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.

Adriaen Fransz. Boudewijns' etching, "A Horse-Drawn Covered Wagon in a Wooded Landscape”, c.1666–81

Adriaen Fransz. Boudewijns (aka Adriaen Frans Boudewyns; Adriaen Frans Bauduins; Adrien François Baudouins; Adriaen Baudewyns; Adrien Beaudoin) (1644–1719)

“A Horse-Drawn Covered Wagon in a Wooded Landscape” (descriptive title only), c.1666–81, after Adam François van der Meulen (aka Adam Frans van der Meulen; Adam François Vandermeulen) (1632–1690) printed from the original plate in 1804 by the Chalcographie du Louvre.

Etching on heavy wove paper, blind stamped with the authenticity seal (lower margin at centre) of the Chalcographie du Louvre and backed with a support sheet.

Size: (sheet) 39.2 x 53.8 cm; (plate) 33 x 47.5 cm; (image borderline) 31.6 x 46.2 cm.

The plate is not inscribed or lettered for publication (as noted by the British Museum; see BM no. 1869,0410.1931).

Wurzbach 29 (Alfred von Wurzbach 1904, “Niederländisches Künstler-Lexikon : auf Grund archivalischer Forschungen bearbeitet : mit mehr als 3000 Monogrammen”, Leipzig-Wien, vol. 1, p. 65, cat. 29); LeBlanc 54 (Ch. Leblanc 1854, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations : ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, Paris, vol. 1, p. 200, cat. 54).

See the description of this print at the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.collect.86450

See the description of this print at the British Museum:

https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3034182&partId=1&people=114938&peoA=114938-2-23&page=2

Condition: richly inked and near faultless impression with strong contrasts. The sheet has minor traces of ink around the platemark and into the margins, otherwise the sheet is in excellent condition (i.e. there are no tears, holes, folds, losses, abrasions, significant stains or foxing) and has been laid upon an archival support sheet of millennium quality washi paper.

I am selling this large and beautifully dramatic etching of a horse-drawn covered wagon on a very twisty road with a traveller walking with what I see as a very awkward gait ahead of the wagon, for AU$224 in total (currently US$154.08/EUR138.58/GBP115.54 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 spectacular etching from the late 1600s printed with amazing care and finesse by the Chalcographie du Louvre from the original printing plate, 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

Jan van Huchtenburg’s etching, “Landscape with Travellers” after Van der Meulen, 1665–90

Jan van Huchtenburg (aka Johan van Hughtenburgh; Jan Huchtenburgh; Johannes van Hugtenberg) (1647–1733)

“Landscape with Travellers” (descriptive title only), 1665–90, from a series of six landscapes, engraved by Van Huchtenburg after Adam François van der Meulen (aka Adam Frans van der Meulen; Adam François Vandermeulen) (1632–90), published by Jan van Huchtenburg with privilege from Louis XIV (King of France). This is a late impression of 1804 taken by the Chalcography of the Louvre Museum and showing their blind stamp towards the centre of the lower plate edge.

Etching on laid paper backed with a support sheet with full margins (as published) and blind seal of the Louvre Chalcography.

Size: (sheet) 30.4 x 43.6 cm; (plate) 18.2 x 26.9 cm; (image borderline) 17.6 x 26.7 cm

Inscribed below the image borderline with publication details.

Le Blanc 1854-89 42 (Charles Le Blanc 1854, “Manuel de l'Amateur d'Estampes 1550-1820”, 4 vols, Paris)

(Note that TIB shows an additional series of six landscapes by Van Huchtenburg: 7(5). 25(419) – 7(5).30(421) but does not feature the series of six held by the BM [http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=1869,0410.1944])

The British Museum offers the following description of this print:

“Landscape with, in left foreground, a man seated on the roadside on the edge of a wood and giving direction to a horseman and his servant; beyond at right, two figures on the roadside, and another three further back; from a series of six”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3035227&partId=1&searchText=Van+der+Meulen&page=2)

Condition: a faultless, richly inked and superbly printed impression with the blind stamp of the Louvre Museum’s Chalcography (towards the lower centre of the plate mark) and generous margins. The sheet is in excellent condition for its age and has been laid upon a support sheet of archival (millennium quality) washi paper.

I am selling this exceptionally strong impression by one of the famous masters of the Dutch Golden Age, Van Huchtenberg—pupil of Thomas Wyck and the travelling companion of Genoels and Boudewyns—for AU$156 (currently US$118.39/EUR100.57/GBP88.41 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 stunning oldmaster etching, 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

This is the second etching by Van Huchtenburg (after Van der Meulen) that I have showcased (see the earlier post: http://www.printsandprinciples.com/2017/01/jan-van-huchtenburgs-etching-of-horse.html) and, even if this image does not feature a mountain of a horse like the earlier print, the stylistic treatment of the portrayed scene reveals the artist’s continued fascination with contour marks (i.e. marks that visually “explain” the form of a subject). What I mean by this comment is that the artist’s uses line is to visually sculpt the landscape topography of trees and eroded terrain in terms of volumes rather than mimetic descriptions of surface textures.

From a personal way of looking at Van Huchtenburg’s s approach to using line, I also note that he tends to separate his treatment of landscape topography, which I see as rendered with curved contour lines, from his treatment of figures, which I see as rendered in near straight cross-hatched lines. Although I do not have privileged insights concerning the artist’s motivation to employ two different approaches for rendering forms in the same scene, I would not be surprised if the reason was as simple as the artist perceiving an animistic spirit in this landscape and the portrayed travellers as alien to this spirit.

Jan van Huchtenburg’s, etching of a horse after Adam François van der Meulen

Jan van Huchtenburg (aka Johan van Hughtenburgh; Jan Huchtenburgh; Johannes van Hugtenberg) (1647–1733)

“A Fallen Horse Seen from the Rear” (Un autre cheval tombé sur le ventre, vu presque par derrière), 1662–90, after a study by Adam François van der Meulen (1632–90) and published by van der Meulen, from the series of ten plates: “Horses Wounded in Battle.”

Etching on fine laid paper trimmed at the platemark and lined on a conservator’s support sheet

Size: (sheet) 18 x 26.1cm; (image borderline) 17 x 25.3 cm

Lettered in the lower margin: (left) "F V. Meulen pinx. et ex. cum priuil. Regis" and (right) "V. HB. fe."

State i (of ii ?) without the painter's name in the middle of the lower margin of the second state

Weigel 1843 318.38 (Weigel, Rudolph, Suppléments au Peintre-Graveur de Adam Bartsch, Vol.I, Leipzig, Rudolph Weigel, 1843); Hollstein 38.II (Hollstein, F W H, Dutch and Flemish etchings, engravings and woodcuts c.1450-1700, Amsterdam, 1949); Bartsch V.424.38 (Bartsch, Adam, Le Peintre graveur, 21 vols, Vienna, 1803); Bartsch 7 (1978, p. 255) 38 (424).

The British Museum offers the following description of this print in its 2^nd state:

“A fallen horse on its knees, seen from the back and slightly turned to the left; from a series of ten studies of horses wounded in a battle, after van der Meulen; second state, with painter's name in the middle of the lower margin Etching” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3033382&partId=1&searchText=Meulen+horse&page=1)

Condition: richly inked and well-printed lifetime impression, trimmed at, or slightly within, the platemark and lined on a conservator’s support sheet of fine washi paper. There are significant fold marks that have been flatten, light surface soiling and a small loss at the lower-right corner.

I am selling this visually arresting and exceptionally rare lifetime impression by one of the famous masters of the Dutch Golden Age, van Huchtenberg—pupil of Thomas Wyck and the travelling companion of Genoels and Boudewyns—for AU$156 (currently US$116.99/EUR110.03/GBP96.06 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this stunning masterwork from the 17^th century, 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

Jan van Huchtenburg, like his brother Jacob, were fascinated by horses. This is not surprising seeing that Jacob was trained under the great Nicolaes Pieterszoon Berchem (1620–83)—famous for his landscapes populated with farm animals—and Jan was trained under Thomas Wijck (1616/24–77)—famous for his insightful views of everyday life.

This graphically strong etching of a horse is a part of a series of ten prints featuring images of horses wounded in battle. From a personal standpoint, I have difficulty in looking at animals that have been injured, but with this particular print I don’t have a problem as I don’t really see a horse but rather a mountain that happens to be a horse. What I especially like about this portrayed horse-mountain are the curved contour marks that describe every nook and cranny of its musculature. For me, these strokes appear like van Huchtenburg is literally feeling and stroking the horse. Moreover, with the low angle of view that van Huchtenberg drew the horse (after the original design by van der Meulen), I feel invited to also explore its contours with my eyes—just a shame that my exploration has to begin at its backside.