Gabriel Perelle, “Circular Landscape with Trees and Two Figures on the Left and Herdsmen on the Right”, c.1650

Gabriel Perelle (aka Gabriel Perrelle) (1604–1677) / Nicolas Perelle (1631–c1695) / Adam Perelle (1640–1695)

Note that the attribution of this print to Gabriel Perelle, rather than to his sons (Nicolas and Adam), follows the British Museum convention in that prints inscribed with the name, “Perelle,” are catalogued under the father’s name, “Gabriel Perelle” (see https://www.britishmuseum.org/collection/term/BIOG41615).

“Circular Landscape with Trees and Two Figures on the Left and Herdsmen on the Right” (descriptive title only), c.1650 (1620–1666), published in Paris by Jean Leblond I (c.1590/1594–1666) with royal privilege.

The British Museum offers the following description of this print (no illustration): “Landscape with trees in the left foreground, beyond two figures, a man riding a donkey and some farm animals walking on a road, to the left, in the distance some mountains; within circle/ Etching” (https://www.britishmuseum.org/collection/object/P_X-9-147).  

Etching on fine laid paper trimmed along/slightly within the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 20.6 x 20.7 cm; (image borderline) dia. 20.4 cm.

Lettered in plate below the image borderline: (left) “Perelle Inuent et fecit”; (right) “Le Blond Auec priuilege”.

Condition: a richly inked and well-printed impression trimmed with a narrow margin around the circular image borderline and laid upon a sheet of millennium quality washi paper providing wide margins. Beyond faint darkening at the corners (possibly traces of glue verso), the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this very strong (even magnificent!) impression of one of the larger Perelle circular/tondo etchings showing (from my way of looking at the image) contrast between the diminutive size of men with the grandeur of trees and the surrounding natural setting, for AU$279 (currently US$189.86/EUR170.74/GBP143.69 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. Note that payment is in Australian dollars (AU$279) as this is my currency.

If you are interested in purchasing this large and superb etching rendered with the finest of details and capturing the crystal-clear light of the rural landscape in the 17th century, 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

Gabriel Perelle’s etching, “Winter”, c1650

Gabriel Perelle (aka Gabriel Perrelle) (1604–1677) / Nicolas Perelle (1631–c1695) / Adam Perelle (1640–1695)

Note that the attribution of this print to Gabriel Perelle, rather than to his sons (Nicolas and Adam), follows the convention of the British Museum in that prints inscribed with the name, “Perelle,” are catalogued under the father’s name, “Gabriel Perelle” (see https://www.britishmuseum.org/collection/term/BIOG41615).

“Winter”, c1650, possibly published by Pierre Mariette I (c1603–1657) with royal privilege in Paris (based on other circular prints by the Perelle family).

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

Size: (support sheet) 36.1 x 36.3 cm; (sheet) 22.5 x 22.6 cm; (plate) 21.1 x 21.2 cm; (image borderline) dia. 21 cm.

Lettered in plate along the lower edge: (left) “Perelle Inuent et fecit”; (right) “Drevet Auec priuilege”.

Condition: a richly inked and well-printed impression trimmed with a narrow margin around the platemark and laid upon a sheet of millennium quality washi paper providing wide margins. Beyond restored/replenished upper and lower margin corners, the sheet is in an excellent condition with no holes, folds, abrasions, stains or foxing.

I am selling this very strong (even magnificent!) impression of one of the Perelle’s largest round formatted etchings showing a herdsman with cattle at the edge of a stream in the foreground with more figures in the distance in a snow blanketed and well-treed landscape, for AU$279 (currently US$178.82/EUR181.04/GBP155.60 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 large and superb etching rendered with the finest of details and capturing the soft light and darkened sky of winter in the 17th century rural landscape, 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 

Gabriel Perelle’s etching, “Distant Herdsmen at a Stream”, c1650

Gabriel Perelle (aka Gabriel Perrelle) (1604–1677) / Nicolas Perelle (1631–c1695) / Adam Perelle (1640–1695)

Note that the attribution of this print to Gabriel Perelle, rather than to his sons (Nicolas and Adam), follows the convention of the British Museum in that prints inscribed with the name, “Perelle,” are catalogued under the father’s name, “Gabriel Perelle” (see https://www.britishmuseum.org/collection/term/BIOG41615).

“Distant Herdsmen at a Stream” (descriptive title only), c1650, possibly published by Pierre Mariette I (c1603–1657) with royal privilege in Paris (based on other circular prints by the Perelle family).

Etching on laid paper trimmed with a narrow margin around the image borderline and backed with a support sheet.

Size: (sheet) dia.19 cm; (image borderline) dia. 18.5 cm.

Condition: a richly inked and well-printed impression trimmed with a narrow margin around the image borderline and laid upon a sheet of millennium quality washi paper providing wide margins. There is a restored tear and an ink stain on the left but these issues are not noticeable.

I am selling this very strong impression of a round formatted scene showing a herdsman with cattle at the edge of a stream with another two men and more cattle further up the cleared embankment, for AU$279 (currently US$188.94/EUR188.24/GBP158.75 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 magnificent etching rendered with the finest of details and capturing the sparkling light of the rural countryside in the 17^th century, 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

Gabriel/Nicolas/Adam Perelle’s circular etching, “Plate 6”, c1660

Gabriel Perelle (aka Gabriel Pairelle) (1604–1677)/Nicolas Perelle (1631–c1695)/Adam Perelle (1640–1695)

Note: all prints in the British Museum that are inscribed with the name, “Perelle,” are catalogued under the father’s name, “Gabriel Perelle” (https://www.britishmuseum.org/collection/term/BIOG41615). The Rijksmuseum advises: (transl.) “Prints with the signature 'Perelle' can be made by father Gabriel as well as by sons” (see RP-P-OB-72.016).

Etching on fine laid paper with wide margins.

Size: (sheet) 30.1 x 25.7 cm; (plate) 18 x 17.5 cm; (image borderline dia.) 17.1 cm.

Inscribed on plate below the image borderline at lower left: “Inuenté et graué par Perelle […] Auec priuil.du Roy […]  VI”.

Condition: a superb, richly inked and well-printed impression with wide margins. Beyond a printer’s mark on the plate edge at right, the sheet is in a museum-quality condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this very strong impression of a round formatted landscape framed by trees with boatmen in the foreground, travellers/herdsmen with cattle in the middle distance and a distant view over rough terrain to a watch tower and other buildings, for AU$256 (currently US$189.18/EUR158.04/GBP142.09 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 superb landscape etching rendered with the finest of details and capturing the sparkling light and clean air of the rural countryside in the 17^th century, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Stefano della Bella’s etching, “Landscape with animals”, c.1646

Stefano della Bella (1610–64)

“Landscape with animals”, c.1646, from the series of 13 plates, “Views of Roman ruins and landscapes”, published by François Langlois, il Ciartres (1588–1647)

Etching on fine laid paper trimmed outside the image borderline and lined onto a sheet of heavy wove paper (Dutch Etch).

Size: (sheet diameter) 13.5 cm

De Vesme/Massar 1971 828.I (A.de Vesme, revised by Phyllis D.Massar 1971, “Stefano della Bella”, New York)

The British Museum offers the following description of this print:

“Landscape with animals; a horse and two shepherds seated and a cow and two goats grazing, with a waterfall behind to left; from a series of 13 round compositions. c.1646 Etching” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1502398&partId=1&searchText=della+bella&page=1)

The curator of the BM offers the following information about the series of which this print is a part, “Views of Roman ruins and landscapes”:

“Series of 13 round prints, all depicting views of Rome and the surrounding area, based on drawings made on the spot, many of which were in two sketchbooks (now dismantled) at the Uffizi. In the second state the plates are numbered; the second state of the frontispiece also contains a dedication.” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1502212&partId=1&searchText=X%2c5.136&page=1)

Condition: faultless rich and crisp impression. The sheet has been trimmed with only the “FL” visible from the publication details that would have been outside the trimmed area: “"F.L.D.Ciartres exc. cum Privil. Regis Christ." The print has been mounted onto heavy wove paper that is of conservation quality.

I am selling this very beautiful small round etching by one of the most famous of the late Renaissance/Mannerists for AU$215 in total (currently US$165.11/EUR155.94/GBP132.72 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this sensitively executed and skilfully composed etching, 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

After reading the British Museum’s curator’s advice that this and the other prints of the same series (viz. “Views of Roman ruins and landscapes”) were “based on drawings made on the spot” (see earlier reference) I changed my original thoughts that this print was a romantic concoction steeped in an Arcadian past where lounging classically dressed shepherds gaze out into space and their animals enjoy each other’s company. Now that I am informed that there really is such a place—even if it is only bits of it—I want to be there.

For me, this print is the work of a true master. For example, I am amazed that within an area equivalent in size to a postage stamp that della Bella is able to render the form of the foreground horse with such unambiguous clarity that I could even model it in clay. I am especially impressed with his subtle use of contour-marks that “explain” the curves of the horse’s right flank and his insightful control of the thickness and thinness (i.e. linear phrasing) of the flank's silhouette outline.

Almost as remarkable as the sensitive treatment of the scene is the composition underpinning it. For instance, note how della Bella uses the meandering “S”-shaped curve of the path leading from the centre foreground to invite the eye on a visual journey to explore far into the distance. Even more interesting for me is that the round shape of the image is not perceived to be a flat, but rather it seems three-dimensional like a sphere. What I mean by this is that the artist has arranged the composition so that large forms are towards the centre and smaller ones are at the outer circumference giving the impression of optical distortion as if I were looking into a convex or a spherical mirror.