Unidentified master from the circle of Nicolaas de Bruyn’s engraving, “The Golden Age”, c1605, after Abraham Bloemaert

Unidentified master from the circle of Nicolaas de Bruyn (1571–1656)

“The Golden Age”, c1605 (or possibly much later following the active date of the publisher [c1763]), published in Paris by Jacques Chéreau (aka le jeune Chéreau) (1688–1776), in reverse to the composition of Nicolaas de Bruyn’s engraving (1604) (see https://www.britishmuseum.org/collection/object/P_1907-1121-4) and in the same direction to the circular composition by Johann Theodor de Bry (aka Jan Dirk de Bry) (1561–1623) (see https://www.britishmuseum.org/collection/object/P_D-7-178) after the preparatory drawing (1603) by Abraham Bloemaert (1564–1651) in the Städelsches Kunstinstitut, Frankfurt (inv.no. 2887) (see https://sammlung.staedelmuseum.de/en/work/the-golden-age).

Engraving on laid paper, trimmed around the platemark (with many small restorations) and backed with a support sheet

Size: (sheet) 48 x 68.9 cm; (image borderline) 44.2 x 68.6 cm.

Lettered in plate within the image borderline: (lower left) “Blomart inuent. Jac Chereau exc.”; (lower right tablet with four lines of Latin text) “Auria Saturno … ferebat opes.”

Lettered in plate below the image borderline in six columns of French text: “Lors que la forte voix …”.

Condition: a strong and well-printed impression, but in a poor condition with age-toning, a flattened centrefold, numerous restored minor tears, replenished small losses and scattered stains. The sheet has been laid upon a support of archival (millennium quality) washi paper.

I am selling this huge masterwork of engraving showing an Arcadian paradise—what the Greek poet, Hesiod, calls “The Golden Age”—where thinly clad folk rest, dance, make music, engage in romance and eat grapes, while children blow bubbles to amuse cats, for AU$688 (currently US$474.58/EUR448.89/GBP387.19 at the time of posting this print) 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 gigantic engraving of exceptional rarity and incredible beauty, 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 

Henri Le Roy’s engraving, “Achttien Vogels”, c1650

Henri Le Roy (1579–1652)

“Achttien Vogels” (Eighteen Birds), 1638–(before) 1669, plate 5 in the series, “Vogels” (Birds), published in Paris by Herman Weyen (fl.1638–1669).

See the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.413645.

Although I have been unable to establish whether the composition of this print was designed completely by Le Roy, or if it was an adaption of other artists’ designs, I can see clear visual references to similar friezes of birds by artists such as Nicolaas de Bruyn (aka Nicolaes de Bruyn; Nicolaas de Bruin) (1571–1656) (see https://www.britishmuseum.org/collection/object/P_Z-1-96); Adriaen Collaert (c1560-1618) (see http://hdl.handle.net/10934/RM0001.COLLECT.97180); Wenceslaus Hollar (aka Václav Hollar; Wenzel Hollar) (1607–1677) who in turn copied Francis Barlow (1622–1704) (see http://hdl.handle.net/10934/RM0001.COLLECT.32885).

Note that I have listed a similar engraving of birds that I see as very beautiful by an unidentified artist from the circle of Nicolaas de Bruyn, “Five Birds Including Spoonbill”, which is still available: https://www.printsandprinciples.com/2020/09/unidentified-printmaker-from-circle-of.html

Engraving with etching on laid paper trimmed with a thread margin around the platemark and backed with a support sheet.

Size: (sheet) 10.1 x 20 cm; (plate) 9.7 x 19.6 cm.

Inscribed on plate: (left) “Anas/ marinas”; (right) “Anas”; (along the lower edge at centre—partly erased) “Herman W[eyen exc.] H[enri le Roy] fecit.” (see Rijksmuseum inv. no. RP-P-1964-2422)

Orn Cat II 12183 (Peter Fuhring 2004, “Ornament Prints in the Rijksmuseum II: The Seventeenth Century”, vol. 3, Amsterdam, Rijksmuseum Sound and Vision, p. 274, cat. no. 12183).

Condition: a well-printed impression showing no sign of wear to the printing plate, trimmed with a thread margin around the platemark and laid onto a support of archival (millennium quality) washi paper. There is abrasion of the publication details on the lower edge at centre otherwise the sheet is in excellent condition with no significant stains or foxing.

I am selling this engraved frieze of eighteen different birds for AU$257 (currently US$198.97/EUR164.19/GBP141.38 at the time of posting this print) including Express Mail (EMS) 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 small and beautiful engraving from the mid-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 

Unidentified printmaker from the circle of Nicolaes de Bruyn, “Five Birds Including Spoonbill”, c1594

Unidentified printmaker from the circle of Nicolaas de Bruyn (aka Nicolaes de Bruyn; Nicolaas de Bruin) (1571–1656)

“Five Birds Including Spoonbill” (aka “Vijf vogels waaronder lepelaar”), c1594, plate 5 after the series of engravings by De Bruyn—the British Museum advises that there are 13 plates in the series [Z,1.95] whereas the Rijksmuseum proposes that there are 12 plates [RP-P-1898-A-20003])—“Birds and Insects” (aka “Vogels en insecten”), possibly published following the different editions of De Bruyn’s plates by Francoys van Beusecom (aka Francoys van Beusekom) (fl.1642–1665), Ahasuerus van Londerseel (aka Assuerus Londerssel) (1572–1635) and Carel Allard (aka Carolus Allard; Carel Allardt; Carel Allart) (1648–1709).

Engraving on laid paper trimmed with a thread margin around the image borderline.

Size: (sheet) 8.3 x 12.6 cm.

Inscribed on plate: (lower right) [ligature monogram] “NB. in.”; (right edge) “5”.

References to De Bruyn’s engraving: Hollstein Dutch 228 (F.W.H. Hollstein 1951, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Brun–Coques”, vol. 4, Amsterdam, Menno Hertzberger, p. 24, cat. no. 228); Orn Cat I 37-A.2 (Irene Margaretha de Groot 1988, “Ornamentprenten in het Rijksprentenkabinet”, Den Haag, Rijksprentenkabinet, Rijksmuseum Staatsuitgeverij).

The British Museum offers the following description of De Bruyn’s engraving:

“Landscape with several birds on a river-bank, such as cranes, small sailing boats in background; from a series of thirteen prints showing birds and insects. 1594”

(https://www.britishmuseum.org/collection/object/P_Z-1-95).

See also the description of De Bruyn’s engraving offered by the Rijksmuseum with reference to another series:

(Transl.) “Print from a series of twelve prints with birds and insects. Sheets from another series of prints are depicted at Hollstein, see De Groot 1988, p. 37.”

(http://hdl.handle.net/10934/RM0001.collect.89139).

Condition: near faultless early impression showing no sign of wear to the printing plate, trimmed with a thread margin around the image borderline in excellent/near pristine condition.

I am selling this superb engraving by an unidentified printmaker after Nicolaes de Bruyn’s engraving, for the total cost of AU$208 (currently US$146.23/EUR125.64/GBP114.74 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.

If you are interested in purchasing this marvellous jewel of early engraving showing water birds, 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

Nicolaas de Bruyn's engraving, “Julius Caesar”, 1594

Nicolaas de Bruyn (aka Nicolaas de Bruin; Nicolaes de Bruyn) (1571–1656)

“Julius Caesar”, 1594, plate 3 from the series of nine engravings, “Ornament Designs with Portraits of Kings and Heroes”, originally published by Ahasuerus van Londerseel (aka Assuerus Londerssel) (1572–1635) in Antwerp. (Note that this impression has Van Londerseel’s publication details partly erased.)

Engraving on fine laid paper trimmed along the platemark and backed with a support sheet.

Size: (sheet) 12.4 x 9.2 cm; (image borderline) 11.7 x 9.1 cm.

Inscribed on plate: (within the cartouche) “Julius caesar”; (below the image borderline) “3 Nicola de Br fe … [partly erased “Assuwerus van Londerseel”] excudit.”

State ii (of iii) with the publisher’s name burnished but before the number “3” is repositioned to the lower right (see the Rijksmuseum’s copy of state i [http://hdl.handle.net/10934/RM0001.collect.89015] and state iii [http://hdl.handle.net/10934/RM0001.collect.89017]).   

Hollstein Dutch 157–2; Berlin 1939 237.1 (P Jessen 1939, “Katalog der Ornamentstichsammlung der Staatlichen Kunstbibliothek Berlin”, Berlin); New Hollstein (Dutch & Flemish) 265.I (Nicolaes de Bruyn); Orn Cat I 33–2 (Irene Margaretha de Groot 1988, “Ornamentprenten in het Rijksprentenkabinet”, Amsterdam, Rijksprentenkabinet, Rijksmuseum Staatsuitgeverij, p. 33, cat. no. 33.2).

The British Museum offers the following description of this print:

“Roundel containing the portrait of the Roman Emperor Julius Ceasar [sic] surrounded by decorative elements, including two monkeys holding flags and swords and above two winged cherubs blowing into horns.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1457498&partId=1&searchText=NICOLAES+DE+BRUYN&page=1)

See also the description of this print offered by the Rijksmuseum:

(transl.) “Portrait of Julius Caesar as a general of antiquity in a medallion within a rectangular frame with ornaments in the form of monkeys, fantasy creatures and butterflies”.

(http://hdl.handle.net/10934/RM0001.collect.89016)

Condition: richly inked early impression with stains and restorations of the corners, trimmed along the platemark and laid upon an archival support sheet of millennium quality washi paper.

I am selling this gorgeous jewel of an engraving glowing with strong contrasts for AU$340 in total (currently US$234.01/EUR212.16/GBP189.90 at the time of posting this print) 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 very fine engraving with a fascinating range of animals and insects worthy of close examination—see the two beautifully drawn mice that are only slightly larger than grape seeds and trumpet blowing zephyrs sporting the best hair ponytails ever created—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

Jan van Londerseel’s engraving, “Judah and Tamar”, c1600

Jan van Londerseel (aka Johannes van Londerseel) (1578–c1625) (according to the BM or an anonymous printmaker according to the Rijksmuseum)

“Judah and Tamar”, 1590–1625, after a print by Nicolaas de Bruyn (aka Nicolaas de Bruin; Nicolaes de Bruyn) (1571–1656), after the design by Maarten de Vos (aka Marten de Vos; Maerten de Vos) (1532–1603), after Gillis van Coninxloo (aka Egidius Coninxlogensis; Gillis van Coningsloo) (1544–1607), plate 23 from the series of 131 engraved illustrations (including the title page) to the “Royal-Size Bible” (aka Historiae Sacrae Veteris et Novi Testamenti; Biblische figuren, Darinen die fürnembste historien, in heiliger Schrifft begriffen, geschichtmässig entworffen; Figures de la Bible, demonstrans les principales histoires de la Saincte Escriture; Bybelsche figuren, vertonende de voornaemste historien der Heylige Schrifture; Figures of the Bible, in wich almost every history of the Holy Scriptures is described), published by Nicolaes Visscher I (aka Nicolaas Visscher; Claes Claesz Visscher) (1618–1679) and Claes Jansz. Visscher (aka Piscator; Nicolaes Jansz Visscher) (1587–1652) in Amsterdam.

Engraving on laid paper with red ink lines marking upper and lower borders and a centerfold (as published), trimmed near the image borderline and backed with a support sheet.

Size: (sheet) 39 x 52.5 cm; (image borderline) 36.6 x 52.3 cm

Inscribed on plate within the image borderline: (lower left) "Egidius Coningsloo inven. CIViβcher Excu."

Lettered in Latin text on plate below the image borderline:  "IUDAS ET THAMAR COEUNT PROMITTITUR HOEDUS   ANNULUS, ARMILLÆ, ATQUE PEDUM PRO PIGNORE DANTUR. Genesis 38.6."

Hollstein 10 (Londerseel); Hollstein 21 (after Gilles van Coninxloo); Hollstein undescribed (Visscher)

The British Museum offers the following description of this print:

“Judah and Tamar [Genesis 38:6]; woody landscape with an elderly man embracing a younger woman in lower left, the woman holding a ring and looking at it, a castle surrounded by a moat at centre, mountains and a cascading river in background; after Gillis van Coninxloo; from a series of 130 engravings (plus title-page) forming a Picture Bible”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3465236&partId=1&searchText=Londerseel+&page=1)

See also the description of this print at the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.344689

Condition: a near faultless early impression (based on the crisp lines and lack of wear to the plate), richly inked and well-printed, trimmed close to the image borderline and backed with a support sheet of archival (millennium quality) washi paper. There are ruled red ink lines bordering the image at the top and lower edges. Otherwise the sheet is in near pristine condition (i.e. there are no tears, holes, folds—apart from the flattened centrefold of publication—abrasions, stains, foxing or signs of use).

I am selling this huge engraving showing not only the shocking liaison between a father-in-law and his daughter-in-law who he has mistaken for a whore, but also a sublime landscape designed by the brother-in-law of Pieter Brueghel the Younger, for AU$405 in total (currently US$299.05/EUR259.01/GBP231.37 at the time of posting 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 masterpiece from the late 1500s/early 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

I have previously listed an illustration of the story for Judah and Tamar executed by Harmen Jansz. Muller, but for those who may have missed the account of what is portrayed in this scene I will give a VERY brief explanation: the chap in the foreground is Tamar and he has mistaken his daughter-in-law, Judah, for a prostitute. He is shown here engaged in the act of purchasing her services by offering her his signet ring which she examining along with his staff which she holds. These items along with bracelets (which the artist has failed to portray) are collateral for a goat which she is later to receive as advised in the Latin text beneath the image: (transl.) “… rings, bracelets, and crook given as collateral. Genesis 38.6”

The publication of this engraving in the “Royal-Size Bible” is rather complicated and so I will leave the explanation to the account offered by the British Museum:

“… a series of 130 engravings known as the 'Royal-Size Bible'. It contains 65 biblical scenes from the Old Testament and 65 biblical scenes from the New Testament; the project was originally started by Claes Jansz Visscher and published by his son Nicolaes after his father's death in 1652. Some prints have the address of Claes Jansz Visscher and others have the address of Nicolaes Visscher, meaning the elder Visscher might have published some plates separately before. The prints are printed on royal size paper (roughly 400 mm by 500 mm), folded vertically and inserted on tabs, bound together in a blindstamped vellum cover. The prints are made by and after various artists. Most of the prints were taken from earlier print series and selected by Visscher to make up a new set and create this Picture Bible, others seem specially made for Visschers' Picture Bible by an unidentified printmaker. Some of the plates were engraved by Pieter Nolpe and Johannes van Londerseel. Many compositions from the 'Theatrum Biblicum' (another Picture Bible published by Claes Jansz Visscher) were copied, transferred to the royal format, as were inventions of artists such as David Vinckboons, Maerten de Vos, Gillis van Coninxloo, Melchior d'Hondecoeter, Peter Paul Rubens, Abraham van Diepenbeeck and Nicolaas de Bruyn.”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3380211&partId=1&searchText=1939,0130.1.1&page=2)

The Rijksmuseum also gives an account of the publication details:

(http://hdl.handle.net/10934/RM0001.COLLECT.344689)