Circle of Balthasar Moncornet & Peter Aubry II, “Portrait of Johann Ludwig Hektor, Count of Isolani”, c.1637

Unidentified printmaker from the circle of Balthasar Moncornet (c.1600–1668) and Peter Aubry II (aka Pierre Aubry; Peter Audry) (1596–1666)

“Portrait of Johann Ludwig Hektor, Count of Isolani” (aka “Iean Lovys Comte d'Abisolani General de Croates” [as titled in plate]), c.1637 (BM dates: 1626–1648), published in Paris by Balthasar Moncornet (as inscribed in plate)

Interestingly, a century later (around 1750), an unidentified painter executed “Portret van Johann Ludwig Hektor graaf van Isolani (1586–1640)” (aka “Portrait of a Hungarian Envoy”), in the collection of the Rijksmuseum held by the Gemeentemuseum (Helmond), that is likely to be based on, or related to, this etching, but showing the Count in the reverse direction to this etching (see https://resolver.kb.nl/resolve?urn=urn:gvn:RIJK01:SK-A-2870). There is also a strong possibility that both the print and the painting are after an earlier portrait. Certainly, Peter Aubry II made an engraving (c.1648) of the Count in reverse to this etching (see https://www.alamy.com/isolani-johann-ludwig-graf-publisher-aubry-peter-2-dating-16201666-image418615413.html, but (to my eyes) there is a significant difference in the quality of the execution between Aubry’s print and the fineness of this etching.

Etching and engraving on fine laid paper.

Size: (sheet) 20.4 x 15.3 cm; (platemark) 15 x 11.3 cm.

Lettered in plate below the image borderline: “IEAN LOVYS Comte d'Abisolani General de Croates/ B. Moncornet excū”.

The British Museum offers the following description of this print: “Portrait of Johann Ludwig Hektor, Count of Isolani; half-length, directed to right, glancing towards the viewer; wearing fur hat decorated with jewel and feather, doublet and chain; battle in background; in an oval, bordered by several lines./ Etching and engraving” (https://www.britishmuseum.org/collection/object/P_O-6-17). See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.155438.

Condition: a strong and well-printed impression in an excellent condition for its considerable age with no tears, holes, folds, losses or stains, but there are remnants of mounting verso.

I am selling this amazing portrait of the Count Johann Ludwig Hektor who was the Colonel of the Croatian cavalry in the Holy Roman Emperor's army during the Thirty Years' War (see the BM’s biographical details), for AU$261 in total (currently/approximately US$172.37/ EUR160.01/ GBP137.62 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. Note that payment is in Australian dollars (AU$261) as this is my currency.

If you are interested in purchasing this superb engraving showing the Count as a determined man with a flight of birds to his left possibly symbolising his aspirations to freedom and the halo-like cloud formation above his head—note that I believe the Count is also portrayed in the distance on horseback wearing the same military dress as the commanding leader of the cavalry engaged in a skirmish at right—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

Giovanni Merlo, “Saint Martinianus”, c.1656, after Raphael Sadeler I and Maarten de Vos

(Attributed to) Giovanni Merlo (fl.c.1656–1696)—attribution based on other engravings in the same series/folio that are lettered in the plate with the name of Giovanni Merlo (see https://www.printsandprinciples.com/2023/10/giovanni-merlos-engraving-saint-amatus.html & https://www.printsandprinciples.com/2021/11/giovanni-merlos-engraving-st-gudwal-of.html)

“Saint Martinianus” (aka “St Martinian”—Hermit of Caesarea in Palestine [c.350 AD]), c.1656, plate 16 from the series of thirty plates, “Hermits Sylvae Sacrae (Monumenta …Anachoretarum…)”, after a lost drawing by Maarten de Vos (1532–1603) and after the engraving of the same composition executed by Raphael Sadeler I (1560/61–1628/32).

Engraving on fine laid paper.

Size: (sheet) 19.2 x 22.4 cm; (plate) 16.8 x 20.1 cm; (image borderline) 15.5 x 19.2 cm.

Lettered and numbered in plate below the image borderline: (left) “Primitias aui Domino floremq[ue] iuventae/ Donat, et in latebras MARTINIANVS abit”; (centre) “16”; (right) “Naufraga suscipitur Virgo, fit naufragus ipse,/ Cui dant Delphinium terga per æquor iter”

Lifetime impression (based on the quality of line showing no sign of wear to the printing plate).

TIB 7001.107 C1 (Isabelle de Ramaix [ed.] 2001, “The Illustrated Bartsch: Raphael Sadeler I Fecit”, Vol. 71, Part 1 [Supplement], New York, Abaris Books, p. 144, cat. no. [7001].107 C1).

Condition: a strong and near faultless impression in a pristine condition with no tears, holes, folds, losses, abrasions or stains.

I am selling this exceptionally fine impression of a very beautiful engraving in a near pristine condition exemplifying the period style of Mannerism, for AU$248 in total (currently/approximately US$163.78/ EUR152.04/ GBP130.77 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. Note that payment is in Australian dollars (AU$248) as this is my currency.

If you are interested in purchasing this superb engraving showing the hermit saint about to rescue a shipwrecked woman—note that this saint had earlier employed the extraordinary manoeuvre of putting his feet into a fire to quell his passion for another woman, Zoe, who had sought to seduce him (see https://www.saintforaminute.com/saints/saint_martinian_the_hermit—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Félix Bracquemond, “La Toilette”, 1873, after Corot

Félix Bracquemond (aka Joseph Auguste Félix Bracquemond) (1833–1914)

“La Toilette” (The Bath), 1873, after Jean-Baptiste-Camille Corot’s (1796–1875) painting, “Landscape with Figures” (aka “La Toilette”) (1859) in a private collection (see https://commons.wikimedia.org/wiki/File:Corot_-_La_Toilette,_1859.jpg), published with the cover sheet showing this etching (with drypoint) as plate XXXII (32) in “Galerie Durand-Ruel”.

Etching with drypoint printed with pale plate tone on fine cream laid paper with full margins as published along with the original cover sheet.

Size: (sheet) 29.4 x 19.3 cm; (platemark [soft]) 17.9? x 10.3? cm; (image borderline) 15 x 7.7 cm.

Numbered in plate above the image borderline: (right) “32”.

State iii (of iii) as published under number 32 of the Durand-Ruel Gallery (see Beraldi, vol III, p. 108).

IFF 345 (Jean Laren 1942, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, pp. 379-80, cat. no. 345, no. 32 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488545z/f388.item]): Beraldi 337.III (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: BRACQUEMOND”, vol. III, Paris, Librairie L. Conquet, p. 108, cat. no. 337.III).

The British Museum offers the following description of this print: “In a wood, at the foot of tall trees, a woman stands, dressing a young woman who has just bathed; both women sit before a small river; both women are engaged with arranging the naked woman's hair; beyond at right, a third woman leaning against a tree, reading; after Corot. 1873/ Etching and drypoint” (https://www.britishmuseum.org/collection/object/P_1924-1126-84).

Condition: a strong and well-printed (faultless) impression with full margins as published and the original cover sheet. Both sheets are in a pristine condition with no tears, holes, folds, significant stains or signs of handling.

I am selling this superb etching showing Bracquemond’s translation of Corot’s painting into line for AU$278 in total (currently/approximately US$183.76/ EUR170.48/ GBP146.79 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. Note that payment is in Australian dollars (AU$278) as this is my currency.

If you are interested in purchasing this small but dazzlingly beautiful etching with its original cover sheet in a pristine condition, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Conrad Faber von Kreuznach, “Siege of Tarentum”, c.1530–33

Conrad Faber von Kreuznach (aka Konrad Faber von Creuznach; [formerly] “Master of the Holzhausen Portraits”) (1495–1558)

“Siege of Tarentum”, c.1530–33, woodcut illustration to page 153 (verso shows page CLII [152]) published in 1533 in Mainz in the German edition of the Roman Historian, Livy’s (aka Titus Livius) (59/64 BC–17 AD) “Römische Historien” (Roman Histories), edited by Johannes Schoeffer (c1475–1531), and translated from Latin by Bernhard Schöfferlin (c.1436–1501) and Ivo Wittich (1456–1507) with contributions by Nicolaus Carbach (aka Nicolaum Carbachium) (1485–c1534) and Jakob Micyllus (aka Jacobum Micyllum) (1503–1558).

Archive.org offers an online view of an edition of this publication from 1538; see https://archive.org/details/gri_33125011080492/page/n335/mode/1up.

Woodcut with letterpress German text recto and verso on fine laid paper with full margins as published.

Size: (uneven sheet) 30.6 x 19.7 cm; (image borderline) 12.2 x 14.8 cm.

For those unfamiliar with the portrayed siege of Tarentum in 209 BC, the Roman general, Quintus Fabius Maximus Verrucosus (c.280–203 BC)—I understand that the latter part of his name, Verrucosus ([transl.] “warty”), is an unfortunate and unflattering nickname to differentiate him from the rest of his family based on a wart on his upper lip—arranged for his army to launch an attack on the walls of the city on the sixth day of the siege, but this attack was a ruse as the general was meanwhile entering the city through the treachery of insiders within the city. The treachery was either facilitated by the lover of the city commander, Carthalo, who Hannibal had left in charge of the city, or the treachery was linked to the seductive abilities of the Roman general’s wife who had compromised Carthalo (see https://en.wikipedia.org/wiki/Battle_of_Tarentum_(209_BC)). 

Condition: a strong and well-printed lifetime impression (based on the quality of the printed line showing no sign of wear to the printing plate). The sheet in in an excellent condition for its considerable age with no tears, holes folds, abrasions or significant stains, nevertheless, there are brown ink notations (verso) in the margins from an old hand and the paper has a scallop in the left edge which is possibly an inherent part of the paper rather than a misadventure in the life of the leaf.

I am selling this superb Renaissance period woodcut for AU$298 in total (currently/approximately US$196/ EUR182.40/ GBP156.91at 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. Note that payment is in Australian dollars (AU $298) as this is my currency.

If you are interested in purchasing this superb woodcut of extraordinary quality in an excellent condition, 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 

Claude Lorrain’s etching, “The Four Goats”, c.1630–33

Claude Lorrain (aka Claude Gellée; Le Lorrain; Claudio di Lorena) (1600–1682)

“The Four Goats” (aka “Les Quatre Chèvres”), c.1630–33, printed from the original plate and published in 1816 by J. McCreery in the “200 Etchings” folio. Interestingly this is the left side of a larger etching, “The Goats” (aka “Les Chèvres”), which Lorrain divided into two sections with the right side titled, “The Three Goats” (aka “Les Trois Chèvres”).

Etching on fine wove paper, trimmed around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 19.5 x 12.8 cm.

State iv (of iv) as published in the 1816 with the dark spots showing in the sky in the upper right corner. Note that there are impressions from this state where these spots and the horizontal lines in the sky are wiped clean in leaving a noticeable white area.

Mannocci 8 iv (Lino Mannocci 1988, “The Etchings of Claude Lorrain”, New Haven, Yale University Press, pp. 60–72, cat. no. 8, fourth state); Blum 5; Robert-Dumesnil 26; Russell 19 (H. Diane Russell 1982, “Claude Lorrain 1600–1682), Washington, National Gallery of Art, p. 328, cat. no. 19).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1870-0514-408.

Regarding the plate for this etching (and the others printed by McCreery), Andrew Brink (2013) in “Ink and Light: The Influence of Claude Lorrain’s Etching on England” (McGill Queen’s University Press) offers the following insight: “The plates of Claude’s etchings disappeared without trace as mysteriously as they had first come to London” (p. 74). From my very unreliable memory, I recall being told in a chat with a “knowledgeable friend” who was told by another “knowledgeable friend” that the plates were discovered as ballast on a ship, but this information may be far from the truth.

Condition: a strong and well-printed impression, trimmed around the image borderline in an excellent condition with no losses, holes, folds or stains. The sheet is laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this very strong impression of a freely inscribed etching by Claude Lorrain, for AU $398 in total (currently/approximately US$261.53/ EUR243.42/ GBP209.59 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. Note that payment is in Australian dollars (AU $398) as this is my currency.

If you are interested in purchasing this superb etching by one of the most famous of all landscape artists, 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