Anthony van Dyck with Lucas Vorsterman, “Christ Crowned with Thorns”, c. 1630

Anthony van Dyck (1599–1641) in collaboration with Lucas Vorsterman I (also known as Lucas Aemilius Vorsterman) (1595–1675)

“Christ Crowned with Thorns” (also known as “The Mocking of Christ” or “The Reed Offered to Christ”), circa 1630

Artistic & Technical Collaboration:

The etching component was completed by the hand of Anthony van Dyck—as inscribed in the plate, “Anton. van Dyck invenit et fecit aqua forti”—and the plate was completed in engraving by Lucas Vorsterman. Notably, the technique of finishing an etching with burin (the engraving tool) was innovative at the time. Carl Depauw and Ger Luiten (1999) cite John Evelyn describing it as “a new invention linked to the name of Lucas Vorsterman.” 

Depauw & Luiten also suggest that Vorsterman re-etched the plate to create a spatter-like, speckled effect, transforming van Dyck’s parallel lines into detailed cross-hatching and expertly rendering textures, such as the shining Roman helmet.

Technical Details & Condition:

Etching with engraving on laid paper, with narrow margins around the image border, retaining the verses below the image. This impression is from State VI (of VII) with the note of privilege (“Cum Privilegio”) erased, but before the addition of publication details for Jacques Philippe Le Bas (1707–1783) of Paris. 

The impression is strong, crisp, and evenly inked. The sheet is in excellent condition for its age, with only minor age-toning and traces of glue on the verso; otherwise, it remains free of tears, holes, folds, or significant stains.

Dimensions:

• Sheet: 26.5 x 21.5 cm
• Image borderline: 24.4 x 21 cm

In-Plate lettering (below the image in two columns of two lines of Latin and publication details):

• Left: “Ecce stat innocuus spinis redemitus acutis, / Æmula sunt cuius bella labella rosis: / Anton. van Dyck inuenit et fecit aqua forti.”
• Right: “Et vero Iudæe illudis arundine Regi, / Impie sed nescis te mala quanta manent.”

(Translation): “Behold, he stands innocent, redeemed by sharp thorns, whose beautiful lips are envied by roses. And truly, O Jew, you mock the King with a reed, O impious, you do not know how many evils await you. Anthony van Dyck invented and made this with etching.”

References:

• Mauquoy-Hendricx (van Dyck) A-6 (Marie Mauquoy-Hendrickx, “L'Iconographie d'Antoine van Dyck: Catalog Raisonné”, 1991, Brussels, Royal Library Albert I, p. 116, cat. no. A-VI)
• New Hollstein Dutch 519
• Carl Depauw & Ger Luiten, “Anthony van Dyck as a Printmaker”, 1999, New York, Rizzoli, pp. 234–39, cat. no. 31
• British Museum: Museum number 1931,0413.11 — https://www.britishmuseum.org/collection/object/P_1931-0413-11
• Rijksmuseum: Object number RP-P-1953-709 — https://id.rijksmuseum.nl/200127450

Price & Shipping:

AU$1058 (approximately US$757.99 / €654.14 / £560.05, subject to daily exchange rates). Price includes worldwide express shipping. Please note that destination import duties and local taxes remain the sole responsibility of the buyer.

If you’re interested in acquiring this superb original etching—an iconic image of Christ’s suffering, with the “supernatural glow” from his halo contrasted against the textured face of the tormentor—please contact me at oz_jim@printsandprinciples.com. I’ll gladly provide a secure PayPal invoice for a seamless transaction.

This print has been sold

Jacques Philippe Le Bas’ etching with engraving, “Le Midy”, 1742, after Nicolaes Berchem

Jacques Philippe Le Bas (aka Jacques Philippe Lebas) (1707–1783)

“Le Midy” (aka “Noon”; “Midday”; “Gezicht op een mediterrane haven met figuren in een kustlandschap” [View of a Mediterranean harbour with figures in a coastal landscape]), 1742 (Rijksmuseum attrib. 1741), after Nicolaes Berchem’s (aka Nicolaes Pietersz. Berchem; Nicolaes Berchen; Niclas Berghem; Claes Berighem; Nicolaes Pietersz.Berrighem) (1621/2–1683) painting of the same composition, published in Paris by Jacques Philippe Le Bas.

Etching with engraving on laid paper trimmed around (or slightly within) the platemark and backed with a support sheet.

Size: (support sheet) 47.3 x 57.2 cm; (sheet) 37.5 x 47; (image borderline) 33.8 x 45.8 cm.

Lettered in plate below the image borderline: (left) “Berghem pinxit.”; (centre) “LE MIDY”; (right) “JP Le Bas Sculp”.

IFF 76 (Département des Estampes 1930, “Inventaire du Fonds, Français: graveurs du XVIIe siècle”, vol. 13, Paris, Bibliothèque Nationale, pp. 121–22, cat. no. 76).

The British Museum offers the following description of this print: “Coastal landscape with, in the foreground, merchants showing their goods to an aristocratic couple on horseback; in the middleground, a fountain decorated in its centre by an obelisk; cliffs in the background. 1742 Etching with some engraving” (https://www.britishmuseum.org/collection/object/P_1862-0712-7).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.137479.

Condition: a strong impression with no stains or foxing but with minor closed tears in the edges and laid upon an archival support sheet of millennium quality washi paper providing wide margins.

I am selling this large and very beautiful etching (with some engraving) showing local activities of the late 1600s in an expansive view of harbour featuring a obelisk after a painting by Nicolaes Berchem, for the total cost of AU$268 (currently US$179.84/EUR173.66/GBP151.89 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 superb etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jacques Philippe Le Bas & Pierre Antoine Martini’, “Le Marché à Faire”, 1774, after David Teniers II

(engraving by) Jacques Philippe Le Bas (aka Jacques Philippe Lebas) (1707–1783) and

(etching by) Pierre Antoine Martini (aka Pietro Antonio Martini) )1739–1800)

“Le Marché à Faire”, 1774, after David Teniers the Younger’s (aka Tennier; David Teniers II) (1610–1690) painting in the collection of Comte de Baudouin Silvain-Raphaël (1715–1797), published in Paris by Jacques Philippe Le Bas.

Engraving and etching on laid paper trimmed along, or slightly within, the image borderline (with loss of the text lines), backed with a support sheet.

Size: (support sheet) 37.9 x 45.5 cm; (sheet) 25.8 x 34.5 cm.

IFF 440 (Département des Estampes 1930–, “Inventaire du Fonds Francais Après 1800”, vol. 13, Paris, Bibliothèque Nationale de France, p. 246, cat. no. 440).

The Rijksmuseum offers a description of this print: http://hdl.handle.net/10934/RM0001.COLLECT.137580.

Condition: a richly inked and well-printed impression trimmed along the image borderline and laid upon a support sheet of archival (millennium quality) washi paper. The sheet is in a very good condition.

I am selling this very beautiful engraving (with etching) of a farmers’ market in an early stage of preparation with a resting shepherd and his cattle in the foreground and rural folk enjoying themselves at an inn shown further back—note that my reading, of the scene may be wrong and  is based on my translation of the title: “The Market to Do”—for AU$198 in total (currently US$125.18/EUR126.90/GBP109.99 at the time of posting 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 collaboratively executed print, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.