Christian Wilhelm Ernst Dietrich’s etching, “The Hermit on the Bridge”, 1744

Christian Wilhelm Ernst Dietrich (aka Christian Wilhelm Ernst Dietricy) (1712–1774)

“The Hermit on the Bridge” (aka “Der Einsiedler auf der Brücke”; “Landschap met kerk en links een kluizenaar op de brug”; “Landscape with a Church Amid Trees on a Mound and a Wooden bridge”), 1744, after a pen and black ink drawing by the artist in the collection of the British Museum (see https://www.britishmuseum.org/collection/object/P_1854-1020-320). Not that the British Museum does not appear to hold a copy of this etching. 

Etching on laid paper with a narrow margin around the platemark and backed with a support sheet.

Size: (sheet) 16 x 19.7 cm; (plate) 15.3 x 19 cm.

State iii (of v) with the reworked fir trees in the abyss and rock at right added by Dietrich in 1764 and with the mottled toning to the sky above the bridge added by Adrian Zingg (1734–1816), but before the addition of the number “54” at upper right corner. Alternatively, this impression may be from state v with the number erased, but this is unlikely as there are still traces of the borderline on the right which is no longer visible in state iv (see Linck [1846] pp. 238–240).

Linck 146 (J F Linck 1846, “Monographie der von dem vormals K. Poln. und Churfürstl. Sächs. Hofmaler und Professor etc. C. W. E. Dietrich radirten, geschabten und in Holz geschnittenen . Abrisse der Lebensgeschichte des Künstlers”, Berlin, pp. 238–240, cat. no. 146).

The Rijksmuseum offers descriptions of this print in its first and second states: (state i) http://hdl.handle.net/10934/RM0001.COLLECT.105704; & (state ii) http://hdl.handle.net/10934/RM0001.COLLECT.105705.

Condition: a richly inked and well-printed impression trimmed with a narrow margin around the platemark and laid onto a support of archival (millennium quality) washi paper. There are replenished losses to the margin, otherwise the sheet is in a very good condition with no stains or foxing.

I am selling this curiously interesting etching—note the unusual composition with the vertical alignment of the foreground fir tree and distant bell tower, and what I see as a stylistic leaning to the sparkling landscapes of Allaert van Everdingen (1621–1675)—for AU$215 in total (currently US$151.93/EUR144.03/GBP120.87 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 portrayed sundrenched landscape with a distant hermitage (according to J F Linck [1846]) and a monk with a cane crossing a bridge above a waterfall by an artist who is famous for his considerable skill in referencing the styles of earlier artists—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Allaert van Everdingen’s etching, “The Third Spring”, c1640

Allaert van Everdingen (aka Allart van Everdingen; Allaert Pietersz. van Everdingen; Aldert van Everdingen) (1621–1675)

“The Third Spring” (TIB title) (aka “Toisième morceau”; “View of the source of Geronstère”), c1640 (1631–75 Rijksmuseum), from the series, “Four water sources in and around Spa” [Rijksmuseum title]).

Etching on laid paper with narrow margins around the image borderline backed with a support sheet.

Size: (sheet) 13 x 17.6 cm; (image borderline) 12.7 x 17.3 cm.

Inscribed with the artist’s initials on plate: (on spa pedestal) “AVE”.

State ii (of ii)

TIB 2(2).98(215) (Mark Carter Leach & Peter Morse [eds.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 2., Abaris, New York, p. 195); Hollstein Dutch 97-2(2) (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam); Bartsch 2.215 (Adam Bartsch 1803, “Le Peintre graveur”, 21 vols, Vienna).

The Rijksmuseum offers the following description of this print:

(transl.) “Landscape with trees and a stone building in the background. At a tower-like building in the foreground, people wait for their turn to get water.”

(http://hdl.handle.net/10934/RM0001.collect.70660)

Condition: crisp and well-printed impression with narrow margins around the platemark in excellent (museum quality) condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or significant signs of handling).

I am selling this superb etching, sparkling with light and exemplifying the artist’s skill to bite the plate with varying depths of line to give a convincing portrayal of spatial depth, for AU$236 (currently US$166.75/EUR146.39/GBP131.58 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 exceptionally delicate and beautiful etching 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

Allaert van Everdingen’s etching, “Boat on a River Bank”, 1636–75

Allaert van Everdingen (aka Allart van Everdingen; Allaert Pietersz. van Everdingen; Aldert van Everdingen) (1621–1675)

“Boat on a River Bank” ("La nacelle retiree au bord” [TIB title]), 1636–75, from the series, “Four Landscapes” (H.52-55).

Etching on laid paper with narrow margins backed with a support sheet.

Size: (support sheet) 28.5 x 31.2 cm; (sheet) 11 x14.8 cm; (platemark) 10.5 x 14.3 cm;

(image borderline) 9.9 x 13.8 cm.

Inscribed on plate: (lower left on a tablet) “EVERDINGEN”.

State iii (of iii). Note that the British Museum holds impressions of all three states: BM no. S.1868 (state i); S.1869 (state ii); S.1870 (state iii).

TIB 2(2).52(189) (Mark Carter Leach & Peter Morse [eds.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 2., Abaris, New York, p. 162); Hollstein 52.III (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam); Bartsch II.189.52 (Adam Bartsch 1803, “Le Peintre graveur”, 21 vols, Vienna).

The British Museum offers the following description of this print:

“Two men in conversation next to a boat on a riverbank; in left foreground; another three figures outside a house in background; from a series of four landscapes.”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1632589&partId=1&searchText=boat+&people=125724&page=1)

Condition: crisp, but slightly silvery impression with narrow margins around the platemark and re-margined with a support sheet.

I am selling this superb etching that sparkles with sunlight gleaming on the rocky riverbank for AU$182 (currently US$138.61/EUR117.49/GBP103.45 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 exceptionally beautiful oldmaster print 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

What makes this etching especially interesting is that the British Museum holds the preparatory drawing for the print (see BM no. 1836,0811.140: http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=711198&partId=1&searchText=boat+&people=125724&page=1).

When I first saw this preliminary study executed in pen and brown ink, with grey wash, I was somewhat surprised to see that the composition was not in reverse to the etching—mindful that if Everdingen had simply copied the original drawing onto the etching plate the image would be mirrored/reversed by the printing process. Clearly Everdingen went to some trouble to keep the printed image “the same way around” as the original drawing.