Jacob Gole and Joseph Mulder, “Sedum Maius Arborescens Radicabile”, 1698

Jacob Gole (aka Jacob Golé) (c. 1660–1724) and Joseph Mulder (1659/6–[after] 1710)

“Sedum Maius Arborescens Radicabile”, 1698, published in Leiden and Utrecht by Pieter vander Aa and François Halma, as an illustration (Fig. 129) to Abraham Munting’s (aka Abrahamo Muntingio) (1626–1683) “Naauwkeurige beschryving der aardgewassen, waar in de veelerley aart en bijzondere eigenschappen der boomen, heesters, kruyden, bloemen, met haare vrugten, zaden, wortelen en bollen, neevens derzelver waare voort-teeling, gelukkige aanwinning, en heylzaame genees-krachten ... beschreeven worden” (Accurate description of the terrestrial plants, in which the various types and specific properties of trees, shrubs, herbs, flowers, with their fruits, seeds, roots and bulbs, together with their true reproduction, successful acquisition, and beneficial medicinal powers ... are described), facing page 467.

Archive.org offers an online view of this print in its context in the publication: https://archive.org/details/naauwkeurigebesc01munt/page/n533/mode/2up.

Antonio Raimo Gallery offers an excellent explanation of this print and the history of its publication: https://antonioraimogallery.com/products/etching-engraving-of-sedum-maius-arborescens-radicabile-abraham-munting-1696.

Engraving with etching on laid paper with margins as published.

Size: (sheet) 43.3 x 26.3 cm; (platemark) 30.8 x 19.9 cm

Inscribed in plate: (upper edge at centre) “Fig. 129.”; (upper right corner) “Fol: 468.”; (on tablet) “SEDUM MAIUS ARBORESCENS RADICABILE.”

Condition: a strong and well-printed impression with margins as published. There are three spot stains in the margins, otherwise the sheet is in an excellent condition for its large size and age, with no tears, holes, folds, abrasions or significant stains.

I am pleased to offer this stunning large botanical illustration of the plant commonly known as “Autumn Joy” Sedum. The artwork beautifully depicts its aerial roots set against a scenic backdrop of mountains and trees, capturing the plant’s intricate details and natural beauty. Priced at AU$241 (approximately US$156.75, EUR €135.38, or GBP £117.47), this purchase includes worldwide express shipping. Please note that any applicable import duties are the buyer’s responsibility.

If you are interested in owning this visually arresting and almost surreal botanical study, please contact me at oz_jim@printsandprinciples.com. I will gladly provide a PayPal invoice to ensure a secure and seamless transaction.

Cornelis Dusart’s etching, “The Cupping-Glass”, 1695

Cornelis Dusart (1660–1704)

“The Cupping-Glass” (TIB title) (aka “Le Ventouse”; “Kopster”), 1695, possibly published in Amsterdam by Jacob Gole (aka Jacob Golé) (c1660–1724).

Engraving on laid paper trimmed with a thread margin around the image borderline with loss of lower lettered verses and publication details and backed with a support sheet.

Size: (support sheet) 36.9 x 29 cm; (sheet) 23.8 x 17.7 cm; (image borderline) 22.8 x 17.5 cm.

Inscribed within the image borderline: (lower left) “Corn. Dusart fè, et inv. 1695.”

Lettered in plate below the image borderline: (centre) “KOPSTER” with loss of the lower lines of verse by the Dutch pharmacist, author and poet, Abraham Bogaert (aka Abraham Boogaart) (1663–1727) and publication details: “koppen maar, zei dikke Piet tot Tryn,/ de vlymen vast, het zal haar heel cuveeven,// En word Lys flau, en helpt geen veurschootband noch wyn,/ Dan zal ik aanstonds met myn spuytding haar klisteeren./ A.B.; (right) J. Gole Exc. Amstelodami Cum Privilegio Ord Holl. et West Frisiae”. (Note that there may be errors in the lower verses as I am referencing several sources with slightly different readings of the text; viz. https://wellcomecollection.org/works/whtagspt & https://www.britishmuseum.org/collection/object/P_Sheepshanks-3735. 

TIB 7.12 (Otto Naumann [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol., 7, New York, Abaris Books, p. 276, cat. no. 12); (Hollstein 12 (F.W.H. Hollstein 1952, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700: Cranach–Drusse”, vol. 6, Amsterdam, Menno Hertzberger, p. 55, cat. no. 12); Bartsch 12 (Adam Bartsch 1805, “Le Peintre Graveur”, vol. 5, Vienna, J.V. Degen, p. 473, cat. no. 12).

The British Museum offers the following description of this print: “A woman having her foot cupped; she sits on the right, in obvious discomfort, attended by an old woman wearing a funnel on her head, who applies a cupping glass to her patient's right foot; behind them, in the centre, a man sharpens a surgical instrument 1695 Etching” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-3735).

The Rijksmuseum offers the following interesting insights about the portrayed scene: (Transl.) “A woman, the cup star, takes blood from a woman with the help of a [glass] cup. This was done for medical reasons, but also to find out the truth about love affairs from the blood. In view of the mocking tone of the verse, the latter may be alluded to here” (http://hdl.handle.net/10934/RM0001.COLLECT.38533).

Condition: a richly inked and well-printed impression, trimmed close to the image borderline and laid upon a support of archival (millennium quality) washi paper. There are a few restorations and a pencil inscription from a previous collector (verso) that is visible in the lower margin through the thin paper, otherwise the sheet is in a good condition for its considerable age with no significant stains or foxing.

I am selling this curiously wonderful etching showing a scene of cupping that at the time I understand was for the purpose of bloodletting to possibly determine the fidelity of the distressed patient by looking at the attributes of her blood—note the medic wearing a funnel on her head (possibly to direct the bleeding once it starts?) and the basket of glass cups and flame to create the necessary vacuum for the procedure—for the total cost of AU$436 (currently US$291.42/EUR263.68/GBP232.11 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 etching capturing a spirited scene of what may be a part of everyday life at the end of the 1600s, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Cornelis Dusart’s mezzotint, “Victoria Publica”, 1695

 

Cornelis Dusart (1660–1704) and/or Jacob Gole (aka Jacob Golé) (c1660–1724)

Note that the British Museum and The Metropolitan Museum of Art attribute this print to Cornelis Dusart (see https://www.britishmuseum.org/collection/object/P_Sheepshanks-6665; https://www.metmuseum.org/art/collection/search/376162), but that the Rijksmuseum attributes this print (described as an engraving rather than a mezzotint) to Jacob Gole after the design by Cornelis Dusart (see http://hdl.handle.net/10934/RM0001.COLLECT.43423). The Rijksmuseum also attributes another impression of this print (or possibly a copy after Cornelis Dusart/Jacob Gole) to an unidentified/anonymous artist (see http://hdl.handle.net/10934/RM0001.COLLECT.468290).

“Victoria Publica” (aka “Public Victory”; “De man met een vuurpijl, met toeschouwers”; “Man with Firework Rocket”; “A Watchman with Horn and Rocket”), 1695, from the series of eight prints, “De algemene blijdschap om de inname van Namen door stadhouder Willem III, koning van Engeland, september 1695” (aka “The general rejoicing at the capture of Namur by Stadtholder William III, King of England, September 1695”; “The Public Celebration on the Capture of Namur by William III”), published in Amsterdam by Jacob Gole with eight lines of verse by the Dutch pharmacist, author and poet, Abraham Bogaert (aka Abraham Boogaart) (1663–1727) (see https://en.wikipedia.org/wiki/Abraham_Bogaert).

Mezzotint on fine laid paper trimmed around the platemark and backed with a support sheet.

Size: (support sheet) 38.4 x 30.6 cm; (sheet trimmed slightly unevenly) 25 x 18 cm.

Lettered in plate below the image borderline: (left) “'C. Dusart inv. J. Gole Exc: Amstelodami”; (centre) “'VICTORIA PUBLICA/ Als de vuurpyl kust de wolken,/ Kust de weereld Wiliams hand,/ Die Brittanie en Nederland,/ Met de zaam verbonden volken,// Door de bliksem ran zun zwaard/ Red en hoed voor deerlyk Stranden,/ En ons doet victorie branaen:/ Dat hem Godt noch lang bewaard./ A. Bogaert”; (right) “cum Privilegio Ord. Holl. et West-Frisiæ”.

Hollstein Dutch 92 (F.W.H. Hollstein 1952, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700: Douffet–Floris”, vol. 6, Amsterdam, Menno Hertzberger, p. 80, cat. no. 92).

Condition: a richly inked and well-printed impression, trimmed around the platemark and laid upon a support of archival (millennium quality) washi paper. There is a replenished chip to the upper left corner and a faint pencil inscription in with lower margin, otherwise the sheet is in an excellent (museum quality) condition for its considerable age.

I am selling this spectacular mezzotint of a firework celebration marking the taking of Namur by the Allies under King William III, for the total cost of AU$655 (currently US$490.93/EUR444.34/GBP374.26 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 masterwork of mezzotint from the late 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