Schelte Adamsz. Bolswert’s engraving, “Landscape with Watercourse and Figures”, c1638, after Rubens

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

“Landscape with Watercourse and Figures” (aka “Landscape with a Couple with Dog at a River”; “Landschap met Waterloop en Figuren”), c1638, after a now lost painting by Peter Paul Rubens (aka Petrus Paulus Rubenius) (1577–1640), published in Antwerp by Gillis Hendricx (aka Gilles Hendrikx) (fl.1640–1677).

Engraving on fine laid paper trimmed with a small margin around the platemark.

Size: (sheet) 32.5 x 49 cm; (plate) 31.5 x 48.1 cm; (image borderline) 29.8 x 47.8 cm.

Lettered in plate below the image borderline: (left) “P. P. Rubens pinxit./ S. à Bolswert Sculpsit.”; (right) “Gilles Hendricx excudit.”

State iv (of v) with the details of Gilles Hendricx as the publisher.

Hollstein 320 (F.W.H. Hollstein 1950, “Dutch and Flemish Etchings, Engravings and Woodcuts c.1450-1700: Boekhorst–Brueghel”, vol. 3, Amsterdam, Menno Hertzberger, p. 89, cat. no. 320); Schneevogt 16 (C.G. Voorhelm Schneevogt 1873, “Catalogue des estampes gravées d'après P.P. Rubens, avec l'indication des collections où se trouvent les tableaux et les gravures”, Harlem, p. 235, cat. no. 16).

The Rijksmuseum offers the following insights about this print: (Transl.) “Print after a painting by Peter Paul Rubens. Hollstein describes a series of small landscapes under nos. 305 to 325, but these prints were not produced as a series” (http://hdl.handle.net/10934/RM0001.COLLECT.84650).

See also the description of this print offered by the British Museum: “Flat landscape with a couple carrying baskets in foreground with their dog, group of trees at left, a small river at right, a farmer with two horses in background; fourth state with address of Hendricx; after Rubens Engraving” (https://www.britishmuseum.org/collection/object/P_R-5-42).

Condition: a strong and well-printed early impression showing no sign of wear to the printing plate. Beyond a minor thin area verso, a small margin tear at upper-right and a flattened fold at upper-left corner, the sheet is in a remarkably fine condition for its considerable age.

I am selling this superb impression of a rare, beautiful and large engraving, for the total cost of AU$392 (currently US$262.01/EUR237.07/GBP208.69 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 finely executed translation of a (now lost) painting by Rubens into engraved 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

Schelte Adamsz. Bolswert’s engraving, “Landscape with Men and Women Dancing”, c1638, after Rubens

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

“Landscape with Men and Women Dancing” (aka “Landschap met mannen en vrouwen die dansen”), c1638 (1596–1659), after Peter Paul Rubens’ (aka Petrus Paulus Rubenius) (1577–1640) painting, “Dance of Mythological Characters and Villagers” (1630–1635) in the Museo del Prado, Madrid (inv.no.P01691; https://www.museodelprado.es/e6e93efc-e851-41d9-bf9d-50e147babb30), published in Antwerp by Gillis Hendricx (aka Gilles Hendrikx) (fl.1640–1677).

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

Size: (support sheet) 40 x 53 cm; (sheet) 34 x 47.8 cm; (plate) 32.2 x 46 cm; (image borderline) 31 x 45.3 cm.

Lettered in plate below the image borderline: (left) “Pet. Pau.l Rubens pinxit./ S. à Bolswert Sculpsit.”; (right)  “Gillis Hendricx excudit.”

State iv (of v) with the details of Gilles Hendricx as the publisher.

Hollstein 324 (F.W.H. Hollstein 1950, “Dutch and Flemish Etchings, Engravings and Woodcuts c.1450-1700: Boekhorst–Brueghel”, vol. 3, Amsterdam, Menno Hertzberger, p. 89, cat. no. 324).

The Rijksmuseum offers the following description of this print: (Transl.) “Landscape with merry company of men and women dancing to the music of a flute player sitting in a tree. The men try to steal kisses from the ladies” (http://hdl.handle.net/10934/RM0001.COLLECT.84660).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_R-5-47.

Condition: a strong well-printed early impression showing no sign of wear to the printing plate laid upon an archival support sheet of millennium quality washi paper. There are restored tears and nicks to the margin, otherwise the sheet is in a very good condition with no significant tears, holes, folds, abrasions or significant stains.

I am selling this superb impression of a rare, very beautiful and large engraving—interestingly, Bolswert seems to have stretched Rubens' original design on the far left resulting in the dog shown in that area appearing to be without its front legs!—for the total cost of AU$456 (currently US$302.95/EUR285.35/GBP250.66 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 masterwork of engraving, 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

Schelte Adamsz. Bolswert’s engraving, “Landscape with Milkmaids and Cows and Hunters”, c1638, after Rubens

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

“Landscape with Milkmaids and Cows and Hunters” (aka “Landschap met Melkmeisjes en Koeien en Jagers”), c1638, from the series, “Small landscapes”, after Peter Paul Rubens (aka Petrus Paulus Rubenius) (1577–1640), published in Antwerp by Gillis Hendricx (aka Gilles Hendrikx) (fl.1640–1677).

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

Size: (support sheet) 41.7 x 53.4 cm; (sheet) 32.8 x 46.3 cm; (image borderline) 31.2 x 45.5 cm.

Lettered in plate below the image borderline: (left) “Pet. Pau.l Rubens pinxit./ S. à Bolswert Sculpsit.”; (right)  “Gillis Hendricx excudit.”

Hollstein 323 (F.W.H. Hollstein 1950, “Dutch and Flemish Etchings, Engravings and Woodcuts c.1450-1700: Boekhorst–Brueghel”, vol. 3, Amsterdam, Menno Hertzberger, p. 89, cat. no. 323).

The British Museum and the Rijksmuseum offer descriptions of this print: https://www.britishmuseum.org/collection/object/P_R-5-46;  http://hdl.handle.net/10934/RM0001.COLLECT.84658.

Condition: a strong well-printed early impression showing no sign of wear to the printing plate laid upon an archival support sheet of millennium quality washi paper providing wide margins. There are restored nicks to the margin, otherwise the sheet is in a very good condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this superb impression of a rare, very beautiful and large engraving—note the hunter bizarrely shooting in the direction of milkmaids and cows—for the total cost of AU$383 (currently US$257.50/EUR257.03/GBP225.46 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 masterwork of engraving, 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

Paulus Pontius’ engraving, “The Coronation of the Virgin”, c1650, after Rubens

Paulus Pontius (aka Paulus du Pont) (1603–1658)

“The Coronation of the Virgin” (aka “Kroning van Maria”; “The Coronation of the Virgin by the Trinity”; “Coronatio Divæ Virginis”), c1650 (1640–1658), after Peter Paul Rubens’ (aka Petrus Paulus Rubenius) (1577–1640) painting, c1625, in Musées Royaux des Beaux-Arts, Brussels (inv. no. 162), published in Antwerp by Gillis Hendricx (aka Gilles Hendrikx) (fl.1640–1677) (see.

Engraving on laid paper (with watermark), trimmed with narrow margin around the platemark.

Size: (sheet) 36.6 x 27.2 cm; (plate) 36.1 x 25.9 cm; (image borderline) 34.7 x 25.9 cm.

Lettered in plate below the image borderilne: (left) “P.P. Rubens pinxit”; (centre) “CORONATIO DIVÆ VIRGINIS”; (right) “Paulus Pontius Sculpsit./ Gillis Hendrix excudit.”

Lifetime impression; state ii (of iii)

Hollstein Dutch 27-2(3) (Ilja M. Veldman & Dieuwke de Hoop Scheffer [comp.] 1976, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Andries Pauli [Pauwels] to Johannes Rem”, vol. 17, Amsterdam, Van Gendt & Co, p. 156, cat. no. 27).

The British Museum offers the following description of this print: “The Coronation of the Virgin by the Trinity; the Virgin is crowned by God the Father seated on a sphere and holding a sceptre, Christ at left, the Holy Spirit hovering above, seven angels below the clouds; after Peter Paul Rubens/ Engraving” (https://www.britishmuseum.org/collection/object/P_1891-0414-734).

See also the description of this print in its first state offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.507944.

Condition: a strong, well-printed impression trimmed with narrow margins around the platemark. The sheet has minor age-toning with a few small marks and there are two support strips verso, otherwise it is in a good condition for its considerable age with no significant stains.

I am selling this graphically strong engraving by one of the most famous of the old master printmakers of the early 1600s after Rubens, for AU$344 (currently US$247.36/EUR231.38/GBP198.18 at the time of this listing) including Express Mail (EMS) 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, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Cornelis Galle I’s engraving, “The Four Fathers of the Latin Church”, c.1636

Cornelis Galle I (1576–1650)

“The Four Fathers of the Latin Church” (aka “The Four Fathers of the Church Disputing”; “De vier kerkvaders” [The Four Church Fathers]), c.1636 (c.1630–1642), commissioned by Herman de Neyt, published by Gillis Hendricx (aka Gilles Hendrikx) (fl.1640–77) in Antwerp with a dedication to Willem van Hamme, after a painting formerly attributed to Peter Paul Rubens (aka Petrus Paulus Rubenius) (1577–1640) and now attributed to Jacob Jordaens (1593–1678), in the Nationalmuseum, Stockholm, inv.no.595 (see http://collection.nationalmuseum.se/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=17598&viewType=detailView).

Engraving on laid paper with second state enlargement of the image by the addition of two side panels backed with a support sheet.

Size: (sheet) 37.4 x 48.6 cm; (plate) 37 x 48.1 cm; (image borderline) 34.7 x 47.5 cm.

Lettered on plate below the image borderline: (lower left) “P. Paulus Rubens inuentor.”; (center) “REVERENDO ADMODVM, NOBILI DOCTISSIMOQ VIRO DOMINO DNO […] GVILLIELMO VAN HAMME PBRO, IVRIS VTRISQ, LICENTIATO,/ PROTONOTARIO APOSTOLICO, NEC NON CATHEDRALIS ECCLIÆ B. […] MARIÆ ANTVERP: ET COLLEGIATÆ S. CATHARINÆ IN HOOCH-/ STRATEN CANONICO DIGNISSIMO, PICTORIÆ ARTIS ADMIRATORI […] ET AMATORI SVMMO, DD. C. HERMANVS DE NEYT ANTVERP./ Cum […] priulegio.”; (lower right) “Corn. Galle sculpsit./ Gillis Hendricx Excudit.”

State iii (of iii) “with two strips of plates added on either side” (see BM inv.no. R,3.94) and a small increase in the size of the side panel showing two lines at lower left outside text box image borderline (cf. Rijksmuseum state ii [inv. no. RP-PHO-60] and state iii [inv. no. RP-P-1939-156]). Note that Hollstein proposes only two states in which case this impression is state ii (of ii).

Hollstein Dutch 69-2 (2) (F W H Hollstein 1952, “Dutch and Flemish Etchings, Engravings and Woodcuts ca.1450–1700: Fouceel–Gole”, vol. 7, Amsterdam, Menno Hertzberger, p. 53, cat. no. 69); Corpus Rubenianum VIII 60 (copy 3) (Hans Vlieghe 1972, “Saints”, VIII, Brussels, Phaidon); Schneevoogt 1873 64.2 (S J Schneevoogt & C G Voorhelm 1873,

“Catalogue des estampes gravées d'après P.P. Rubens, avec l'indication des collections où se trouvent les tableaux et les gravures”, Haarlem).

The British Museum offers the following description of this print:

“The four Latin Doctors of the Church; St Ambrose at left, holding a crook and wearing a mitre, behind him a putto holds a beehive (symbol of the sweetness of his words); St Gregory seated at centre, wearing papal tiara; at right St Augustine with two angels above holding his attributes (a burning heart and a crook); St Jerome seated at far right, his hat lying at his feet, a lion asleep at his side; the Holy Spirit above; second state with two strips of plates added on either side”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1636239&partId=1&searchText=Church+Cornelis+Galle&page=1).

See also the description offered by the Rijksmuseum which holds the three states of this print (note that Hollstein proposes only two states):

(state i) http://hdl.handle.net/10934/RM0001.COLLECT.114251;

(state ii) http://hdl.handle.net/10934/RM0001.COLLECT.346338;

(state iii) http://hdl.handle.net/10934/RM0001.COLLECT.114250.

Condition: richly inked early impression trimmed with a narrow margin around the platemark and laid onto a support sheet of millennium quality washi paper. Beyond replenished chips around the margin the sheet is in excellent condition (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing).

I am selling this large masterpiece from the early 17^th century exemplifying the attributes of the Baroque period with its breadth of compostion (note that this impression shows the extension of the image on the centre plate with two additional side plates to enlarge the scope of the portrayed scene), the love of flowing rich fabrics and theatrically dramatic lighting and body gestures, for the total cost of AU$560 (currently US$331.72/EUR303.89/GBP280.28 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 stunningly beautiful engraving showing the four Church Fathers in animated discussion about the Bible—(from left) Pope Gregory Ambrose with his attribute of a beehive (because he was a sweet talker!); St Gregory with the dove of the Holy Spirit above him; St Augustine with the burning heart held above him;  St Jerome with his lion attribute sleeping peacefully beside him—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

What was a perplexing conundrum for me has been solved … thank goodness!

After deep navel gazing, and comparing once again the Rijksmuseum’s impressions of states ii and iii of this print, I’ve decided that the Rijksmuseum may be in error and the impression proposed as state ii is actually state iii and vice versa. The reason is simple: the plate has been reduced in size from 47.5 cm to 47.1 cm in width which means that the large plate is the earlier state and the smaller plate is the later state. Mindful of this logic, the listed impression is now from the second state (of three) and shows the larger margin around the image borderline with overdrawn marks of horizontal shading that are trimmed off in the later state.