The British Museum offers the following description of this print: “Two female personifications of Geometry and [Arithmetic]; the one on the left is seen from behind, kneeling; the one on the right is reading a book; circular composition; after Veronese. 1682 Etching” (https://www.britishmuseum.org/collection/object/P_1954-0211-6-42).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.138915.

Regarding the publication of “Opera Selectiora”, the British Museum advises: “The series was left unfinished at his [Valentin Lefebre's] early death, and finally published in 1682 by Jacques van Campen (the 1680 edition does not seem to exist). It was reprinted in 1684, and in the XVIIIc in 1749, 1763; later by Teodoro Viero who added his address to the plates (editions in 1786 and 1789)” (https://www.britishmuseum.org/collection/term/BIOG35284).

Condition: a strong and well-printed impression trimmed around the image borderline with a thread margin. The sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this very Venetian composition showing female personifications of Arithmetic and Geometry, for AU$328 (currently US$219.24/EUR198.36/GBP174.62 at the time of listing 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 lifetime impression from the first edition published by Jacobus van Campen, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed other etchings by Valentin Lefebre that are still available at the time of this listing; see:

https://www.printsandprinciples.com/2022/05/valentin-lefebres-etching-venice.html;

 https://www.printsandprinciples.com/2021/08/valentin-lefebres-etching-landscape.html;

 https://www.printsandprinciples.com/2020/05/valentin-lefebres-etching-janus-and.html. 

This print has been sold 

Valentin Lefebre’s etching, “Venice Sitting on a Globe”, 1682, after Battista Zelotti

Valentin Lefebre (aka Valentin Le Fevre; Valentin Le Febre; Valentin Lefebure; Valentin Lefèvre) (1637–1677)

“Venice Sitting on a Globe” (aka “Venetië zittend op een globe”; “Venice Seated upon the Globe and upon a Lion”), 1682, plate 45 from the series of fifty-three plates, “Opera Selectiora” (aka “Opera selectiora quae Titianus Vecellius Cadubriensis et Paulus Calliari Veronensis inventarunt ac pinxerunt”), after Battista Zelotti (aka Giovanni Battista Zelotti; Giambattista Zelotti) (c.1526–1578) and published by Jacobus van Campen (fl.1682) in Venice.

Although the inscription on this plate (“Pavlvs Caliary, Veronensis, In, & Pin[x]”) advises that the print is after the design/invention and painting by Paolo Veronese (1528–1588), this attribution is now rejected. According to the Rijksmuseum, this print is after the mural in the Sala delle Udienze del Consiglio dei Dieci (Palazzo Ducale, Venice) by Giambattista Zelotti (see http://hdl.handle.net/10934/RM0001.COLLECT.138913).

Regarding the publication of “Opera Selectiora”, the British Museum advises: “The series was left unfinished at his [Valentin Lefebre's] early death, and finally published in 1682 by Jacques van Campen (the 1680 edition does not seem to exist). It was reprinted in 1684, and in the XVIIIc in 1749, 1763; later by Teodoro Viero who added his address to the plates (editions in 1786 and 1789)” (https://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=117639).

Etching on laid paper with a small margin around the platemark backed with a support sheet.

Size: (support sheet) 41.3 x 24.7 cm; (sheet) 33.3 x 16.6 cm.; (plate) 30.5 x 15.1 cm.; (inner image borderline) 27 x 14.7 cm.

Lettered on plate below the image borderline: (left) V. lefebre del. et sculp.”; (centre) “PAVLVS CALIARY, VERONENSIS, IN, & PIN[X]”; (right) “J. Van Campen. F. Venetÿs.”

State i (of ii) before the addition of the address of the later publisher (Teodoro Viero).

Ruggeri I.45 (Ugo Ruggeri 2001, “Valentin Lefèvre: Dipinti, Disegni, Incisioni”, Manerba, Merigo Art Books, p. 223, cat. no. I.45); Hollstein Dutch 1–53 (FWH Hollstein 1953, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700: L'Admiral–Lucas van Leyden”, vol. 10, Amsterdam, Menno Hertzberger, p. 46, cat. no. 1–53); Villot 46 (Frédéric Villot 1844, "Valentin Lefebre, peintre et graveur à l'eau-forte", in 'Le Cabinet de l'amateur et de l'antiquaire', vol. 3, p. 194, cat. no. 46).

The British Museum offers the following description of this print: “Personification of Venice: a woman seated on a globe, a lion at her feet, raising her left hand and holding a sceptre with her right hand; in an oval; after Zelotti. 1682/ Etching” (https://www.britishmuseum.org/collection/object/P_1891-0511-2).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.138913.

Note that Johann Gottfried Seuter (aka Gottifredo Saiter) (1717–1809) executed an etching after Lefefre’s etching in c1749 (see https://www.britishmuseum.org/collection/object/P_1936-1007-25).

Condition: a slightly silvery impression with small margins around the platemark and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in a good condition with no losses, significant stains or foxing.

I am selling this very Venetian composition showing the personification of Venice sitting on the globe (symbolic of supremacy, sovereignty and dominion) with her foot resting on the lion of St Mark (symbolic of power, pride, magnificence, nobility and courage), for AU$238 (currently US$168.87/EUR158.14/GBP134.33 at the time of listing 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 early impression from the first edition published by Jacobus van Campen, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed a companion print by Valentin Lefebre, “Janus and Juno”, 1682, that is still available; see: https://www.printsandprinciples.com/2020/05/valentin-lefebres-etching-janus-and.html

Valentin Lefebre’s etching, “Landscape with Sleeping Shepherd”, 1677, after Titian (2nd impression)

Valentin Lefebre (aka Valentin Le Fevre; Valentin Le Febre; Valentin Lefebure; Valentin Lefèvre) (1637–1677 [dates given by the BM & Ruggeri] or 1642/3–1683 [dates given by the MET & NGV])

“Landscape with Sleeping Shepherd”, 1677 (publ. 1682), in reverse to the drawing of the same subject by Titian (1489/90–1576) held by the Louvre (inv. no. 5534), from the series of 53 etchings after Titian and Veronese (Ruggeri I.1-53; Hollstein X,1-53), “Opera Selectiora” (aka “Opera selectiora quae Titianus Vecellius Cadubriensis et Paulus Calliari Veronensis inventarunt ac pinxerunt”), published by Jacobus van Campen (fl.1682) in Venice.

Regarding the publication of the series, “Opera Selectiora,” the BM offers the following information:

“The series was left unfinished at his early death, and finally published in 1682 by Jacques van Campen (the 1680 edition does not seem to exist). It was reprinted in 1684, and in the XVIIIc in 1749, 1763; later by Teodoro Viero who added his address to the plates (editions in 1786 and 1789).” (https://www.britishmuseum.org/collection/term/BIOG35284)

Etching on laid paper (partial watermark) with wide margins as published.

Size: (sheet) 42.7 x 55.8 cm; (plate) 25.5 x 40.2; (image borderline) 25 x 39.6 cm.

Inscribed on plate within the lower image borderline: (left) “[T]an. In”; (left of centre) “J. Van Campen Formis. Venetÿs.”;  (right of centre) “V. lefebre del. et sculp.”

Inscribed by an old hand in faded brown ink in the margin: (upper left) “46”.

State i (of ii) before the address of Teodoro Viero of the later 1786 and 1789 editions.

Ruggeri I.23 (Ugo Ruggeri 2001, “Valentin Lefèvre: Dipinti, Disegni, Incisioni”, Manerba, Merigo Art Books, p. 217, cat. no. I. 23); Villot 23 (Frédéric Villot 1844, "Valentin Lefebre, Peintre et Graveur à l'Eau-Forte", in 'Le Cabinet de l'Amateur et de l'Antiquaire', 3, 1844, pp. 169–197); Hollstein Dutch 1-53 (F W H Hollstein 1953, “Dutch and Flemish Etchings, Engravings and Woodcuts c.1450–1700: L'Admiral–Lucas van Leyden”, vol. 10, Amsterdam, Menno Hertzberger, p.46, cat. no. 1-53).

The Rijksmuseum offers the following description of this print:

(transl.) “Landscape with a sleeping shepherd under a tree. A herd of animals grazes next to him. A brook winds through the landscape to the right, houses stand in the distance. The print is part of a 53-part series of prints based on paintings by Titian and Veronese”

(http://hdl.handle.net/10934/RM0001.COLLECT.138907).

See also the description of the print at the British Museum:

“Landscape with a flock of sheep and a goat grazing in the foreground, a shepherd sleeping at left, a river with a bridge at right, a village in the background; after Titian. 1682”

(https://www.britishmuseum.org/collection/object/P_1954-0211-6-32).

Condition: a richly inked early impression with a replenished printer’s crease (upper centre)  and minor marks and chips in the margins appropriate to the age of the print, otherwise the sheet is in an excellent condition with a (faded) brown ink collector’s number (“46”) in the margin at upper left.

Note that this is the second impression of this etching by Lefebre that I have listed. The previous impression has been sold.

I am selling this large masterpiece of etching that seems to shimmer with light, for AU$323 (currently US$237.74/EUR202.53/GBP171.51 at the time of posting 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 extraordinary interpretation of a landscape by Titian, 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

Valentin Lefebre’s etching, "St Jerome in the Wilderness”, 1682, after Titian

Valentin Lefebre (aka Valentin Le Fevre; Valentin Le Febre; Valentin Lefebure; Valentin Lefèvre) (1637–1677)

"St Jerome in the Wilderness”, 1682, in reverse after Titian’s (1490–1576) painting, “Saint Jerome in Penitence”, 1550–55, in the Pinacoteca di Brera (aka Brera Museum, Milan), published in Venice by Jacobus van Campen (fl.1682) in the series of 53 plates, “Opera selectiora quae Titianus Vecellius Cadubriensis et Paulus Calliari Veronensis inventarunt ac pinxerun.”

Etching on laid paper trimmed along the image borderline with loss of the lines of text below the image and backed with a support sheet.

Size: (support sheet) 46.4 x 33.5 cm.

Lifetime/early impression before burin retouching by Johann Gottfried Seuter (aka Gottifredo Saiter) (1717–1809).

Hollstein 1-53 (F W H Hollstein 1953, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: L'Admiral–Lucas van Leyden”, vol. 10, Amsterdam, Menno Hertzberger, p. 46, cat. no. 1-53); Ruggeri I.15 (Ugo Ruggeri 2001, “Valentin Lefèvre: Dipinti, Disegni, Incisioni”, Manerba, Merigo Art Books, p. 215, cat. no. I. 15).

The British Museum offers the following description of this print:

“St Jerome in the wilderness, after Titian, with the saint kneeling before a cross, holding a stone in his left hand, his right hand grasping the stone upon which stands the cross; a lion and a lizard at his feet, to left; a skull, an hourglass and several books on a rock behind him, to the right; trees in background.”

(https://www.britishmuseum.org/collection/object/P_1874-1212-316).

The Curator of the British Museum also advises:

“This is a copy in reverse after the painting by Titian, formerly in the Church of Santa Maria Nuova in Venice, but transferred to Milan to the Accademia di Brera” (ibid).

See also the description of this print at the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.138870.

Condition: Strong impression trimmed along the image borderline with loss of text below the image and laid onto a support sheet of millennium quality washi paper. The sheet has mellowed with age-toning to a light ochre colour and there are replenished losses to the left edge and upper right corner (almost invisible) and other minor nicks and tears within the image (now restored).

I am selling this large etching full of symbolism—for example, the vanitas symbols of the skull and hourglass behind the saint alluding to the transience of life, the lizard climbing up the rock upon which the saint rests his knee symbolising devilish temptation and the ivy further up the rock may hint at the wood of the cross—for AU$334 (currently US$232.96/EUR205.51/GBP184.82 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 exceptional etching that almost shimmers in the complex rhythms of lines, 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

Valentin Lefebre’s etching, “Janus and Juno”, 1682, after Battista Zelotti

Valentin Lefebre (aka Valentin Le Fevre; Valentin Le Febre; Valentin Lefebure; Valentin Lefèvre) (1637–1677)

“Janus and Juno” (aka “Giano e Giunone”; “Young age and old age” [British Museum’s descriptive title]), 1682, plate 44 from the series of fifty-three plates, “Opera Selectiora” (aka “Opera selectiora quae Titianus Vecellius Cadubriensis et Paulus Calliari Veronensis inventarunt ac pinxerunt”), after Battista Zelotti (aka Giovanni Battista Zelotti; Giambattista Zelotti) (c.1526–1578) and published by Jacobus van Campen (fl.1682) in Venice.

Note that the inscription on this plate (“Pavlvs Caliary, Veronensis, In, & Pinx”) advises that the print is after the design/invention and painting by Paolo Veronese (1528–1588), but this attribution is now rejected. According to the Rijksmuseum, this print is after the mural in the Sala delle Udienze del Consiglio dei Dieci (Palazzo Ducale, Venice) by Giambattista Zelotti.

The British Museum does not advise that there is a change in attribution of the mural from Veronese to Zelotti and states:

“This print is the reversed version after Veronese's painting for the ceiling of the Sala del Consiglio in the Palazzo Ducale in Venice”

(https://www.britishmuseum.org/collection/object/P_1954-0211-6-39).

Regarding the publication of “Opera Selectiora”, the British Museum advises:

“The series was left unfinished at his [Valentin Lefebre's] early death, and finally published in 1682 by Jacques van Campen (the 1680 edition does not seem to exist). It was reprinted in 1684, and in the XVIIIc in 1749, 1763; later by Teodoro Viero who added his address to the plates (editions in 1786 and 1789)”

(https://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=117639).

Etching on laid paper with a small margin around the platemark.

Size: (slightly irregular sheet) 34.2 x 18.6 cm.; (plate) 30.2 x 14.8 cm.; (inner image borderline) 26.7 x 14.3 cm.

Lettered on plate below the image borderline: (left) V. lefebre del. et sculp.”; (centre) “Pavlvs Caliary, Veronensis, In, & Pinx”; (right) “J. Van Campen. F. Venetÿ[s].”

State i (of ii) before the addition of the address of the later publisher (Teodoro Viero).

Ruggeri I.44 (Ugo Ruggeri 2001, “Valentin Lefèvre: Dipinti, Disegni, Incisioni”, Manerba, Merigo Art Books, p. 223, cat. no. I.44); Hollstein Dutch 1–53 (FWH Hollstein 1953, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700: L'Admiral–Lucas van Leyden”, vol. 10, Amsterdam, Menno Hertzberger, p. 46, cat. nos. 1–53).; Villot 44 (Frédéric Villot 1844, "Valentin Lefebre, peintre et graveur à l'eau-forte", in 'Le Cabinet de l'amateur et de l'antiquaire', vol. 3, p. 194, cat. no. 44).

The Rijksmuseum offers the following description of this print:

(Transl.) “Janus and Juno, symbol of the eternal power of Venice. [The print] is part of a 53-part series of prints based on paintings by Titian and Veronese.”

(http://hdl.handle.net/10934/RM0001.COLLECT.138914).

Condition: richly inked impression with a small margin (approx. 2 cm) around the platemark. The sheet is in excellent condition (i.e. there are no tears, losses, holes, folds, abrasions or significant stains—but there are minor handling marks). Note that the mark in the sky above Janus is an irregularity that is intrinsically a part of the plate.

I am selling this very Venetian composition portraying the mythological figures of Janus and Juno—the gods who preside over the birth of the new moon at the start of each month in the Roman kalendae (calendar)—dressed in the taste of the 16^th century for rich brocades and exposed necklines, for AU$238 (currently US$168.87/EUR158.14/GBP134.33 at the time of listing 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 strong and early impression from the first edition published by Jacobus van Campen that still shows the guide-lines inscribed for the lettered text, 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