Wednesday 25 May 2016
Frederic Bloemaert (1610–69) after Abraham Bloemaert (1564-1651) from “Het Tekenboek” [Artistic drawing book]
(left image) “Plate 67: Study of a woman’s head, seen in profile” 1650–56, copy in reverse to the print in the British Museum with the same plate number (“67”) (see: http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3377246&partId=1&searchText=L,83.1&page=1)
(right image) “Plate 58: Study of three figures” 1650–56, copy in reverse to the print in the British Museum with the same plate number (“58”) (see: http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3377226&partId=1&people=132001&peoA=132001-2-60&page=2)
Engravings on fine laid paper with 2.5 cm chainmarks; Plate 58 has a watermark.
Size of Plate 67: (sheet) 25.8 x 19.1 cm; (plate) 20.4 x 15.2 cm; (image borderline) 20 x 14.8 cm.
Size of Plate 58: (sheet) 22.6 x 18.5 cm; (plate) 20.3 x 15.2 cm; (image borderline) 19.8 x 14.8 cm.
Both plates are inscribed in the lower-right corner with the plate number: “67” and “58”. Roethlisberger 1993; Hollstein 186–231 (Frederik Bloemaert); Hollstein 94–213 (prints after Abraham Bloemaert).
Condition: crisp and well-inked impressions. Both sheets have margins and are in good condition (i.e. there are no tears, holes or foxing). There are mounting tape stains on the edge of each margin of Plate 67.
I am selling these delicate and technically superb prints (i.e. plates 67 and 58) for AU$190 in total (currently US$136.93/EUR122.47/GBP93.07 at the time of posting this listing) including postage and handling to anywhere in the world.
If you are interested in purchasing this pair of very fine engravings, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
These prints have been sold
These plates are from one of the most famous and earliest instructional books on drawing designed for artists: “Het Tekenboek.” Intriguingly, both prints are mirror images of the same plates (numbers “67” and “58”) held in the British Museum.
The fact that there are two versions of the same images is not exactly surprising. After all, the original plates were printed over and over again until they wore out and fresh plates needed to be engraved to continue the publication of the book.
These impressions are clearly from later plates but they are undoubtedly engraved by Frederic. The reason for this judgement lies with the exquisite use of cross-hatching displayed, especially the famous “dotted lozenge”, in rendering the tones of the figures in such a fluid way.
Interestingly, the fluidity of this tonal treatment is a hallmark of the Utrecht Mannerists, like Hendrik Goltzius and Bartholomaus Spranger, who cast a strong influence over the Bloemaerts’ workshop. Of course, my judgement may be misguided and I look forward to comments from historians with information regarding the publication of the plates for “Het Tekenboek.”