Abraham Genoels, “Small Flock of Sheep”, c. 1685

Abraham Genoels (also known as Archimedes and A.G. Genoel) (1640–1723)

“Small Flock of Sheep” (TIB title) also known as “Landscape with a Castle,” circa 1685 (1675–1691 [BM])

Technical Details & Condition:

Etching on heavy laid paper, trimmed along the platemark. This is the third plate from a series of six landscape etchings (TIB 35–40), published in Paris by Adam François van der Meulen (also known as Adam Frans van der Meulen and Adam François Vandermeulen) (1632–1690) with royal privilege from Louis XIV, King of France. This is a second state impression (of IV), with the address of Van der Meulen.

The impression is crisp and well-printed. The sheet bears brown ink notations by an early hand on the verso and may be partially backed, as the paper appears uneven in thickness, and firm. Otherwise, the sheet is in good condition, free of tears, holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet: 13.1 x 16.6 cm
• Image borderline: 12.6 x 16.2 cm

Plate Lettering:

• Below the image borderline: (left) “A. Genoels, fe.”, (right) “V. Meulen, ex. Cum priuil. Reg.”

References:

• TIB 5.37 (Walter L Strauss [ed.], “The Illustrated Bartsch: Netherlandish Artists”, vol. 5, 1979, New York, Abaris Books, p. 326, cat. no. 37)
• Hollstein Dutch 37-2(4) (F.W.H. Hollstein, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: FOUCEEL–GOLE,” vol. 7, 1949, Amsterdam, Menno Hertzberger, p. 98, cat. nos. 33–38)
• Rijksmuseum: https://id.rijksmuseum.nl/200196224
• British Museum: https://www.britishmuseum.org/collection/object/P_Sheepshanks-2719

Price & Shipping:

AU$326 (approximately US$229.27 / €197.29 / £170.92), including worldwide express shipping. Please note that import duties and taxes are the buyer’s responsibility.

If you’re interested in acquiring this lifetime impression—a small, delicate etching with intriguing historical context—note that Abraham Genoels’ nickname (or “bent name” as called by the Bentvueghels, the artist group of which he was a member) was “Archimedes,” due to his skill in geometry and perspective, which is showcased in this print. 

Please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

This print has been sold

Unidentified printmaker, “Mountaintop in the Clouds”, c1680, in reverse after Abraham Genoels

Unidentified printmaker from the circle of Abraham Genoels (aka [nickname] Archimedes) (1640–1723)—possibly Adriaen Fransz. Boudewijns (1644-1719) who is known to copy Genoels’ designs, but to my eyes in terms of style the artist is more likely to be Felix Meyer (1653–1713); see for example Meyer’s etching after Genoels: https://www.metmuseum.org/art/collection/search/415527.  

“Mountaintop in the Clouds” (TIB title) (aka “Arcadian Landscape with a Small Lake”), c1680, after the design and etching in reverse by Abraham Genoels (see http://hdl.handle.net/10934/RM0001.COLLECT.116290).

Etching on laid paper trimmed with a thread margin around the image borderlines on the top and sides and retaining the text lines, backed with a support sheet.

Size: (sheet) 19.6 x 14.3 cm; (image borderline) 19 x 14.2 cm.

Lettered in plate below the image borderline: (left) “A. Genoels inv. Romæ.”

(In reverse and after) TIB 5.13 (Walter L Strauss [gen. ed.] 1979, “The Illustrated Bartsch: Netherlandish Artists”, vol. 5, p. 304, cat. no. 13 [331]).

Condition: a strong impression trimmed close to the image borderline but retaining the text line and laid onto a sheet of archival (millennium quality) washi paper. Beyond a closed tear at lower left, the sheet in an excellent condition with no significant stains or foxing.

I am selling this beautiful etching in reverse to Abraham Genoels’ etching, for total cost of AU$306 (currently US$226.68/EUR190.78/GBP163.78 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 sensitively executed etching in reverse to Genoels’ design, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Abraham Genoels’ etching, “Landscape with a Waterfall,” c1675

Abraham Genoels (aka Archimedes; Abraham II Genoels; A. G. Genoel) 91640–1723)

“Landscape with a Waterfall” (aka “La chute d’eau”), 1660–1690, the fifth plate from the series of six etchings (TIB 60–65), “River Landscapes” (aka “Rivierlandschappen”), published by Adam François van der Meulen (aka Adam Frans van der Meulen; Adam François Vandermeulen) (1632– 1690) in Paris with royal privilege from Louis XIV (King of France).

This is an impression taken by La Chalcographie du Louvre in 1804 and has the blind-stamp of the Chalcography below the platemark at centre.

Etching on wove paper with wide margins, blind-stamped with the seal of La Chalcographie du Louvre, and backed with a support sheet.

Size: (sheet) 30.3 x 43 cm; (plate) 21.7 x 28.4 cm; (image borderline) 20.8 x 27.7 cm.

Lettered on plate below the image borderline: (left) "A. Genoels, fe."; (right) "V. Meulen, ex. Cum priuilegio Regis."

State iii/iv(?) with the publisher’s details.

TIB 5(4).60(362) (Walter L Strauss [ed.] 1979, “The Illustrated Bartsch: Netherlandish Artists”, vol. 5, New York, Abaris Books, p. 353, cat. no. 64 [364]); Bartsch IV.364.64.III; Regnault-Delalande 1817 149.64; Weigel 1843 211.64.III; Hollstein 64.III.

The British Museum offers the following description of this print:

“Rocky landscape with waterfall at right, trees and mountains in the background; third state with publisher's address; from a series of six prints”

(https://www.britishmuseum.org/collection/object/P_1869-0410-1988).

See also the description offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.116347.

Condition: near faultless impression blind stamped in 1804 by the Chalcography of the Louvre, with wide margins laid onto a support of archival (millennium quality) washi paper. The sheet is in excellent condition (i.e. there are no tears, holes, folds, losses, abrasions, stains or foxing).

I am selling this sensitively executed masterpiece of 17^th century landscape etching that is—to my eyes—radiant with light, for the total cost of AU$302 (currently US$215.16/EUR183.98/GBP167.55 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 large(ish) etching showing no sign of hesitation in its execution or pictorial ambiguity in what is portrayed, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Abraham Genoels' etching, “Boat drawn by Four Men”, 1660–1690

Abraham Genoels (aka Archimedes; Abraham II Genoels; A. G. Genoel) 91640–1723)

“Boat drawn by Four Men” (Le bateau tire à mont), 1660–1690, from a series of six etchings, “River Landscapes”, published by Adam François van der Meulen (aka Adam Frans van der Meulen; Adam François Vandermeulen) (1632– 1690) in Paris with royal privilege from Louis XIV (King of France).

Etching on laid paper trimmed with a small margin and backed with a support sheet.

Size: (sheet) 23.1 x 29.6 cm; (plate) 22 x 28.4 cm; (image borderline) 20.9 x 27.6 cm.

Inscribed on plate with the artist’s monogram within the image borderline: (lower left corner) "AG".

Lettered on plate below the image borderline: (left) "A. Genoels, fe."; (right) "V. Meulen, ex. Cum priuilegio Regis."

State iii (of iv) with the publisher’s details.

TIB 5(4).60(362) (Walter L Strauss [ed.] 1979, “The Illustrated Bartsch: Netherlandish Artists”, vol. 5, New York, Abaris Books, p. 349, cat. no. 60 [362]); Bartsch IV.362.60.III; Regnault-Delalande 1817 149.60; Weigel 1843 211.60.III;  Hollstein 60.III.

The British Museum offers the following description of this print:

“Landscape with a river in the centre, four men towing a boat loaded with goods at right, rocks to the left, a town and mountains in the background”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3079083&partId=1&searchText=Abraham+Genoels+&page=2)

See also the description offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.116339

Condition: richly inked faultless impression, with a small margin laid onto a support of archival (millennium quality) washi paper. The sheet is in excellent condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, stains or foxing).

I am selling this masterpiece of 17^th century landscape etching that is—to my eyes—radiant with light for the total cost of AU$302 (currently US$212.05/EUR188.15/GBP168.80 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 strong etching showing no sign of hesitation in its execution or pictorial ambiguity in what is portrayed, 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

Abraham Genoels’ etching, “Rest in Egypt”, c.1680

Abraham Genoels (aka Archimedes; Abraham Genoels II; Abraham Genoel; A. G.) (1640–1723)

“Rest in Egypt” (Le Repos en Egypte) (TIB title), 1675–91

Note that I have listed the pendent for this print executed by Felix Meyer (after Abraham Genoels) in the earlier post: http://www.printsandprinciples.com/2016/10/felix-meyers-etching-after-abraham.html

Etching on fine laid paper trimmed within the platemark and lined with a support sheet.

Size: (support-sheet) 30.7 x 33.4 cm; (sheet) 14.5 x19 cm

TIB 5 (4). 10 (328) (Walter L Strauss [Ed.] 1979, “The Illustrated Bartsch: Netherlandish Artists”, vol. 5, Abaris Books, New York, p. 301); Bartsch IV.328.10 (Adam Bartsch 1803, “Le Peintre graveur”, 21 vols, Vienna); Regnault-Delalande 1817 148.10 (F-L Regnault-Delalande 1817, “Catalogue Raisonné des Estampes du Cabinet de M le Comte Rigal”, Paris, chez l'auteur); Weigel 1843 undescribed (Rudolph Weigel 1843, “Suppléments au Peintre-Graveur de Adam Bartsch”, Vol.I, Leipzig, Rudolph Weigel);  Hollstein 10 (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam, p. 98)

The British Museum offers the following description of this print:

“The Rest on the Flight into Egypt. The Holy Family resting under a large tree in the centre, a sarcophagus next to a river to the left, two pyramids to the right, several architectural blocks and bushes in the foreground, palm trees and Egyptian temples in the background; in an oval” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1667427&partId=1&searchText=egypt&people=123852&page=1); see also the description of this print at the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.116287

Condition: crisp and well-inked impression trimmed to the oval image borderline and re-margined on a support sheet. The sheet shows signs of use (i.e. it is slightly mottled in colouring and there is a spot on the upper left just within the borderline), but there are no tears, holes, folds or significant abrasions.

I am selling this luminous print for AU$208 (currently US$166.63/EUR135.98/GBP119.86 at the time of posting this listing). Postage for this print is extra and will be the actual/true cost.

If you are interested in purchasing this very rare etching by Genoels (mindful that all etchings by this highly sought after artist are rare), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

In earlier posts focused on Genoels' etchings I proposed that his line work has the attribute of “openness” (i.e. he leaves quite large gaps between each line) and that he renders trees with rounded strokes resulting in the trees’ foliage having a rather “fluffy look.”

In this etching, I think my former proposals about his stylistic leanings are still valid—thank goodness! One feature of Genoels' style that I have not commented on previously is his choice to feature remnants of a classical past. Here, I am not only referring to the curiously very pointed pyramids in the far distance, but also to the tomb/sarcophagus in the centre of the composition and the rubble of architectural bits in the immediate foreground.

Of course the featured pyramids were necessary additions to the scene as they locate the flight of the holy family to Egypt to escape the edict of King Herod to kill the male infants. The featured tomb, however, has less to do with the biblical narrative and a lot to do with the 17^th century landscape tradition of crafting scenes with architectural references to antiquity.