Jean Audran, “Portrait of Pierre Paul Rubens”, 1710, after Jean Marc Nattier & Anthony van Dyck

Jean Audran (1667–1756)

“Portrait of Pierre Paul Rubens”, 1710

Technical Details & Condition:

Etching and engraving on heavy laid paper with a watermark, featuring wide margins. This portrait is based on the intermediary design by Jean Marc Nattier (1685–1766) and after the painting of the same composition by Anthony van Dyck (1599–1641).

This portrait serves as the frontispiece to the series of twenty-four plates “La Gallerie du Palais du Luxembourg,” published in Paris by Gaspard Duchange (1662–1757) with royal privilege (Lodewijk XIV). 

The impression is strong, richly inked, and well-printed—near faultless. Aside from minor handling marks, the sheet is in excellent condition.

Dimensions:

• Sheet: 61.2 x 46 cm
• Platemark: 50.3 x 35.5 cm
• Image borderline: 44.1 x 33.3 cm

In-Plate Lettering (below the image borderline):

• Left: “Van Dyck pinxit”
• Centre: “Pierre Paul Rubens. / Naquit à Cologne l’an 1577. Il étoit fils de Jean Rubens, noble d’extraction et Conseitter dan le Senat d’Anvers. It commença / de peindre la Gallerie que l’on donne aupublic en 1620. Fut envoié en Angleterre en qualité d’Ambassadeur du Roi d’Espagne / et mourut a Anvers en 1640. agé de 63. ans. / Se vend a Paris chez G. Duchange Graveur du Roy ruë S^t. Jacques au dessus de la ruë des Mathurins. Avec Privilege.”
• Right: “I.M. Nattier delin. I. Audran Scul 1710.”

References:

• IFF 35; Schneevoogt 162.64; LeBlanc 330; Diepenbroick 21596; Drugulin 17789; Singer 78275
• Rijksmuseum:  https://id.rijksmuseum.nl/200151422  
• British Museum (this print): https://www.britishmuseum.org/collection/object/P_1948-0315-3-115
• British Museum (the series): https://www.britishmuseum.org/collection/object/P_Hh-6-1

Price & Shipping:

AU$568 (approximately US$392.47 / €339.95 / £196.53), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

If you are interested in acquiring this large historically important portrait of Rubens, please contact me at oz_jim@printsandprinciples.com. I’ll be happy to provide a PayPal invoice for a smooth and secure purchase.

This print has been sold

Theodoor van Thulden, “The Battle of Nördlingen”, 1639, after Rubens

Theodoor van Thulden (aka Theodor van Thulden; Theodoor van Tulden) (1606–1669)

“The Battle of Nördlingen” (aka “The Two Ferdinands at the Battle of Nördlingen”), 1639 (publ. 1641), plate 27 from a series of forty-three plates, after Peter Paul Rubens (aka Petrus Paulus Rubenius) (1577–1640) as an illustration on page 99B to Gaspar Gevaerts' (1593–1666) “Pompa Introitus”, published by Theodoor van Thulden in Antwerp in 1641 with privilege from Philip IV (King of Spain).

Etching and engraving on fine laid paper, trimmed around the image borderline and writing edge and backed with a support sheet.

Size: (sheet) 29.8 x 25.8cm.

Lettered in plate below the image borderline: (left) “P.P. Rub. Inuent./ INVENERE VIAM SUPERI . MAVORTIA VIRTVS/ AVSTRIADVM, OBSTANTES DVDVM ELVCTATA CATERVAS,/ ENSE SVO RESERAVIT ITER . CESSERE FVRORIS/ T a. Thul. delni. Scal. et excu. cum priuilegio// RELLIQVIÆ, GUSTAVE, TUI : PENITVSQVE SUBACTVS/ SVCCVBVIT BOREAS, DEBELLATIQVE TRIONES,/ DISCERPTVSQVE AQVILIS CECIDIT VICTRICIBVS ANGVIS/ C. Gevart[ius]”. ([Google Transl.] The gods found the way. The Mavortian virtue, having long since broken through the Austrian hordes, blocked the way with its sword. The remnants of your fury ceased, you taste: and, completely subdued, the north wind succumbed, and the three winds were defeated, and torn apart by eagles, the victorious serpent fell.)

Hollstein 126

The Rijksmuseum offers the following description of this print: [Transl.) “The two Ferdinands on horseback during the Battle of Nördlingen, 6 September 1634. The central representation on the front of the triumphal arch of Ferdinand erected in the Lange Nieuwstraat. Marked top right: p. 99B. Sheet no. 27 in a set of 43 plates illustrating the publication of the description of the entry of Cardinal Infante Ferdinand of Austria into Antwerp on 17 April 1635 as the new governor of the Spanish Netherlands” (https://id.rijksmuseum.nl/200499341).

See also the description of this print offered by the British Museum: (https://www.britishmuseum.org/collection/object/P_1884-0112-58 [inv. 1884,0112.58]).

Condition: a strong and well-printed and early impression (based on traces of the initial guide lines for the lettering still being evident in places), trimmed around the image borderline and writing edge and laid upon an archival support of millennium quality washi paper providing wide margins. Beyond a few minor abrasions to the writing edge, the sheet is in a good condition for its age with no tears, holes or significant stains.

I am selling this eye-catching and historically significant battle scene showing Prince Ferdinand and King Ferdinand of Hungary on horseback surveying the melee of the fighting with a distant view of Nördlingen in the background at far left, for AU $244 in total (currently US $152/ EUR 146.80/ GBP 121.78 at the time of posting 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 $244) as this is my currency.

If you are interested in purchasing this finely executed etching (with engraving) of the Battle of Nördlingen—a decisive and major battle of the dreadful Thirty Years' War that I understand claimed (in total) between 4.5 to 8 million lives—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Paul Rajon, “La Femme au Chapeau de Paille”, 1874, after Rubens

Paul Rajon (aka Paul Adolphe Rajon) (1843–1888)

“La Femme au Chapeau de Paille” (aka “The Woman in the Straw Hat”; “Portrait of Susanna Lunden”; “Le Chapeau de Paille”; “The Straw Hat” ), 1874, after Peter Paul Rubens’ (aka Petrus Paulus Rubenius) (1577–1640) painting, “Portrait of Susanna Lunden” (c.1622–25) in the National Gallery, London (see https://en.wikipedia.org/wiki/Portrait_of_Susanna_Lunden), printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “Gazette des Beaux-Arts” (1st January, 1874) between pages 26 and 27.

Etching with drypoint on laid paper, trimmed around the platemark and backed with a support sheet.

Size: (sheet) 25 x 17.1cm; (plate) 23.5 x 16.7cm; (image borderline) 20.8 x 14.5cm.

Inscribed in plate within the image borderline: (lower left corner) “Rajon”.

Lettered in plate below the image borderline: (left) “RUBENS PINX./ Gazette des Beaux-Arts”; (centre) “LA FEMME AU CHAPEAU DE PAILLE”; (right) “RAJON SCULP./ Imp. A. Salmon à Paris”.

Condition: a strong and well-printed impression trimmed around the platemark with no tears, holes, folds, abrasions or stains and laid onto a sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this extraordinary etching translating Rubens’ famous painting into insightfully inscribed lines capturing the spirit of the portrayed woman—thought to be the older sister of Rubens' future second wife—for AU$198 in total (currently US$131.71/EUR122.11/GBP101.58 at the time of posting 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$198) as this is my currency.

If you are interested in purchasing this visually engaging portrait of a lightly smiling beautiful woman of ample bosom wearing a generously wide brimmed hat—leaving aside the question that the title proposes that this is a straw hat (“Chapeau de Paille”), my eye is drawn to the marvellous torrent-like flow of feathers somewhat in the manner of Leonardo’s deluge drawings (see https://www.rct.uk/collection/912377/a-deluge)— please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Nicolas Mossoloff, “Satyrs”, 1868, after Rubens

Nicolas Mossoloff (aka Nikolaj Mossoloff; Nicolai Mossoloff; Nikolaj Semenovič Mosolov; Nikolay Semyonovich Mosolov) (1846–1914)

“Satyrs” (aka “Satyres” [as titled in plate]), 1868, after Peter Paul Rubens’ (aka Petrus Paulus Rubenius) (1577–1640) painting, “Two Satyrs” (1617–19) in the Alte Pinakothek (Munich) (see https://en.wikipedia.org/wiki/Two_Satyrs), printed in Paris by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published in the art periodical, “Gazette des Beaux-Arts” (1^st April, 1868) between pages 332 and 333.

Etching and engraving on laid paper trimmed with a small margin around the image borderline and writing edge, backed with a support sheet providing wide margins.

Size: (sheet) 24.6 x 17.9 cm; (image borderline) 19.7 x 14.9 cm.

Lettered below the image borderline: (left) “Rubens pinx./ Gazette des Beaux-Arts.”; (centre) “SATYRES/ MUSÉE DE MUNICH”; (right) “Nicolas Mossoloff sculp./ Imp. A. Delâtre, Paris.”

Interestingly, according to the bibliographical detail offered by the Hermitage Museum (St Petersburg, Russia) (https://collections.hermitage.ru/entity/AVTOR/14175), by the age of fourteen, Nicolas Mossoloff, “had perfectly mastered the technique of engraving.” Notwithstanding his amazing skills, as shown in this exquisitely rendered etching with engraving, in the year after executing this print (1869), Mossoloff sought to “improve his engraving technique …[and] worked in Vienna under the guidance of the famous etcher W. Unger, and then in the Parisian workshop of L. Flameng.” Nicolas Mossoloff was clearly a perfectionist!

Condition: a richly inked and well-printed impression, trimmed with small margins around the image and writing edge and laid onto a support sheet of archival (millennium quality) washi paper providing wide margins. The sheet is in a pristine condition with no tears, holes, folds or stains.

I am selling this exceptionally fine etching with engraving for AU $179 in total (currently/approximately US $118.35/EUR 109.93/ GBP 94.33 at the time of posting 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 $179) as this is my currency.

If you are interested in acquiring this superb 19^th century masterwork of etching and engraving (my opinion only), 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

Charles Waltner’s etching with drypoint, “Christ Triumphant over Sin and Death”, 1870–79, after Rubens

Charles Waltner (aka Charles Albert Waltner) (1846–1925)

“Christ Triumphant over Sin and Death” (aka “Le Christ Triomphe du Péché et de la Mort”; “The Glorification of the Eucharist”), 1870–79, after Peter Paul Rubens’ (aka Petrus Paulus Rubenius) (1577–1640) painting, “The Glorification of the Eucharist”, c.1630–32, printed in Paris by Alfred Salmon (aka Adolphe Ardail; Salmon & Ardail; Alfred Fortuné Salmon) (fl.1863–1894) and published in the art periodical, “L'Art”.

Etching with drypoint on fine laid paper and wide margins.

Size: (sheet) 43.1 x 28.5 cm; (plate) 29.5 x 19.5 cm; (image borderline) 26.2 x 17.4 cm.

Inscribed in plate within the image borderline along the lower edge: (left) “Ru[b]e[n]s pxit”; (right) “Walt[n]er d […]”.

Lettered in plate below the image borderline: (left) “P. P. Rubens pinx./ L'Art.”; (centre) “LE CHRIST TRIOMPHE DU PÉCHÉ ET DE LA MORT/ (Cabinet de S. M. Leopold II, Roi des Belges.)”; (right) “Ch Waltner sc/ Imp. A. Salmon”.

Beraldi 28 (Henri Beraldi 1892, “Les Graveurs du XIXe Siècle: Cherrier–Dien”, vol. 12, Paris, Librairie L. Conquet, p. 261, cat. no. 28 [“Reproductions d'après les maîtres anciens”]).

The British Museum offers the following description of this print: “Christ Triumphant over Sin and Death; Christ holding a standard and a chalice, trampling a snake coiled around a globe, and a skeleton; four men surround him; God and angels above; within arch; published in 'L'Art'” (https://www.britishmuseum.org/collection/object/P_1880-0214-161).

See also the description of this print offered by the Philadelphia Museum of Art: https://philamuseum.org/collection/object/157729.

Condition: a strong and well-printed impression with wide margins in a near pristine condition with no tears, holes, folds, abrasions or significant stains.

I am selling this magnificent impression by one of the major reproductive etchers of the nineteenth century, for the total cost of AU$209 (currently US$136.43/EUR126.70/GBP108.40 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 fluidly executed etching after Ruben’s oil sketch for what the MET explains is a design for “an altarpiece ensemble in the church of the Calced Carmelites in Antwerp” featuring “columns and upper corners of the panel …[offering] the patron a choice of architectural motifs” (see https://www.metmuseum.org/art/collection/search/437527), 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