Lucas Vorsterman, “The Lamentation”, c. 1634, after Anthony van Dyck

Lucas Vorsterman I (also known as Lucas Aemilius Vorsterman) (1595–1675)

“The Lamentation”, circa 1634

Technical Details & Condition:

Engraving on laid paper featuring a grapes watermark (commonly found in Antwerp workshop printings from the 1630s), with thread margins surrounding the image border. This is an exceptionally rare lifetime impression from the first state (of five), prior to the addition of the production details in the second state. 

The composition is after the 1634 painting by Anthony van Dyck (1599–1641) housed in the Alte Pinakothek, Munich, inv.no.606. A highly finished grisaille preparatory work attributed to Vorsterman is also in Munich, inv.no.67. 

The impression is superb: richly and evenly inked, with crisp detail. Aside from minor restoration of small tears (visible only upon close inspection), the sheet remains in good condition for its age, with minor foxing in the lower left corner. The sheet has been stabilised and backed with a supportive, archival-quality washi paper, which also provides wide (false) margins suitable for framing. 

Dimensions:

• Sheet: 32.2 x 44.5 cm
• Image borderline: 32 x 44.3 cm

References:

• Hymans 35–1 (Henri Hymans, “Lucas Vorsterman, 1595–1675, et son Oeuvre Gravé”, 1972, Amsterdam G. W. Hissink & Co., p. 82, cat. no. 35–1)
• Hollstein Dutch 32.I; New Hollstein Dutch 539.I
• Carl Depauw & Ger Luiten, “Anthony van Dyck as a Printmaker”, 1999, New York, Rizzoli, pp. 263–66, cat. no. 36
• British Museum: Museum number 1868,0822.891 (State II) — https://www.britishmuseum.org/collection/object/P_1863-0214-743
• Rijksmuseum: Object number RP-P-OB-33.017 — https://id.rijksmuseum.nl/200271406

Price & Shipping:

AU$653 (approximately US$467.60 / €403.07 / £345.26, 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 spectacular first state lifetime impression of a masterwork engraving by Vorsterman, please contact me at oz_jim@printsandprinciples.com. I’ll gladly provide a secure PayPal invoice for a seamless transaction.

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

Jean François Millet, “La Bouillie”, 1861 (2nd copy)

Jean François Millet (1814–1875)

“La Bouillie” (also known as “The Porridge”; “Gruel”; “Woman Feeding Her Child”), 1861

Technical Details & Condition:

Etching with pale plate tone on cream laid paper, with wide margins.

This is a State III (out of VI, Melot), with the artist’s name and date added, but before the publication details for Gazette des Beaux Arts and Auguste Delâtre as the printer.

The impression is richly inked, crisp, and faultless. The sheet is in pristine condition—completely free of tears, holes, folds, abrasions, handling marks, or stains (aside from the faint binding glue trace on the verso).

Production insights:

This etching was executed with the assistance of Félix-Joseph-Auguste Bracquemond (1833–1914). It is an impression before lettering intended for publication in the French periodical Gazette des Beaux Arts (September 1861). The scene depicts Millet’s daughter (Madame Heymann) cooling a spoonful of porridge by blowing on it as she feeds her child.

Michel Melot (1978) recounts Philippe Burty’s (1830–1890) account from June 10, 1861, regarding Bracquemond’s role in creating this plate: “The copper plate was really quite eaten. It was bitten well the first time. The ground was coated again and it was bitten once more. Finally, Millet insisted on himself putting two touches of pure acid on the heads of the woman and her child. The instant the brush touched them, Bracquemond quickly splashed drops of water on them. We went to Delâtre’s. A worker ran off proofs for us. At the third, Millet used the drypoint to close up a large highlight on the woman’s neck, added a few lines on the shadow of the bonnet, and a few points on the wrist holding the infant. We had nineteen in all printed, of which two were retouched. Bracquemond is going to add the signature. Only three have the sketch at the bottom, with the printer adjusting them as he pleases. I myself burnished them on the plate.” (Melot, p. 290).

Dimensions:

• Sheet: 26.5 x 21 cm
• Platemark: 18.7 x 16 cm
• Image borderline: 15.2 x 13 cm

In-Plate lettering (by Bracquemond):

• Below image, at left: “J.F. Millet 1861.”

References:

• Melot M 17 S3 (Michel Melot, “Graphic Art of the Pre-Impressionists”, 1978, New York, Harry N. Abrams, pp. 289–90, cat. no. M 17)
• Delteil 17 S3 (“Le Peintre-Graveur Illustré (XIXe et XXe siècles”)
• British Museum: Museum number 1865,0114.86 — https://www.britishmuseum.org/collection/object/P_1865-0114-86
• Rijksmuseum: Object number RP-P-1950-807 — https://id.rijksmuseum.nl/200130837
• Christie’s Auctions (20 Jun 2000) describe a later state of this print:  https://www.christies.com/en/lot/lot-1825725

Price & Shipping:

AU$900 (approximately US$644.79 / €556.46 / £476.30, 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 stunningly beautiful etching—a truly iconic image of motherhood—by one of the most famous of the French artists of the nineteenth century, please contact me at oz_jim@printsandprinciples.com. I’ll gladly provide a secure PayPal invoice for a seamless transaction.