Circle of Balthasar Moncornet & Peter Aubry II, “Portrait of Johann Ludwig Hektor, Count of Isolani”, c.1637

Unidentified printmaker from the circle of Balthasar Moncornet (c.1600–1668) and Peter Aubry II (aka Pierre Aubry; Peter Audry) (1596–1666)

“Portrait of Johann Ludwig Hektor, Count of Isolani” (aka “Iean Lovys Comte d'Abisolani General de Croates” [as titled in plate]), c.1637 (BM dates: 1626–1648), published in Paris by Balthasar Moncornet (as inscribed in plate)

Interestingly, a century later (around 1750), an unidentified painter executed “Portret van Johann Ludwig Hektor graaf van Isolani (1586–1640)” (aka “Portrait of a Hungarian Envoy”), in the collection of the Rijksmuseum held by the Gemeentemuseum (Helmond), that is likely to be based on, or related to, this etching, but showing the Count in the reverse direction to this etching (see https://resolver.kb.nl/resolve?urn=urn:gvn:RIJK01:SK-A-2870). There is also a strong possibility that both the print and the painting are after an earlier portrait. Certainly, Peter Aubry II made an engraving (c.1648) of the Count in reverse to this etching (see https://www.alamy.com/isolani-johann-ludwig-graf-publisher-aubry-peter-2-dating-16201666-image418615413.html, but (to my eyes) there is a significant difference in the quality of the execution between Aubry’s print and the fineness of this etching.

Etching and engraving on fine laid paper.

Size: (sheet) 20.4 x 15.3 cm; (platemark) 15 x 11.3 cm.

Lettered in plate below the image borderline: “IEAN LOVYS Comte d'Abisolani General de Croates/ B. Moncornet excū”.

The British Museum offers the following description of this print: “Portrait of Johann Ludwig Hektor, Count of Isolani; half-length, directed to right, glancing towards the viewer; wearing fur hat decorated with jewel and feather, doublet and chain; battle in background; in an oval, bordered by several lines./ Etching and engraving” (https://www.britishmuseum.org/collection/object/P_O-6-17). See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.155438.

Condition: a strong and well-printed impression in an excellent condition for its considerable age with no tears, holes, folds, losses or stains, but there are remnants of mounting verso.

I am selling this amazing portrait of the Count Johann Ludwig Hektor who was the Colonel of the Croatian cavalry in the Holy Roman Emperor's army during the Thirty Years' War (see the BM’s biographical details), for AU$261 in total (currently/approximately US$172.37/ EUR160.01/ GBP137.62 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. Note that payment is in Australian dollars (AU$261) as this is my currency.

If you are interested in purchasing this superb engraving showing the Count as a determined man with a flight of birds to his left possibly symbolising his aspirations to freedom and the halo-like cloud formation above his head—note that I believe the Count is also portrayed in the distance on horseback wearing the same military dress as the commanding leader of the cavalry engaged in a skirmish at right—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

Balthasar Moncornet’s engraving, “Lucas van Leyden at the Age of 39”, c1640

Balthasar Moncornet (1600–68)

“Lucas van Leyden at the Age of 39”, c1640, after a self-portrait by van Leyden (1494–1533), published by Balthasar Moncornet as inscribed on the plate.

Engraving on laid paper with minute ink notations by an old hand in the two lower corners.

Size: (sheet) 18.1 x 13.9 cm; (plate) 15.7 x 11.5 cm

Inscribed with three lines of descriptive Latin text about van Leyden followed by publication details and privilege (copyright) details: “B. Moncornet excudit, Avec privilege du Roy.”

Van Someren 3353

Condition: richly inked and crisp impression with margins. The sheet is in very good condition (i.e. there are no tears, holes, folds, abrasions or significant stains) with minor age-toning and a few spots of light foxing.

I am selling this fascinating and well-executed early engraving of the great German printmaker’s self-portrait for [deleted] at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this splendid example of the engraver’s art from the mid 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

When artists draw themselves in a mirror a curious phenomenon occurs: their pupils dilate (i.e. the black dot in the centre of the eye becomes bigger than usual). This phenomenon tends not to occur when artists take a “selfie” photograph. Consequently, drawn or painted self-portraits evolved from artists studying themselves in mirrors will always be different to those executed from photographs.

What I love about this engraving is not only that van Leyden’s pupils are clearly dilated, but there is another attribute that only great masters know about: the principle of ensuring that the two eyes are different. Or to express this in a different way: great artists know that one eye must be dominant over the other and that poor portraits allow both eyes to compete for our attention. One interesting principle that illustrators sometimes employ is to use a squared reflection in the dominant eye and a round reflection in the other. In this portrait, the reflections are different even though the technique employed is more about changing the size and tone of the strong and weaker eyes. As a result, van Leyden’s “intuitive” eye (on our left) looks kindly towards us while his “analytical” eye (on our right) studies us with sharp pragmatic intelligence.