Hubert Goltzius, “Emperor Didius Julianus”, 1559

Hubert Goltzius (1526–1583) possibly in collaboration with Joos Gietleughen (also known as Jocodus de Curia and Regnirer Curia) (active 1555–1559)

Portrait of Emperor Didius Julianus” (also known as “Imperator Caesar Marcus Didius Severus Julianus Augustus” or “Imp Caes M Did Se Ver Ivlian Avg” as lettered in the medallion border), 1559

Didius Julianus was the nineteenth Emperor of Rome, famously purchasing his Imperial title in an auction held by the Praetorian Guard after they assassinated his predecessor, Pertinax. His reign was one of the shortest in Roman history, lasting only sixty-six days in 193 AD. He was eventually executed by his successor, Septimius Severus.

Technical Details & Condition:

Chiaroscuro woodcut printed in ochre with etching printed in black on laid paper with letterpress French text above and below the image, and verso.

This impression is from the rare 1559 first French edition of “Les Images Presque de Tous les Empereurs” (Images of Almost All the Emperors), printed in Antwerp by Gilles Coppens van Diest (also known as Aegidius Coppens van Diest) (1496–1572).

This is a definitive 16th-century impression, verified by the binder’s signature mark “G 4” at the lower right. This mark is specific to the 1559 French gathering and the presence of Middle French text on the reverse distinguishes this original woodcut from the later 17th-century recut. See this publication and the print in its context: https://gallica.bnf.fr/ark:/12148/btv1b105511132/f83.item.

Note that Christoffel Jegher (1596–1652/3) later recut the same design as a plate to Hubert Goltzius' “Icones Imperatorum Romanorum”, printed and published in Antwerp in 1645 by Balthasar Moretus II (aka Balthasar Moerentorf II) (1615–1674); see the description of this recut print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1982-U-2939.

The impression is strong with characteristic 16th-century colour unevenness. Note a restored tear in the right margin and two small wormholes on the neck of the portrait. There are minor surface marks consistent with age. The sheet has been professionally laid on tissue-thin washi paper (Special Wild Goose Skin Cicada Wing Rice Paper) for archival support.

Dimensions:

• Sheet: 27.4 x 22.2 cm
• Circular image borderline diameter: 18 cm

Lettering:

• Upper French text: “ET FVSSE-IE DE L'VN DES PIEDZ AV SEPVL= / CHRE, ENCORE VOVDROY-IE APRENDRE.” (Translation: And though I had one foot in the grave, I would still wish to learn.)
• Medallion inscription: “IMP · CAES · M · DID · SE VER · IVLIAN · AVG ·” (Imperator Caesar Marcus Didius Severus Julianus Augustus)
• Lower French text: “Il acheta fa mort auec l'Empire, lequel il ne gouuerna que sept moys.” (Translation: He bought his death with the Empire, which he only governed for seven months. Note: The 1559 text contains a common historical error; he actually reigned for 66 days.)
• Binder’s signature mark at lower right: “G 4”

Price & Shipping:

AU$298 (approximately US$212.26 / €181.67 / £157.65), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

I am selling this graphically arresting chiaroscuro woodcut created at the time when Michelangelo was working on his final marble sculpture, “The Rondanini Pieta” (1552–1564), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Richard van Orley II, “Wedding of Amaryllis and Mirtillo”, c. 1700

Richard van Orley II (1663–1732)

“Wedding of Amaryllis and Mirtillo” (or “Huwelijk van Amaryllis en Mirtillo”), c. 1700 (c. 1695–1705)

Technical Details & Condition:

Etching with engraving on fine laid paper, trimmed with a thread margin around the image borderline on the top and sides, but retaining the writing edge. The sheet has been professionally supported on washi paper, providing wide margins. It is the second plate in a series of 12 prints titled Il Pastor Fido, illustrating scenes from Giovanni Battista Guarini’s play Il Pastor Fido (c. 1584). 

This particular print depicts the ninth scene of the fifth act, where the priest Montanus blesses the marriage of Amaryllis and Mirtillo in front of a circular temple dedicated to Diana. The impression is strong, crisp, and well-printed, showing no signs of wear to the printing plate—evidence that it is a lifetime impression, with guide lines for the lettering still visible. The sheet is in excellent condition, free of tears, holes, folds, abrasions, or significant stains. 

Dimensions:

• Sheet: 25.7 x 19.1 cm
• Image Borderline: 24.7 x 19 cm

In-Plate Numbering:

• Lower left: “R.V. Orleÿ fecit.”

References:

• Jacobs G15 (Alain Jacobs, Richard van Orley [Brussels 1663–Brussels 1732]), 2003, Brussels, Royal Library of Belgium, pp. 96–103, cat. nos. 66–78 [G4–G15])
• Hollstein Dutch 48–59 (FWH Hollstein, Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700, Amsterdam, Menno Hertzberger, p. 192, cat. nos. 48–59)
• Rijksmuseum: https://id.rijksmuseum.nl/200239334

Price & Shipping:

AU$302 (approximately US$216.01 / €184.47 / £160.09), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

If you’re interested in acquiring this lively scene, which captures the transition from late 17th-century Baroque to 18th-century Classicism—note the dynamic chain-like rhythms connecting the figures, the dramatic lighting (highlighting that the scene is staged), and the classical setting—please contact me at oz_jim@printsandprinciples.com. I will be happy to provide a PayPal invoice for a smooth and secure transaction.

This print has been sold 

Frederik Bloemaert, “Young Farmer with Basket”, c.1650, after Abraham Bloemaert

Frederik Bloemaert (1610–1669)

“Young Farmer with Basket” (“Jonge boer met mand”), c.1650 (1635–1669)

Technical Details & Condition:

Engraving on fine laid paper featuring a Foolscap watermark. The sheet has been trimmed with a narrow margin around the image borderline and professionally supported on tissue-thin archival (Kozo) washi paper. 

This print is based on a drawing by the artist’s father, Abraham Bloemaert (1564–1651). It is plate 21 from the series of 30 engravings (“The Little Figures” / “De Kleine Figuren”), catalogued as Roethlisberger 322–350. 

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

Dimensions:

• Sheet: 12.5 x 8 cm
• Image Borderline: 12.2 x 7.7 cm

In-Plate Numbering:

• Lower right: “21”

References:

• Roethlisberger 341 (Marcel G. Roethlisberger, “Abraham Bloemaert and His Sons: Paintings and Prints”, vol. 1, 1993, Davaco, Doornspuk, p. 241, cat. no. 341)
• Hollstein Dutch 157 (FWH Hollstein, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700: Berckheyde–Bodding”, vol. 2, 1950, Amsterdam, Menno Hertzberger, p. 87, cat. nos. 156–185)
• Rijksmuseum: https://id.rijksmuseum.nl/200160138

Price & Shipping:

AU$239 (approximately US$171.25 / €145.74 / £126.74), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

If you’re interested in acquiring this remarkably fine engraving of a curly-haired young farmer holding a basket and a staff—note how the artist insightfully used just enough shadow to “anchor” him, while avoiding a longer cast shadow that might distract from the focus on the young man—please contact me at oz_jim@printsandprinciples.com. I will be happy to provide a PayPal invoice for a smooth and secure transaction.

Théophile Chauvel, “Tronc d'Arbre” (2nd copy), 1877, after Narcisse Diaz de la Peña

Théophile Chauvel (also known as Théophile-Narcisse Chauvel) (1831–1909)

“Tronc d'Arbre” (Tree Trunk), 1877—this is the second copy of this etching that I have listed (the previous copy has been sold)

Technical Details & Condition:

Etching on laid paper with with wide margins as issued. This work is based on a painting by Narcisse Diaz de la Peña (also known as Narcisse Virgile Diaz de la Peña) (1807–1876). It was printed in Paris by François Liénard (fl. c. 1860s–1880s) and published in the French art periodical L'Art. The impression is from the final published state (state vi).

This is a richly inked, well-printed (near faultless) impression with generous margins. Aside from a thin spot in the margin at the lower right—an imperfection in the paper—the sheet is in near pristine condition, free of tears, holes, folds, abrasions, stains, or signs of handling.

Dimensions:

• Sheet: 42.3 x 29.5 cm
• Platemark: 28.7 x 22 cm
• Image borderline: 25.9 x 18.8 cm

In-Plate Lettering (below the image borderline):

• Left: “N. Dias, pinx. / L'Art.”
• Centre: “TRONC D'ARBRE.”
• Right: “Th. Chauvel sc. / F^çois Liénard,Imp,Paris.”

References

• IFF 54 (Jean Adhémar, Inventaire du Fonds Français après 1800: CABANE–CICÉRI, vol. 4, 1949, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 423, cat. no. 54). See: https://gallica.bnf.fr/ark:/12148/bpt6k5510949t/f445.item
• Delteil 54 (p. 50)
• British Museum: https://www.britishmuseum.org/collection/object/P_1878-0511-283

Price & Shipping:

AU$238 (approximately US$170.40 / €144.70 / £126.02), including worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you’re interested in acquiring this superb and densely worked etching—particularly notable for the subtle variations of tone used to capture the pocket of filtered light falling softly on the central tree, which seems to glow in the forest darkness—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and safe transaction.