Pieter de Jode II, “Christ Healing the Lame Man”, c. 1655, after Anthony van Dyck

Pieter de Jode II (also known as Pieter de Iode; Petrus iunior de Jode; Pieter de Jonge Jode) (1606–1670/4)
“Christ Healing the Lame Man”, circa 1655 (1641–1670)

Technical Details & Condition:
Engraving on laid paper, trimmed around the image borderline and writing edge, backed with a sheet of archival-quality washi paper to ensure support and wide margins. This engraving is after the painting by Anthony van Dyck (also known as Sir Anthony van Dyck; Anthoni [Ridder] van Dijck; Antoon van Dijk; Anton van Dyck) (1599–1641) in the Royal Collection, inv.no.RCIN 405325.

In the first state, the print was published by Jan Meyssens (also known as Joannes Meyssens; Johannes Meijssens; Jean Meyssens) (1661–1663), whose name (“Joannes Meÿssens”) is inscribed in the dedication text. In the second, and final state, the print was published by Cornelis Galle I (1576–1650), whose name (“C. Galle”) is inscribed, as shown in this impression.

This is a strong and well-printed engraving, likely to be a lifetime impression, evidenced by the quality of line work showing no sign of wear to the printing plate. Beyond age-toning, the sheet is in excellent condition with no tears, holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet: 27.7 x 36 cm
• Image borderline: 25.2 x 36 cm

Plate Lettering below the image borderline:

• Left: “Ant. Van Dÿck pinxit.”
• Centre (with translation of each line):
  “SVRGE, TOLLE GRABATVM TVVM, ET AMBVLA. Ioan. 5.
  Arise, take up thy bed, and walk. John 5.
  Claro Genere Virtute Ornatissimo Reverendoq[uez], DOMINO D. PHILIPPO BAECX alias FOXIO.
  To the most renowned in lineage and virtue, the most reverend Lord D. Philip Vaecx, also known as Foxio.
  Sancti Anthonÿ Domûs Preceptori Commendatoriq[ue], ac eiusdem Ordinis Commissario Generali, honoris et fauoris ergo, Offert. Joannes Meÿssens.
  Preceptor and Commander of Saint Anthony’s House, and Commissary General of the same Order, for honour and favour, offers Joannes Meÿssens.
  Petrus de Io de Sculpsit.”
• Right: “C. Galle excudit”

References:

• Hollstein (Jode) 11 (FWH Hollstein, 1949, Dutch and Flemish Etchings, Engravings and Woodcuts ca.1450–1700, vol. IX, Amsterdam, Menno Hertzberger, p. 211, cat. no. 11 [II])
• The British Museum describes this print as: “Christ healing the Paralytic; Christ standing at centre, a poor man standing next to him with two figures behind him, all figures half-length; after Anthony van Dyck” (https://www.britishmuseum.org/collection/object/P_R-2-16).

Price & Shipping:
AU$366 (approximately US$239.81 / €206.72 / £181.27), including worldwide express shipping. Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this large engraving depicting the biblical event described in the Gospel of John, chapter 5, where Jesus heals a paralytic man unable to walk for 38 years at the Pool of Bethesda, 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

Pieter de Jode II’s engraving with etching, “Saints Claire and Francis of Assisi adoring the Christ Child,” c1645, after Gerard Segers

Pieter de Jode II (aka Pieter de Iode; Petrus iunior de Jode; Pieter de Jonge Jode) (1606–1674)

“Saints Claire and Francis of Assisi adoring the Christ Child,” c1645 (1616–1674), after Gerard Segers (aka Gerard Zeghers) (1591–1651), initially published by Cornelis Galle I (1576–1650) and later by Cornelis Galle II (1615-1678) in Antwerp. This impression is from the state before publication.

Engraving with etching on laid paper trimmed unevenly around the image borderline and lines of text, backed on a support sheet.

Size: (sheet) 28.1 x 23.5 cm.

Lettered on plate below the image borderline: (lower left) “Gerardus Seghers inuen.”; (lower centre) “cum priuilegio.”; (lower right) “Pet. De Iode iunior Sculp.”; (Latin text in two columns of two lines) “Quid paruum Francisce adeo miraris Iesum?/ Expecta, pendens in Cruce maior erit.// In tenebris lucet lux replens lumine mundum./ Hinc est quod claro nomine Clara micat."

Hollstein 21.I (2) (F W H Hollstein 1953, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Heer - Kuyl”, vol. 9, Amsterdam, Menno Hertzberger, p. 211, cat. no. 21).

State i (of ii) before the addition of the publisher’s address (see a second state impression held by the British Museum: https://www.britishmuseum.org/collection/object/P_R-2-92)

The Rijksmuseum offers the following description of this print:

“St. Francis and St. Clare, in a cave at night, worship the Christ Child. The Christ Child lies on a blanket in a crib”

(http://hdl.handle.net/10934/RM0001.COLLECT.129579).

Condition: a superb, richly inked and well-printed impression, trimmed unevenly around the image borderline and the text lines and laid onto a support of archival (millennium quality) washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains—there is a faint trace of a collector’s stamp from verso—or foxing.

I am selling this marvellous lifetime, first state, museum-quality impression for the total cost of AU$466 (currently US$331.93/EUR283/GBP254.59 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 rare and stunning engraving (with etching)—note, for example, the delicacy of the engraver’s handling of the radiance emitted from the two saints and Christ from within the surrounding darkness created from layers of cross-hatched strokes—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

Pieter de Jode II’s engaving, “Erycius Puteanus”, 1630–45, after Anthony Van Dyck

Pieter de Jode II (aka Pieter de Iode; Petrus iunior de Jode; Pieter de Jonge Jode) (1606–1670/74)

“Erycius Puteanus”, 1630–1645, from the series after Anthony Van Dyck (1599–1641), “Icones Principum Virorum” (aka “'Icones Principum Virorum Doctorum Pictorum Chalcographorum Statuariorum nec non amatorum pictoriae artis numero centum ab Antonio Van Dyck Pictore ad vivum expressae, eiusq[ue] sumptibus aeri incisae”), published in the Hendrick and Cornelis Verdussen (Antwerp) edition of 1720. 

Engraving on fine laid paper.

Size: 33.6 x 23 cm; (plate) 22.7 x 17.2 cm; (image borderline) 20.4 x 16.9 cm

Initialed on plate within the image borderline at lower left: “I”

Lettered on plate below the image borderline: (lower left) "Ant. van Dÿck pinxcit / Pet. de Iode Sculp.”; (centre) "CLARISSIMVS ERYCVS PVTEANVS HISTORIOGRAPHVS / REGIVS PROFESSOR CONSILIARIVS ETC."; (lower right) "Cum priuilegio."

State vii with the previous publisher’s initials—“GH” (Gillis Hendricx [fl.1640–70])—burnished/erased. (Note: the mount into which this print was once displayed has a pencil notation that this impression is from the Hendrick and Cornelis Verdussen [Antwerp] edition published in 1720.)

Mauquoy-Hendrickx 1991 36.VII (Marie Mauquoy-Hendrickx 1991, “L'Iconographie d'Antoine Van Dyck, Catalogue raisonné”, 2 vols, Brussels, Bibliotheque Royale Albert Ier); Hollstein 144 (De Jode); New Hollstein (Dutch & Flemish) 42.VII (Van Dyck); Muller II 1853 4321; van Someren 1888 M.4321

The British Museum offers the following description of this print:

“Portrait of Erycius Puteanus, half-length in front of a swagged curtain to left, book shelves to right; with long hair, moustache and beard, his right hand resting on an opening book in front”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1425710&partId=1&searchText=Pet.+de+Iode+Sculp.&people=101862&page=1)

Note: The BM’s state vii impression (see BM no. 1863,0509.913) is hand inscribed in ink with the number “28” at the upper right corner, which most likely indicates the position of this print in the 1759 edition of 125 portraits.

Condition: superbly crisp, richly inked and well-printed impression with generous margins in excellent/museum-quality condition (i.e. there are no tears, folds, holes, abrasions, significant stains or foxing). There is a collector’s ink stamp (verso).

I am selling this exceptionally rare engraving by one of the most important printmakers of the 17^th century for AU$198 (currently US$139.70/EUR121.22/GBP106.47 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 stunning print from one of the greatest—or at least the most historically significant—series of portraits ever engraved, 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

The British Museum offers the following biographical details about the sitter of this portrait, Erycius Puteanus (1574 – 1646): “Historian, humanist and philologist from the Netherlands; studied at Dordrecht and Cologne. Professor at University of Leuven” (http://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=110695). The curator of the BM also advises that the “portrait is based on Van Dyck's chalk and brush drawing” held in the British Museum (see 1895,0915.1069: http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=712177&partId=1&searchText=+R,1a.258&page=1) and that the copper printing plate for this print “is kept in the Chalcographie, Musée du Louvre, inv.no.2388” (see BM no. R,1a.258).

After looking at Van Dyck’s preparatory chalk and brush study for this portrait (see URL above) showing the sitter (Puteanus) facing to the right (rather than the mirror image of his position in Pieter de Jode’s engraving) I wonder how many other viewers perceive a difference in the projected meaning separating the two compositions. What I mean by this is that in Van Dyck’s original composition with the sitter facing right, I see the man as being slightly secretive—as if he is trying to conceal what his fingers are "bookmarking”. Going further, I read Van Dyck's original composition as showing the sitter caught in a specific moment of being interrupted in what he is doing. By contrast, in Pieter de Jode’s engraving, I see the man as exhibiting a contemplative mindset—reflecting upon a meaningful thought with his fingers lightly holding a reference point in the book in a timeless moment.

Of course, the idea that an academic figure should hold a book is a simple visual device to signify the sitter’s intellectual background—the same way that portrayed saints are signified by the attributes that they carry. What is interesting to consider with the simple device of showing Puteanus with his book is how much additional meanings are projected by which direction he faces, how many fingers he inserts into the book and how “well used” the book appears.

Pieter de Jode II’s engraving,“Venus Orta Mari”, c1640, after Rubens

Pieter de Jode II (aka Pieter de Iode; Petrus iunior de Jode; Pieter de Jonge Jode) (1606–70/74)

“Venus Orta Mari” (Latin transl: Venus risen from the sea), 1630–45, engraving after Peter Paul Rubens (1577–1640), published by Maarten van den Enden (1605–73).

Engraving on laid paper (with watermark) trimmed along the image borderline with thread margins.

Size: (sheet) 39.5 x 51.6 cm; (image borderline) 36.8 x 51.5 cm

Lettered below the image borderline: (centre) “VENVS ORTA MARI / NOBILISSIMO ET ERVDITISSIMO IUVENI THEODORO THEODOSY KERCKRINCK SEDVLO BONARVM ARTIVM, ALTIORVMQVE STVDIORVM INVESTIGATORI HVNC VENERIS MARI ORTÆ TRIVMPHVM AB INCOMPARABILI RVBENIO / ÆVI NOSTRI APELLE INVENTVM AC VIVIS COLORIBVS EXPRESSV CVRA IMPENSLSQVE SVIS ÆRU INCISVM LVB. MER. DEDICABAT FRANCISCVS VANDEN ENDEN. / P. [restored] Paulus Rubbens pinxit […] Petrus de Iode Sculpsit […] Martinus vanden Enden excudit."

Schneevoogt 1873 123.37 (C G Voorhelm Schneevoogt,1873, “Catalogue des estampes gravées d'après P.P.Rubens”, Haarlem); Hollstein 24 (under Jode)

The British Museum offers the following description of this print:

“Venus ascending from the Sea; seascape with the naked goddess at left, rising from the sea onto a chariot pulled by two tritons, supported by three nymphs, putti holding garlands on clouds above; after Peter Paul Rubens”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3163275&partId=1&searchText=Pieter+de+Jode+venus+rubens&page=1)

The Rijksmuseum offers the following description of this print:

“Venus on a dolphin at sea, she holds up a pearl necklace. She is accompanied by sea nymphs and river gods. Above them a wreath of shells is held up by three putti. Above that the winds blow (in the form of blowing cups). In the margins a caption in Latin.”

(http://hdl.handle.net/10934/RM0001.COLLECT.129581)

This print features in the discussion: “Franciscus van den Enden as a Print Seller” (http://users.telenet.be/fvde/index.htm?Various2)

Condition: exceptionally rare (I have only found a copy of this print online at the BM and the Rijksmuseum), crisp, well-inked and well-printed impression with minor old restorations (especially in the text box below the image borderline visible verso) trimmed to the image borderline with collector’s annotations and stamp verso. Based on the superb quality of the impression showing no wear to the plate I believe that this is a lifetime impression, but I have no details of the various states to verify this opinion.

I am selling this important and early large engraving after Ruben’s design executed within Ruben’s lifetime with exceptional skill and sensitivity for AU$443 in total (currently US$340.01/EUR276.70/GBP241.31 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this masterwork of engraving, 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

From what I understand about Ruben’s design upon which this engraving is based, Peter C Sutton (et al. 2004) in “Drawn by the Brush: Oil Sketches by Peter Paul Rubens” advises that there is modello—a preparatory study—(see https://www.theguardian.com/culture/gallery/2011/dec/17/art-bequeathed-nation-in-pictures#img-8) “for an ivory saltcellar carved by Georg Petel” (p.243) that is currently owned by the Swedish Royal Family.

What is interesting for me in comparing this study with the engraving is how De Jode has adjusted the composition. For example, I can see that De Jode likes big hipped women more than Rubens. This fascination has led to a somewhat awkward—perhaps impossible—arm stretch for the nymph to the right of Venus to reach around Venus’ torso to lightly touch Venus’ hand, but in Ruben’s modello the arm is of believable proportions. In some way I am glad that De Jode liked women with grand child-bearing hips, as his rendering of the back of the nymph riding the conch blowing triton is amazing. His treatment of this lady’s twisting torso using subtle adjustments to contour lines is worthy of close examination. For me, the careful modelling of this back is so insightful and sensitively modelled that I can almost feel each bump and hollow.

Pieter de Jode II’s etching with engraving, “Portrait of Jan Snellincx”, after Van Dyck, 1630

Pieter de Jode II (aka Pieter de Iode; Petrus iunior de Jode; Pieter de Jonge Jode) (1606–70/74)

“Portrait of Jan Snellincx” or “Ioannes Snellincx”, 1630 (published in 1645), after Anthony van Dyck (1599–1641), from the series “Icones Principum Virorum.”

Etching and engraving (the BM advise that there are “traces of oxidisation on the plate”) on laid paper.

Size: (sheet) 26.3 x 17.9 cm; (plate) 23.4 x 15.3 cm; (image borderline) 20.9 x 14.9 cm

Lettered below the image borderline: (centre) "IOANNES SNELLINCX / PICTOR HVMANARVM FIGVRANRVM ANTVERPIÆ. / IN AVLÆIS ET TAPETIBVS."

Inscribed below the image borderline: (left) "Ant. van Dyck pinxit. / Pet. de Iode Sculp."; (right) "Cum priuilegio."

State vii (of vii with the initials of Gillis Hendricx burnished)

Hollstein 157 (Jode); Mauquoy-Hendrickx 1991 37.VII; New Hollstein (Dutch & Flemish) 9 (Van Dyck; copy); New Hollstein (Dutch & Flemish) 91.VII (Van Dyck)

The British Museum offers the following description of this print:

“Portrait of Jan Snellincx, half-length, turned slightly to the right but facing the left; with moustache and goatee, wearing a scullcap, a heavily draped doublet and a sash around his waist, his left hand resting on his abdomen, clouds in the background; seventh state with the initials of Gillis Hendricx burnished; after Anthony van Dyck Etching and engraving with traces of oxidisation on the plate” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1427290&partId=1&searchText=R,1b.5.&page=1)

Condition: richly inked, crisp and beautifully printed impression with good margins of approximately 1.5 cm in excellent condition for its age and only a tiny closed tear at the upper-right corner. There are remnants of mounting and previous collector’s notes verso.

I am selling this museum-quality print for the total cost of AU$206 (currently US$158.28/EUR138.62/GBP122.10 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this absolutely beautiful etching (with engraving), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This portrait of the Flemish painter, Jan Snellincx (1544–1638), is arguably best remembered for his battle scenes and, as the Fritzwilliam Museum points out, the “rising smoke in the background” of this portrait is perhaps an allusion to such battle scenes (http://www.fitzmuseum.cam.ac.uk/gallery/vandyck/biographies/jansnellinck.1.html).

Although the print was inscribed by Pieter de Jode II, to my eyes the original compositional arrangement crafted by Van Dyck—the preliminary drawing for this print is now in the Duke of Devonshire’s collection at Chatsworth—is what makes this print so engaging to contemplate. From my reading of the composition, I see Snellincx responding jovially to someone, or some incident, lying outside of the borderline of the image and I feel drawn into trying to determine what he is thinking.

Beyond this marvellous portrait, Van Dyck had a much grander vision. According to the curator of the British Museum, he envisaged creating:

“… a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed.” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1422752&partId=1&people=101862&peoA=101862-1-6&page=1)