Peter Paul Bouche, “Icarus and Daedalus”, 1703, after Hendrik Abbé

Peter Paul Bouche (c. 1646–1702)

“Icarus and Daedalus”, 1703, engraving after the design by the Flemish artist, Hendrik Abbé (1639–after 1677). The engraving was published in Amsterdam in 1703 by Pieter and Johannes Blaeu and Johannes Janssonius van Waesberge (c. 1651–1706) as an illustration to Joost van den Vondel’s (1587–1679) translation of Ovid’s Metamorphoses, “Herscheppinge, in Nederduitsch dicht vertaelt door J. V. Vondel. Verrijkt met de Historische, Zede- ent Staetkundige Aenmerkingen van den Heere Pieter du Ryer” (Re-creations, in Low German closely translated by J. V. Vondel. Enriched with the Historical, Moral, and Statesmanship Remarks of Lord Pieter du Ryer) (see “The Works of Vondel. Part 7. Translations from the Latin of Virgil, Horace, and Ovid”: https://www.dbnl.org/tekst/vond001dewe07_01/vond001dewe07_01_0027.php).

Engraving on laid paper with a small margin around the platemark and letterpress text verso.

Size: (sheet) 17.3 x 24.9 cm; (plate) 16.5 x 22.9 cm; (image borderline) 15.8 x 22.5 cm.

Inscribed in plate below the image borderline: (left) “[monogram of Hendrik Abbé], delin.”; (right) “Petr. Paul Bouche. Sculpsit.”

Condition: a strong and well-printed impression with small margins. The sheet is in an excellent condition with no tears, holes, folds or significant stains.

Price & Shipping: The total price is AU$260 (approximately US$168.20 / €146.35 / £129.22), which includes worldwide express shipping. Please note that import duties and taxes are the responsibility of the buyer.

If you're interested in acquiring this eye-catching engraving, it depicts Daedalus already wearing his wings and attaching a set to his son Icarus—with the tragic aftermath of Icarus flying too close to the sun visible in the distance. Please contact me at oz_jim@printsandprinciples.com. I’ll be happy to send you a PayPal invoice for a secure and straightforward transaction.

Pieter Nolpe’s etching, “Hercules Unifies the Split French Empire”, 1638, after Nicolaes Cornelisz. Moyaert

Pieter Nolpe (1613/14 - c.1652/3)

“Hercules Unifies the Split French Empire” (“Hercules smeedt het gespleten Franse Rijk tot een eenheid” [Rijksmuseum title]), 1638, after Nicolaes Cornelisz. Moyaert (aka Claes Cornelisz Moeyaert;  Nicolaes Cornelisz. Moeyart) (1590/1600–1655), plate 12 from the series of 16 plates, “Festivities at the visit of Maria de' Medici to Amsterdam in 1638” published in Amsterdam by Johannes Blaeu (Joan Blaeu; Johannes Willemszoon Blaeu; Johan Blaeu; Jan Willemsz Blaeu) (1596–1673) and Cornelis Blaeu (aka Cornelius Blaeu) (1610–1648) in 1638 as a folded insert between pages 48 and 49 in Kaspar van Baerle’s (aka Caspar van Barlaeus) (1584–1648), “Medicea hospes, sive Descriptio pvblicæ gratvlationis: qua Serenissimam, Augustissimamque reginam, Mariam de Medicis, excepit Senatvs popvlvsqve Amstelodamensis.”

Archive.org offers an online view of this print in its context in Van Baerle’s publication: https://archive.org/details/mediceahospessiv00baer/page/n85/mode/2up.

Etching on laid paper with a small margin around the platemark, backed with a support sheet.

Size: (sheet) 32.1 x 41.2 cm; (plate) 30 x 39 cm; (image borderline) 29 x 38.3 cm.

Inscribed in plate within the image borderline: (lower right) “CL [ligature initials] M. Inv:”

State iii? (of iii) Note that plate number (“12”) signifying state iii seems to be in pencil rather than inscribed in the plate suggesting that this impression is from an earlier state or the number has been erased. Note that the Orn Cat II does not make a distinction between states ii and iii.

Orn Cat II 10050 (Peter Fuhring; transl. from the Dutch by Jennifer Kilian and Katy Kist 2004, “Ornament prints in the Rijksmuseum II: the seventeenth century”, Amsterdam, Rijksmuseum Sound and Vision, vol. 3, p. 71, cat. no. 10050); Hollstein Dutch 102.

The British Museum offers the following description of this print:

“Plate 12: Allegory on the Discord in France; Henri IV as Hercules repairing the broken globe representing 'Gallia' by forging a band around it, Minerva and Mars at left assisting him, Marie de Medici standing at right, a female personification of France at left, the Olympian Gods onlooking from the clouds above; after Nicolaes Moyaert; illustration to Caspar Barlaeus' ‘Medicea Hospes’ (Amsterdam: 1638) Etching” (https://www.britishmuseum.org/collection/object/P_1871-1209-4805).

See also the description offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.163307.

Condition: a strong impression with small margins around the platemark (approx. 1 cm) and laid upon an archival support sheet of millennium quality washi paper which has flattened the publication centrefold so that it is almost invisible. The upper right corner of the margin is lost and there are are fractures to the left margin, otherwise the image area is in a very good condition with no holes, stains or foxing.

I am selling this remarkable etching showing Henry IV cast in a tableau vivant as Hercules repairing the world that had been broken in halves (see my previous listing which shows the world as a broken globe and Marie de Medici pleading for the gods to help), for the total cost of AU$354 (currently US$266.55/EUR224.51/GBP192.78 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 marvellous amalgam of classical antiquity with politics and the Baroque Age—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

Pieter Nolpe’s etching, “Marie de Medici Begs the Gods for Help”, 1638, after Nicolaes Cornelisz. Moyaert

Pieter Nolpe (1613/14 - c.1652/3)

“Marie de Medici Begs the Gods for Help” (aka “Allegory on the Discord in France”; “Franse maagd smeekt de goden om hulp” [French virgin begs the gods for help] [Rijksmuseum title]), 1638, after Nicolaes Cornelisz. Moyaert (aka Claes Cornelisz Moeyaert;  Nicolaes Cornelisz. Moeyart) (1590/1600–1655), plate 10 from the series of 16 plates, “Festivities at the visit of Maria de' Medici to Amsterdam in 1638” published in Amsterdam by Johannes Blaeu (Joan Blaeu; Johannes Willemszoon Blaeu; Johan Blaeu; Jan Willemsz Blaeu) (1596–1673) and Cornelis Blaeu (aka Cornelius Blaeu) (1610–1648) in 1638 as a folded insert between pages 48 and 49 in Kaspar van Baerle’s (aka Caspar van Barlaeus) (1584–1648), “Medicea hospes, sive Descriptio pvblicæ gratvlationis: qua Serenissimam, Augustissimamque reginam, Mariam de Medicis, excepit Senatvs popvlvsqve Amstelodamensis.”

Archive.org offers an online view of this print in its context in Van Baerle’s publication: https://archive.org/details/mediceahospessiv00baer/page/n81/mode/2up).

Etching on laid paper with a small margin around the platemark, backed with a support sheet.
Size: (sheet) 32.4 x 41.1 cm; (plate) 30.1 x 38.9 cm; (image borderline) 29.5 x 38.2 cm.

Inscribed in plate within the image borderline: (lower right) “CL [ligature initials] M Inv.”

Numbered in plate below the image borderline: (lower right) “10”.

State iii (of iii) with the addition of the plate number (“10”). Note that the Orn Cat does not make a distinction between states ii and iii.

Orn Cat II 10046 (Peter Fuhring; transl. from the Dutch by Jennifer Kilian and Katy Kist 2004, “Ornament prints in the Rijksmuseum II: the seventeenth century”, Amsterdam, Rijksmuseum Sound and Vision, vol. 3, pp. 70–71, cat. no. 190046); Hollstein Dutch 100.

The Rijksmuseum offers the following description of this print:

(Transl.) “Tableau vivant with the French virgin, proposed by Maria de' Medici, begging the gods for help. Henry IV, dressed as Hercules, is ordered to unify the country again. Peace, Amor and Venus look in horror at the globe of the French Empire, which has been split in two. Justice is on the ground. Behind Maria de' Medici stands Bacchus. Performance used in the water theater on the Rokin. Numbered lower right: 10. Plate 10 of the illustrations with the description of the festivities surrounding the visit of Maria de' Medici to Amsterdam from 31 August to 5 September 1638” (http://hdl.handle.net/10934/RM0001.COLLECT.163305).

See also the description offered by the Metropolitan Museum of Art: www.metmuseum.org/art/collection/search/698754.

Condition: a strong impression with small margins around the platemark (approx. 1 cm) and laid upon an archival support sheet of millennium quality washi paper which has flattened the publication centrefold so that it is almost invisible. The upper left margin is fractured and has been restored otherwise the sheet is in a very good condition with no holes, stains or foxing.

I am selling this remarkable etching showing Henry IV cast in a tableau vivant as Hercules while Marie de Medici pleads to the gods of classical mythology to repair the world broken in halves, for the total cost of AU$354 (currently US$266.55/EUR224.51/GBP192.78 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 marvellous amalgam of classical antiquity with politics and the Baroque Age—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