Marcantonio Bellavia, “A River God Sitting on His Urn and Holding an Oar in His Left Hand”, c.1670

Marcantonio Bellavia (fl. 1668–1670)

“A River God Sitting on His Urn and Holding an Oar in His Left Hand” (TIB title) (aka “Autre fleuve. Il est assis sur son urne, et tient une rame de la main gauche”; “River God Watching Pan Pursuing Syrinx”), c.1670 (1660–1680), incorrectly inscribed as being after the design by Annibale Carracci (1560–1609). Regarding the inscribed attribution to Annibale Carracci, the British Museum advises: “His plates are all from his own designs, although later publishers added the name of the Carracci to many of them” (https://www.britishmuseum.org/collection/term/BIOG19083).

Etching on laid paper with a small margin around the platemark.

Inscribed in plate: (lower left edge)  “A.c. IN.”; (lower right corner) “\[B]III” (possibly the artist’s initials in reverse [“MB”], but I understand that the artist’s monogram is often “MAB” or “MABI”)

Size: (sheet) 12.6 x 12.1 cm; (plate) 26.5 x 16.8 cm;.

TIB 44.50 (Paolo Bellini & Mark Carter Leach [eds.] 1983, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 44, New York, Abaris Books, p. 54, cat. no. 50).

Condition: a strong and well-printed impression. Beyond remnants of mounting verso, the sheet is in an excellent condition, free of tears, holes, folds, abrasions, or significant stains.

Price & Shipping: AU$366 in total (approximately US$239.65 / €207.61 / £182.19), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you are interested in purchasing this bold etching of a mythological river god watching the attempted seduction of the nymph Syrinx by Pan, 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

Marcantonio Bellavia's etching, “Five Children, One of The Playing a Tambourine”, c1670

Marcantonio Bellavia (fl.1668–1670)

“Five Children, One of The Playing a Tambourine” (TIB title) (aka “Trois enfants marchant de fil dont l’un joue du tambourin. Deux autres enfans se font remarquer dans le fond à gauche.” [Bartsch title]; “Amoretti”), 1660–1680, plate 32 after Annibale Carracci (1560–1609) (as inscribed on plate, “A.C.IN[vent]”). Originally published by Vincenzo Belli in the early 1700s, this impression was published later in the 1700s in Rome by Venanzio Monaldini (fl.1765–1819) along with 37 other prints by Bellavia in “Different Thoughts etched and carved by Anibale Caracci” (see https://en.wikipedia.org/wiki/Marcantonio_Bellavia)

Note: The British Museum advises: “His plates are all from his own designs, although later publishers added the name of the Carracci to many of them” (https://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=132754). Regarding the inscription on this plate, the BN notes that the inscribed attribution to AC is wrong.

Etching on laid paper with wide margins and backed with a support sheet.

Size: (sheet) 30 x 22.8 cm; (plate) 10 x 10 cm.

Inscribed on plate along lower edge: (left) (with incorrect attribution according to the BM) “A.C. IN.”; (right) “XXXII”.

State ii (of ii) with the addition of the plate number replacing the erased letters “MAF” (for “Marcantonio Bellavia Fecit”).

TIB 41(20). 44(18) (Palao Bellini & Mark Carter Leach [eds.] 1983, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 41, New York, Abaris Books, p. 49, cat. no. 44); Bartsch XX.18.

The Museum of Fine Art in Budapest offers a marvellous collection of prints by Marcantonio Bellavia including this print (see http://printsanddrawings.hu/search/prints/8994/).

Condition: excellent impression with wide margins around the plate-mark and laid on a support of archival (millennium quality) washi paper. The sheet is in good condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing, but there are handling marks/age toning at the margin edges).

I am selling this small etching featuring a lively and noisy procession of amoretti for the total cost of AU$306 (currently US$205.87/EUR185.71/GBP168.73 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this visually engaging scene from the late 1600s, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Marcantonio Bellavia's etching, “St Gregory and St Ambrose Writing Their Holy Books”, 1660–1680

Marcantonio Bellavia (fl.1668–1670)

“St Gregory and St Ambrose Writing Their Holy Books” (St. Grégoire inspire par le Saint Esprit), 1660–1680, plate 30 after Annibale Carracci (1560–1609) (as inscribed on plate with the note “IN[vent]”. (Note: The British Museum advises: “His plates are all from his own designs, although later publishers added the name of the Carracci to many of them.” [https://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=132754]. Regarding the inscription on this plate, the BN notes that the inscribed attribution to AC is wrong.)

Etching on laid paper trimmed close to the plate-mark and backed with a support sheet.

Size: (sheet) 8.6 x 8.6 cm; (plate) 8.3 x 8.3 cm.

Inscribed on plate along lower edge: (left) (with incorrect attribution according to the BM) “A.C. IN.”; (right) “XXX”.

State ii (of ii) with the addition of the plate number replacing the erased letters “MAF” (for “Marcantonio Bellavia Fecit”).

TIB 41(20). 21(13) (Palao Bellini & Mark Carter Leach [eds.] 1983, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 41, New York, Abaris Books, p. 29, cat. no. 21); Bartsch XX.13.21.

Condition: excellent impression trimmed with narrow margins around the plate-mark and laid on a support of archival (millennium quality) washi paper. The sheet is in very good condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing).

The British Museum offers the following description of this print:

“St Gregory and another church father [St Ambrose] in a circle”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1444022&partId=1&searchText=Bellavia&page=1)

The Museum of Fine Art in Budapest offers a marvellous collection of prints by Marcantonio Bellavia including this print (see http://printsanddrawings.hu/search/?return=1).

I am selling this small etching of two saints writing with the interesting use of the symbolic bird—I hesitate to describe it as a dove—of the holy spirit guiding the saints thoughts when writing—note St Gregory’s eyes looking inwardly for inspiration towards the bird—for the total cost of AU$306 (currently US$214.17/EUR189.69/GBP170.11 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this marvellously tight composition from the late 1600s, 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

Marcantonio Bellavia's etching, “St. Francis Praying Before a Cross”, 1680

Marcantonio Bellavia (fl.1668–1670)

“St. Francis Praying Before a Cross” (St. François priant à genoux devant un croix), 1660–1680, plate 18, after Annibale Carracci (1560–1609) (as inscribed on plate with the note “IN[vent]”. (Note: The British Museum advises: “His plates are all from his own designs, although later publishers added the name of the Carracci to many of them.” (https://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=132754)

Etching on laid paper trimmed close to the plate-mark and backed with a support sheet.

Size: (sheet) 9.1 x 11.5 cm; (plate) 8.8 x 11.2 cm.

Numbered on plate at lower left: “XVIII”.

Inscribed on plate at lower right: “A.C. IN.”

State ii (of ii) with the addition of the plate number.

TIB 41(20). 36(16) (Palao Bellini & Mark Carter Leach [eds.] 1983, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 41, New York, Abaris Books, p. 42, cat. no. 36); Bartsch XX.16.36.

The British Museum offers the following description of this print:

“St Francis praying before a crucifix formed of the branch of a tree”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1444002&partId=1&searchText=Bellavia&page=1)

The Museum of Fine Art in Budapest in describing this print makes the comment that “The inscription is different from the one reproduced in TIB” (see http://printsanddrawings.hu/search/prints/8969/). This discrepancy is easily explained as the TIB reproduces the first state impression held by the BM (U,1.164) before the addition in the plate’s second state of the plate number (“XVIII”) and the designer of the composition (“A.C. IN.” [Annibale Carracci Invent.]).

Condition: excellent impression trimmed with narrow margins around the plate-mark and laid on a support of archival (millennium quality) washi paper. The sheet is in very good condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing).

I am selling this small but visually arresting etching from the late 1600s for the total cost of AU$306 (currently US$214.17/EUR189.69/GBP170.11 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this intimate image of St Francis—note how the portrayal of the saint in prayer captures his passionate communion by the slight tilt of his head, 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