Jan Luyken, “Top Floor of Noah’s Ark,” 1690

Jan Luyken (aka Jan Luijken) (1649–1712), or an artist from his circle

“Top Floor of Noah’s Ark,” or “Derde of Bovenste Verdieping der Arke”(Third or Top Floor of the Ark) — plan view of the top floor of Noah’s Ark, revealing the living quarters for Noah and his family, along with stalls for birds, 1690

Technical Details & Condition:

Etching printed on laid paper with full margins and gatefolds, as published. This large print is plate 1025 from volume 2 of Wilhelmus Goeree’s “Preparations for Biblical Wisdom and the Use of Sacred and Ecclesiastical History,” published in Amsterdam in 1690. The sheet is laid upon a support of archival-quality washi paper, which allows the published folds of the large print to be flattened and supported. The impression is strong and well-printed—near flawless. The sheet is in excellent condition, free of tears, holes, or significant stains.

Dimensions:

• Sheet: 33 x 54.8 cm
• Platemark: 27.6 x 51.6 cm
• Image borderline: 27 x 51.2 cm

Plate Lettering (with translation of the Dutch text):

• Upper centre: “Derde/ of Bovenste Verdieping/ der ARKE,/ alwaar de Woonplaatsen voor NOACH/ en syn Huisgezin, beneffens alle de/ Koojen en Nesten der Vogelen, seer/ ordentlyk geplaatst waaren.” (Third or Top Floor of the Ark, where the dwellings for Noah and his family, as well as all the cages and nests of the birds, were very neatly arranged.)
• Upper right corner: “1025”
• Centre (with explanatory text for each stall): “Grond vlakten der Derde Verdieping.” (Ground levels of the third floor.)
• Lower centre: “de Arke in haar Bovenste verdieping, op de lengde van dry-honderd ellen in onderscheide Woonplaatsen voor Menschen en Vogelen in Opstal afgedeeld.” (The Ark in its uppermost storey, on the length of three hundred cubits, divided into distinct dwelling places for people and birds in the building.)

References:
• Van Eeghen 1131 (Pieter van Eeghen & Johan Philip van der Kellen 1905, Het werk van Jan en Casper Luyken, Amsterdam, Frederik Muller & Co., vol. 1, p. 193, cat. no. [11]31 [see https://archive.org/details/hetwerkvanjanen00kellgoog/page/n296/mode/2up])
• Rijksmuseum: https://id.rijksmuseum.nl/200223349

Price & Shipping:
AU$288 (approximately US$205.01 / €173.48 / £152.05), including worldwide express shipping. Please note: Import duties and taxes are the buyer’s responsibility.

If you're interested in acquiring this remarkable etching—offering a detailed plan of how the animals could have been accommodated on Noah’s Ark (noting that the birds of paradise in the stall labelled “BB” are depicted flying, as at the time, these birds were thought never to land and were sometimes portrayed with nests on their backs!)—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

Matthaeus Merian, “The Plea for Mercy”, 1655

Matthaeus Merian (also known as Matthäus Merian I) (1593–1650), or possibly Theodoor de Bry (aka Théodore de Bry, Dietrich de Bry, and Dirk de Bry) (1528–1598)

“The Plea for Mercy”—The Tupinambá Discussing Clemency for Hans Staden, 1655

This scene depicts a pivotal moment from the narrative of Hans Staden, a Protestant German soldier held captive by the Tupinambá, an indigenous people of Brazil, for nine months in the mid-16th century. 

The figure at upper centre, addressing the gathering of Tupinambá, is likely the tribe’s leader. The bearded figure on the right, crossing his arms in supplication, is possibly Hans Staden himself—who, having become acculturated to Tupinambá customs, is shown in the nude. From my reading of the scene, the assembly is deliberating on granting Staden clemency, following a testimony from a character called “the Frenchman,” who previously claimed Staden was a Portuguese enemy of the Tupinambá. However, the latest account suggests that the Frenchman was mistaken—Staden was actually a “blood-friend” of the French, and a German (Allemanten), and therefore deserving of mercy. Staden appears to second this plea, proposing his innocence and loyalty. (Please note: I acknowledge possible inaccuracies in this interpretation of the scene.)

Technical Details & Condition:

Etching on fine laid paper with full margins and German letterpress text on both recto and verso. This original book-leaf was published in Frankfurt am Main in 1655 by the Merian heirs, as part of Johann Ludwig Gottfried’s “Newe Welt und Americanische Historien.” The featured etching appears on page 309. See: https://archive.org/details/neweweltvndameri00gott/page/308/mode/2up.

The impression is strong and well-printed, showing no signs of wear to the printing plate. Aside from minor age-toning, the sheet is in excellent condition—free of tears, holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet: 30.6 x 19.3 cm
• Platemark: 15.2 x 18.5 cm
• Image borderline: 14.6 x 17.7 cm

Price & Shipping:

AU$251 (approximately US$178.81 / €151.40 / £132.73), including worldwide express shipping. Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this historically significant leaf documenting interactions between Native Americans and Europeans, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

John William Lewin, “Bearded Titmouse,” 1793

John William Lewin (1770–1819) — the first free artist to settle in New South Wales, Australia, and the first printmaker in the colony (see https://www.britishmuseum.org/collection/term/BIOG35701)

“Bearded Titmouse,” or “Bearded Tit” (as titled in the plate), 1793

Technical Details & Condition:

Etching on wove paper with the original hand-colouring and full margins as issued. This etching is plate 123 facing page 58 in the fourth volume (of eight) of Lewin’s “The Birds of Great Britain Systematically Arranged, Accurately Engraved, and Painted from Nature…”, published by Joseph Johnson (1738–1809) in London in 1795.

Archive.org offers an online view of the publication, providing context for this print and its accompanying description: https://archive.org/details/birdsGreatBritaIV/page/58/mode/2up.

This is an exceptionally fine (nearly faultless) impression, with the vivid original hand-colouring sensitively applied and unfaded. Aside from a few faint marks in the margin, the sheet is in excellent (near-pristine) condition, free of tears, holes, folds, abrasions, significant stains, or signs of handling.

Dimensions:

• Sheet: 34 x 24.4 cm
• Platemark: 17.3 x 13.5 cm

Numbered and Lettered on Plate:

• Upper right corner: “123”
• Lower centre: “BEARDED TIT. I.W. Lewin, del.et.sculp^t. Published as the Act directs, Nov^r.1793.”

Price & Shipping:

AU$244 (approximately US$173.91 / €147.08 / £128.23), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

If you are interested in acquiring this delicate and sensitively coloured etching that captures the Bearded Titmouse in a moment of focused anticipation—its slender frame tense with alertness as it gazes downward, scanning the reeds below for a meal—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Charles Joseph Natoire, “St Matthew Holding a Tablet,” c. 1750, after Pietro da Cortona

Charles Joseph Natoire (1700–1777)

“St Matthew Holding a Tablet” (descriptive title only; the proposed saint may be incorrect), circa 1750 (or between 1723–29 or 1751–77—based on the artist’s travels to Rome)

Technical Details & Condition:

Etching printed in brown-black ink on fine laid paper, with a narrow margin surrounding the platemark. The composition is after a design by Pietro da Cortona (also known as Pietro Berrettini) (1597–1669) and may be part of a series intended for art students to study Cortona’s ceiling frescoes. Although the specific site of Cortona’s painting of this apostle or prophet cannot be precisely identified, the figure’s dramatic foreshortening, combined with the perspective of the platform on which the figure rests his leg and the shadows shaping the surrounding niche, suggests an elevated location such as a cove in the Palazzo Barberini ceiling, featuring Cortona’s “Triumph of Divine Providence” (1633–1639), or possibly a pendentive or spandrel in the domed ceiling of Chiesa Nuova (Santa Maria in Vallicella), executed by Cortona between 1647 and 1665.

The impression is strong, crisp, and well-printed. Aside from minor edge marks, the sheet is in excellent condition, free of tears, holes, folds, or significant stains.

Dimensions:

• Sheet: 28 x 20.7 cm

• Platemark: 27.2 x 20.2 cm

• Image borderline: 25.7 x 18.8 cm

Inscriptions on Plate:

• Lower left: “Retour/ d'après Piet./ de Cortone/ … [scratched deletion marks obscuring cancelled text]”

• Lower right: “C. S.”

Price & Shipping:

AU$244 (approximately US$173.22/ €146.84 / £128.15), including worldwide express shipping. Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this exceptionally rare etching exemplifying the Baroque style, where figures seem to “spill” into the viewer’s space, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.