Bernard Picart’s etching after a drawing by Nicolas Poussin

Bernard Picart (1673–1733)

“Plate 44”, 1730, after a drawing attributed to Nicolas Poussin (1594–1665) in the collection of the artist, Bernard Picart (as inscribed on the plate), from the series “Impostures Innocentes”

Etching with plate tone in brown ink on wove paper with wide margins.

Size: (sheet) 27.8 x 42.9 cm; (plate) 15.5 x 35.2 cm.

Inscribed on the plate: (upper-right corner) “44”; (lower left) “'Gravé par B. Picart, d'aprés un dessein atribué au Poussin du Cabinet de B. Picart.”

Dimier 1928 not described (Louis Dimier 1928, “Les peintres français du XVIIIe siècle, histoire des vies et catalogue des oeuvres”, 2 vols., Paris & Brussels)

The British Museum offers the following description of this print:

“Plate 44: a nude male figure, seated, and looking to right, where stands a female figure with a twirling drapery; two other male figures flanking her; at far left a winged putto, and a small sketch of a seated figure; after a drawing attributed to Poussin. c.1724/33” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3155633&partId=1&searchText=picart&page=1)

Condition: crisp, well-inked impression with generous margins in pristine condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing).

I am selling this sensitive translation of the light and free touch of Poussin’s drawing into an etching for AU$142 in total (currently US$108.74/EUR88.62/GBP77.13 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this superb etching executed by one of the world’s master printmakers showcasing the subtle nuance of Poussin’s approach to drawing, 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

Although not everyone may agree with my next comment, this print captures the essence that I see in Poussin’s drawings: a gestalt view of the portrayed narrative where—if one were to slightly close one’s eyes—no feature is more important than the next.

On close examination of the etching I can see Picart’s attempt to reproduce with very contrived thickening and thinning what must have been very spontaneous zigzag strokes laid in Poussin’s drawing. Note in particular the zigzag line—what artists call a “return stroke” made famous by Antonio del Pollaiuolo (1431–1498) in his only engraving, “Battle of the Nudes”, c1470 —describing the shadow of the billowing cloak to the left of the standing figure on the right side of the composition. Such a line with thickening and thinning does not just “happen” without conscious manipulation of the etching needle and in this case I can see that Picart has thickened the downstroke of the zigzag with an extra line. What is interesting for me is that Picart has clearly not used the échoppe etching tool developed by Jacques Callot (c1592–1635) to create a seamless changes to the thickness of an etched line. This surprises me as I have no doubt the Picart would have been familiar with this useful tool.

If I may draw attention to another very small example of the return stroke that is especially interesting: note that the interrupted/broken return strokes—what artists call “hook strokes” first used in the prints of Francesco Rosselli (1445–1513)—lightly toning the arm of the reclining figure to the left of the same standing figure. These “z”-like strokes are created when an artist works very quickly. Of course, in the case of this etching, Picart has consciously crafted the “look” of speed that he observed in Poussin’s drawing.

Bernard Picart’s etching, “Pan et Syrinx”, 1724, after Nicolas Poussin

Bernard Picart (1673–1733)

“Pan et Syrinx” (or as inscribed on the plate, “Pan et Sirinx”), 1724, after a painting by Nicolas Poussin (1594–1665), plate 42 from the series, “Impostures innocentes, ou Recueil d'estampes d'après divers peintres illustres”, published in Amsterdam in 1734.

Etching in brown ink and plate tone on wove paper

Size: (sheet) 27.9 x 42.9 cm; (plate) 20.8 x 28.5 cm; (image borderline) 19.2 x 27.6 cm

Inscribed on the plate outside the image borderline: (upper-right corner) “42”; (lower left) “N, Poussin pinxit, B. Picart sculpsit 1724.”; (lower centre) “Pan et Sirinx. Ovid, metam. Livr. 1.”

Andresen 1863 359 (A Andresen 1863, “Nicolaus Poussin - Verzeichniss der nach seinen Gemälden Gefertigten...”, Leipzig)

The British Museum offers the following description of this print: “Plate 42: Pan and Syrinx, after Nicolas Poussin; Pan pursuing Syrinx on a reed-fringed river bank; in the foreground, at right, two river gods. 1724” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1669560&partId=1&searchText=picart&people=110986&page=1)

Condition: well-inked impression showing slight wear to the plate and with generous margins. There is scattered, very pale spotting and age tone showing in the outer edges of the margins; otherwise the sheet is in excellent condition for its age.

I am selling this masterpiece of interpretative etching of a painting by Poussin for AU$130 in total (currently US$97.71/EUR82.99/GBP72.99 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this etching by one of the world’s master printmakers, 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

For those unfamiliar with the story of Pan and Syrinx explained in “Metamorphoses of Ovid” (Book 1 Verses 689–713), I will offer my version ...

Syrinx, the loosely dressed young lady seen being chased by the lust driven satyr, Pan, through the reeds, is best known as a wood nymph famed for her chastity. Her father, Ladon, is the river god shown in the lower right foreground with his mate/companion, Artemis.

Heeding Syrinx’s pleas for help, Syrinx is metamorphosed into a handful of marsh reeds just as Pan grasps hold of her. In his dismay, Pan sighs rather strongly and the rush of air from his lustful anguish groan causes the reeds that were once Syrinx to resonate a mournful sound. The next part of the story is that Pan decides to mould the reeds he holds into his namesake musical instrument—the pan-pipe—so that he may carry the haunting sound of Syrinx with him forever.

What I love about this freely drawn etching is how Picart has translated the expression of movement captured in Nicolas Poussin’s oil painting using a rhythm of zigzag horizontal hatched lines following Pan as he chases after Syrinx. This expression of movement using “flowing” lines behind Pan—what illustrators describe as agitrons—is made more effective by the contrast of these quickly laid “movement” marks with the tightly controlled use of contour and shading strokes rendering the trees on the far right of the composition.

Picart’s engraving after Cornelis Bloemaert’s “Sisiphe” (Sisyphus), after the design by Abraham van Diepenbeeck

Bernard Picart (1673-1733)

“Sisyphus’s Stone”, 1730 (as engraved on the plate), after Cornelis Bloemaert (1603–92) , after Abraham van Diepenbeeck (1596–1675), published in Amsterdam by Chatelain (1733) as plate LVIII in “Le Temple des Muses.”

Etching and engraving on fine laid paper with margins (as published) and lined onto a conservator’s support sheet.

Size: (sheet) 45.6 x 28.5 cm; (plate) 35.5 x 25.8 cm

Lettered with production detail: “B. Picart dir.” and title in French, English, German and Dutch; frame lettered with production detail: “B. Picart del. 1730”.

The British Museum offers the following description of this print:

“Sisyphus in Hades, rolling a stone up a hill, with demons pushing it back; in ornate frame, with dragons, owls and snakes, printed from a separate plate; plate LVIII to 'Le Temple des Muses' (first published Amsterdam: Chatelain, 1733). c.1730/33” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1540177&partId=1&searchText=picart+bloemaert&page=1)

Condition: marvellous, richly inked impression. The sheet has two closed tears on the left margin which have been addressed by the print having been lined onto a conservator’s support sheet; beyond these tears the sheet is in fresh and near pristine condition.

I am selling this stunning illustration by Picart for a total cost of AU$105 (currently US$78.54/EUR73.95/GBP61.83 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this fascinating engraving after Bloemaert’s print shown in the previous post, 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

In my previous post I discussed how Picart may not have fully understood Cornelis Bloemaert’s use of reflected light in his rendering of Sisyphus’ body. Essentially, I proposed that Bloemaert only employed reflected light on those features of Sisyphus’ body that were close to the rock, whereas Picart scatters reflected light more liberally. Although such criticism may seem harsh—and perhaps even wrong—the art of comparing two master engravers is fascinating and reveals the strengths and weaknesses of each artist for future reference. For example, in my reading of these artists’ different approaches to rendering form, I can see that Picart focuses on superficial contours by using a layering of strokes in different directions. By contrast, Bloemaert focuses more on the whole form with a fundamental alignment of strokes and then adds an additional contours to define superficial details. Of course, not every viewer would agree with my assessment—heaven forbid!—but the point that I am getting at is that by careful comparison and personal critiquing of what can be seen, a vision of differences between artists can be established.