Johannes Visscher, “Fountain Among Antique Ruins”, c. 1660, after Nicolaes Berchem

Johannes Visscher (also known as Jan de Visscher) (1633/34–1712)

“Fountain Among Antique Ruins”, circa 1660

Technical Details & Condition:

Etching with engraving on buff-coloured laid paper, unevenly trimmed around the platemark and professionally mounted to a secondary sheet of archival-quality washi paper providing stable structural support and wide margins for mounting.

This print is Plate 4 from the four-part series Pastoral Landscapes (Hollstein 99–102). While the first state was published in Amsterdam by Frederick de Wit (1629/30–1706), this impression represents the second and final state (of two). In this definitive second state, published by Justus Danckerts (1635–1701), rich clouds have been added to the sky, and the original publisher’s address has been burnished out.

The composition is engraved in reverse after a 1654 black chalk and grey-brown wash drawing by Nicolaes Berchem (also known as Nicolaes Pietersz. Berchen; Niclas Berghem; Claes Berighem; Nicolaes Pietersz. Berrighem) (1620–1683), currently preserved in the collection of the British Museum (inv. no. 1895,0915.1110 [https://www.britishmuseum.org/collection/object/P_1895-0915-1110]).

The impression is strong and clear, demonstrating excellent contrast with minimal signs of wear to the copper plate. Aside from a small, professionally replenished spot and some age-related creasing along an old central fold, the sheet remains in excellent condition—free of tears or significant staining.

Dimensions:

• Sheet: 19.9 x 26.2 cm (slightly uneven)
• Platemark: 19.5 x 26 cm
• Image borderline: 18.5 x 25.2 cm

In-Plate Lettering (Below the image):

• Left of centre: “CBerghem delin:”
• Right of centre: “J. Visscher fecit”
• Right: “4”

References:

• Hollstein: Dutch 102.II (Christiaan Schuckman, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700”, Vol. XLI, 1992, p. 70, cat. no. 102.II)
• Albertina Museum: Object number H/I/64/97 (https://sammlungenonline.albertina.at/objects/489194)
• British Museum: Museum number F,2.32 (https://www.britishmuseum.org/collection/object/P_F-2-32)

Price & Shipping:

AU$267 (approx. US$186.95 / €162.96 / £138.12), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this bucolic scene of 17th-century life—where herdsmen tend to livestock drinking from a classical fountain ruin, while in the foreground a cow bellows contrasted with a resting shepherd cradling his rustic shawm—please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless, protected transaction.

This print has been sold 

Johannes Visscher’s engraving with etching, “Aurora”, c1670, after Nicolaes Berchem

Johannes Visscher (aka Jan de Visscher) (1633/4–1712)

“Aurora” (aka “Ochtend”; “Dawn”), c1670 (1645–1701), plate 1 from the series of four plates by Visscher (Hollstein 1–4), “Times of Day” (aka “De vier delen van de dag”; “The Four Parts of the Day”), after Nicolaes Berchem (aka Nicolaes Pietersz. Berchem; Nicolaes Berchen; Niclas Berghem; Claes Berighem; Nicolaes Pietersz.Berrighem) (1621/2–1683), published by Justus Danckertsz (aka Justus Danckerts; Justus Danckers; Justus Dankerts) (1635–1701).

Engraving and etching on laid paper trimmed unevenly with a small margin around the image borderline, with partial loss of the text lines below the image borderline (viz. the title and Visscher’s name), backed with a support sheet.

Size: (sheet) 31.4 x 37.9 cm; (image borderline) 30.1 x 36.9 cm.

Lettered in plate below the image borderline: (left) “Berghem inventor.”; (right) “Justus Danckerts Excudit."

State ii (of ii).

Hollstein Dutch 1-II(2) (Christiaan Schuckman [comp.] 1992, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Johannes Visscher to Robert van Voerst”, vol XLI, Roosendaal, Koninklijke Van Poll, p. 8, cat. no. 1 [II]).

The British Museum offers the following description of this print:

“Dawn; a peasant saddles his donkey with a bell around its neck with a horned cow standing nearby; at left a blacksmith struggles to put a shoe on the hind foot of a donkey watched by a peasant woman carrying her child; after Nicolaes Berchem” (https://www.britishmuseum.org/collection/object/P_1870-0709-256 &

https://www.britishmuseum.org/collection/object/P_1839-0413-263).

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

http://hdl.handle.net/10934/RM0001.COLLECT.319641.

Condition: a strong and well-printed impression with small margins around the image borderline and loss of some of the text lines. The sheet has been laid onto a support of archival (millennium quality) washi paper. There are fractures/small tears to the lower edge of the sheet, otherwise the sheet is in a good condition for its considerable age with no significant stains.

I am selling this large engraving (with etching) showing a fascinating view of rural life during the Dutch Golden Age—note for example, how the child on the far left plays with a spinning top; how an untethered donkey is shod or has its hoof scraped; how a donkey is saddled with a bell around its neck—for the total cost of AU$294 (currently US$218.30/EUR188.08/GBP158.75 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 finely rendered light dappled scene, 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 

Anthonie Waterloo’s etching, “Landscape with Zipporah Circumcising her Son”, c.1650

Anthonie Waterloo (aka Antoni Waterlo) (1609–90)

“Landscape with Zipporah Circumcising her Son” (aka “Landscape with the Circumcision of Moses’ Son”; “Séphora Circoncisant son Fils”; “Sippora besnijdt haar zoon”), c.1650 (1630–1663), plate five from the series, “Six large upright landscapes with scenes from the Old Testament” (aka “Landschappen met Bijbelse voorstellingen”), possibly published by Justus Danckerts (1635–1701) and Cornelis Danckerts II (1664–1717) in Amsterdam.

The subject portrayed in this print is from the second book of the Bible, the “Book of Exodus” (4:20–26) in which Zipporah (Moses’ wife) appeases God by circumcising one of her sons to prevent the death of Moses who stands beside her threatened by an angel wielding a sword.

Etching on laid paper trimmed around the image borderline. This impression was deaquisitioned from the Art Institute of Chicago as a duplicate copy and is stamped with this mark of provenance verso.

Size: (sheet) 29.9 x 15.4 cm; (plate) 13 x 14.2 cm; (image borderline) 12.5 x 13.6 cm.

Inscribed on plate at lower right: "A W. f. et in."

Lifetime impression of State i (of i). Note that Dutuit and Wessely advise that there are two states to this print but Peter Morse in TIB (1992) propose that there is only one state and that the discrepancy in “the longitudinal lines … on the large tree trunk at the center of the print” arises from wear to the printing plate as these “lines are, in fact, present from the beginning” (p. 165).

TIB 0201.135 (Peter Morse [ed.] 1992, “The Illustrated Bartsch: Antoni Waterloo”, vol. 2, Part 1, Commentary, New York, Abaris Books, p. 165, cat. no. .135; see also vol. 2, p. 126, cat. no. 135 [137]); Hollstein 58.III (Christiaan Schuckman [comp.] 1997, “Dutch and Flemish Etchings, Engravings and Woodcuts c.1450–1700: Antoni Waterloo”, vol. 50, Rotterdam, Sound and Vision Rijksprentenkabinet, p. 313, cat. no. 135); Bartsch II.137.135 (Adam Bartsch 1803, “Le Peintre Graveur”, 21 vols, Vienna).

The British Museum offers the following description of this print:

“Zipporah circumcising her son in right foreground, as an angel holds Moses's arm, an inn in right background, at left a stone bridge leading across a stream towards a house at left” (https://www.britishmuseum.org/collection/object/P_F-3-3).

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

http://hdl.handle.net/10934/RM0001.COLLECT.193872.

Condition: richly inked and well-printed lifetime impression showing minimal wear to the printing plate. The sheet has minor chips to the lower edge otherwise it is in near faultless condition for its considerable age (i.e. there are no tears, losses, holes, folds, abrasions, significant stains or foxing). There are pencil notations and the Art Institute of Chicago duplicate stamp of its deacquisition verso.

I am selling this museum-quality impression of a truly wonderful large etching by one of the most famous of the 17^th century old-masters, for the total cost of AU$364 (currently US$237.75/EUR217.11/GBP194.38 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 startlingly fine etching in which biblical event in the foreground is almost pictorially “lost” in the complexity of landscape details shown beyond, 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