Gijsbert van Veen’s engraving, “Punishment Swiftly Follows Crime”, c1607/12

Gijsbert van Veen (aka Gysbrecht van Veen; Gijsbert Vaenius; Gisbert Venius) (1558–1628), possibly designed in collaboration with his brother, Otto van Veen’s (aka Otho Venius; Octavio van Veen; Otho Vaenius) (1556–1629)—the teacher of Rubens

“Punishment Swiftly Follows Crime” (aka “Punishment Follows Close on Guilt”; “Culpam Poena Premit Comes”—note that this is the New South Wales Police Force [Australia] motto), c1607/12, published in Antwerp by Prostant apud Philippum Lisaert in 1612, as an illustration to page 181 in Otto van Veen’s “Quinti Horatii Flacci Emblemata, Imaginibus in Æs Incisis, Notisque, Illustrata” (The emblems of Quintus Horatius Flaccus, illustrated with images engraved on them, and noted) with accompanying lines from Horace’s (aka Quintus Horatius Flaccus) (65–8 BCE) “Odes”, Book III.

The following accompanying text for this illustration may help to give the flavour of the writing (my apologies for errors in translation): “— Often Death/ Negligence, incest added to the whole:/ Rarely did the previous criminal/ He left the punishment with a lame foot./ God follows the proud vulture behind.” (“—Sæpe Diespiter/ Neglectus, incesto addidit integrum:/ Rarò antecedentem scelestum/ Deseruit pede pœna claudo./ Sequitur superbos vltor à tergo Deus.”) (p. 180).

Archive.org offers an online view of this print in its context in the publication: https://archive.org/details/quintihoratiifla00veen/page/180/mode/2up.

I have not been successful in finding an online source that clarifies what is shown in this fascinating engraving, consequently, I’ve decided to propose my own reading (which may be very wrong) regarding this allegory about the consequences of criminal action: the sword-bearing man holding an armful of severed heads is the criminal in the allegory and his backwards glance at the beheaded figures in the foreground helps to clarify his feelings of guilt. Adding further grit to the unease of his conscience, he is shown walking hurriedly past a sacrificial altar for atonement and being followed by the personification of his guilt in the form of a winged lame figure holding a fist full of snakes and carrying the fasces—a Roman ceremonial axe bundled with rods that is symbolic of penal justice and power. The distant view of fire consuming a walled city on the left and gallows on the right may signify destruction of safe harbour and pending judicial outcome.

Engraving on fine laid paper with Latin letterpress text verso, trimmed around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 17.8 x 14.5 cm.

Condition: a well-printed impression, trimmed around the image borderline and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in a very good condition for its age, with no tears, holes, folds, abrasions or significant stains.

I am selling this marvellous allegorical print showing what I believe to be the consequences for criminal action, for the total cost of AU$237 (currently/approximately US$160.02/EUR146.87/GBP123.42 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$237) as this is my currency.

If you are interested in purchasing this visual affirmation that crime has consequences, 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

Unidentified printmaker/ Lucas Vorsterman I’s engraving, “Rest on the Flight into Egypt”, after Van Dyck

Unidentified printmaker or Lucas Vorsterman I (aka Lucas Aemilius Vorsterman) (1595–1675)

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Note that this print is inscribed in the plate at lower left, “L Volterman Sculp.”, but the misspelling of the Vorsterman’s name along with the incorrect attribution of the design to a painting by Rubens (1577–1640) (rather than a painting by Anthony van Dyck [1599–1641]) and the inscribed publisher’s name at lower right, as “Franciscus Huberti” instead of the shorter name “Frans Huberti” (aka Frans Huybrechts) (fl.1650–1687) for the well-known Antwerp-based publisher, (arguably) suggest that the “mistakes” were designed to deceive the art-market in the 1600s—of course I may be wrong and the “mistakes” are genuine oversights/deliberate choices. Be mindful that Schelte Adamsz. Bolswert (c.1586–1659) executed an engraving of the same design after the painting by Anthony van Dyck (and Cornelis de Vos) in the collection of the Hermitage Museum (St Petersburg, Russia); see https://www.britishmuseum.org/collection/object/P_R-2-15.

Interestingly, Charles Le Blanc (1890) in volume 4 of his famous dictionary of engravers, “Manuel de l'Amateur d'Estampes: Contenant le Dictionnaire des Graveurs de Toutes les Nations” (Paris, Emile Bouillon), catalogues this print on page 157 (cat. no. 100) as being by Lucas Vorsterman after Rubens with the date of the print’s execution as 1620.

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“Rest on the Flight into Egypt” (aka “Le Retour d'Egypte” [Le Blanc]), c.1670 (1650–1687), published in Antwerp (arguably) by Frans Huberti.

Engraving on laid paper trimmed with a small margin around the image borderline and the writing edge.

Size: (sheet) 32.6 x 43.8 cm; (image borderline) 31.7 x 43.3 cm.

Lettered in plate below the image borderline: (left) “L Volterman Sculp.”; (left-of-centre) “P. P. Rubens pinx^.”; (right) “Franciscus Huberti excudit Antuerpiæ.”

Le Blanc 100

Condition: richly inked and near faultless impression trimmed with a small margin around the image borderline and writing edge in very good condition with no tears, holes, folds, significant stains or foxing, with remnants of mounting verso.

I am selling this beautiful engraving from the 1600s showing cherubs making music and dancing to entertain the Holy Family resting on their flight into Egypt to escape King Herod who sought to kill the infant Jesus, for AU$313 (currently US$209.21/EUR189.29/GBP166.63 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 superb impression of what may be an early attempt to (arguably) deceive the art-market of the 1600s by lettering the plate with misinformation regarding the engraver (inscribed as “L Volterman” rather than “L Vosterman”), the designer (inscribed as “Rubens” rather than “Van Dyck”) and perhaps even the publisher (inscribed as “Franciscus Huberti” rather than “Frans Huberti”—mindful that Frans Huberti is not known to use the extended name “Franciscus Huberti”), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Nicolas Tardieu’s etching with engraving, “Defeat and Death of Maxentius”, c1717, after Rubens

Nicolas Tardieu (aka Nicolas Henri Tardieu) (1674–1749)

“Defeat and Death of Maxentius” (aka “Slag bij de Milvische Brug”; “Sconfitta e Morte di Massenzio”; “MaxentII Clades et Interitus”; “Defaitte et Mort du Tyran Maxence”; “Battaglia di Ponte Milvio”; “Battle of the Milvian Bridge”), c1717 (1684–1749 [Rijksmuseum dates]) (note that this is a late impression stamped by the Chalcographie du Louvre), after the painting, “Battle of Milvian Bridge” (see https://commons.wikimedia.org/wiki/File:Battle_of_Milvian_Bridge.jpg) by Peter Paul Rubens (aka Petrus Paulus Rubenius) (1577–1640) that was in the collection of the “Duc d’Orleans” (aka Philippe d'Orléans, Duke of Orléans), as inscribed in the plate, but is now in the Wallace Collection (London), published in Paris by Nicolas Tardieu with royal privilege.

Etching with engraving on heavy buff-coloured wove paper blind-stamped in the lower margin by the Chalcographie du Louvre.

Size: (sheet) 44.2 x 61.2 cm; (plate) 35.8 x 53 cm; (image borderline) 31 x 51.2 cm.

Lettered in plate below the image borderline:

(left) “PP. Rubens pinx.”

(left of centre) “MAXENTII CLADES ET INTERITUS/ CONSTANTINUS Maxentium lœsâ acie ante se fugientem insequitur, qui dum per pontem à tergo ejus/ mediâ in pugnâ seissum Urbem repetere cogitat, lapsȗ equi deturbatus et fugientium multitudine pressus/ in profundum demergritur, et thoracis pondere ipso quo cecidit loco infixus limo et absorptus sepelitur./ Ce tableau est tiré du Cabinet de Monsei^r: le Duc d'Orleans/ A Paris chez N. Tardieu graveur du Roy rue S^t. Jacques pres celle des Noyers. A.P.D.R.”

(right of centre) “DEFAITTE ET MORT DU TYRAN MAXENCE/ CONSTANTIN S'etant mis à la poursuitte de Maxence et de son armée qui fuyoit devant luy, le Tyran aux/ approche du pont par le quel il pensoit à regagner la ville trouve qu'on l'avoit rompu derriere luy pendant/ la bataille; et tout à la fois entraisné par la chute de son cheval et poussé par la multitude de ceux qui/ fuyoient apreś luy tombe dans la riviere, ou son corps chargé d'une pesante cuirasse s'enfonce dans la/ vase, et reste au lieu même ou il etoit tombé enseveli dans les abysmes.”

([Transl.] DEFEAT AND DEATH OF THE TYRANT MAXENCE

CONSTANTINE Having set out in pursuit of Maxentius and his army which was fleeing before him, the Tyrant approaching the bridge by which he thought of regaining the city finds that it had been broken behind him during the battle; and at the same time carried away by the fall of his horse and pushed by the multitude of those who fled after him, he falls into the river, where his body, laden with a heavy cuirass, sinks into the mud, and remains in the place. even where he had fallen buried in the abyss.)

(right) “N. Tardieu Sculp”.

See the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.182956.

Condition: a strong and well-printed (near faultless) impression with full margins as published by the Chalcographie du Louvre. The sheet is in an excellent (near pristine) condition with no tears, holes, folds, abrasions, significant stains (but there are minor handling marks) or foxing.

I am selling this magnificent and very large etching (with engraving) executed with amazing skill to capture the complexity of this Baroque vision of a Roman battle on the Milvian Bridge, for AU$298 in total (currently US$199.18/EUR180.22/GBP158.65 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 grand manner print, 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

Nicolaes Rÿckeman’s engraving, “Pieta”, c1623

Nicolaes Rÿckemans (aka Nicolaes Rijckmans; Nicolaes Ryckmans) (fl.1616–1626)

“Pieta” (aka “Chirst à la paille”; “The Entombment”), 1620–1626, after Peter Paul Rubens (1577–1640). The Curator of the British Museum advises that the engraving is after “the central panel of Rubens' triptych 'Christ à la paille' in the Koninklijk Museum voor Schone Kunsten, Antwerp, inv.no.300 (Rooses 327); painted in 1618 for the tomb chapel of Jan Michielsen and his wife Maria Maes” (BM no. R,3.83).

Engraving on laid paper trimmed close to the platemark with narrow margins around the image borderline, backed with a support sheet.

Size: (sheet) 28 x 19.8 cm; (image borderline) 27.1 x 19.3 cm

Lettered on plate within the image borderline along the lower edge: (right of centre) “P. P. Rubens in.” (left) “Nicolaes Ryckemans sculp."

Lettered on plate below the image borderline in a line of Latin: (centre) "Aspicientes in Auctorem fidei et Consumatorem Lesum. Ad. Hebr. 12."

Hollstein Dutch 12; Schneevoogt 1873 54.394 (C G Voorhelm Schneevoogt 1873, “Catalogue des estampes gravées d'après P.P.Rubens”, Haarlem); Corpus Rubenianum VI 64 (copy 22) (J Richard Judson 2000, “The Passion of Christ”, VI, Turnhout, Harvey Miller Publishers)

The British Museum offers the following description of this print:

“Chirst à la paille or the Entombment; the body of Christ carried on a cloth-stretcher by St Joseph of Arimathaea towards the tomb inside a rock overlayed with straw at right; at left the Virgin looking to the heavens and holding the shroud; St Mary Magdalene behind her; St John the Evangelist standing in background; after Peter Paul Rubens”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1634152&partId=1&searchText=Ryckemans&page=1)

See also the description of this print at the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.343127

Condition: well-printed impression, slightly abraded and age-toned (i.e. unevenly yellowed), trimmed close to the platemark and backed with a support sheet of archival (millennium quality) washi paper.

I am selling this emotionally charged and graphically strong portrayal of Christ’s entombment, for the total cost of AU$223 (currently US$164.37/EUR141.77/GBP126.75 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 engraved gem from the Baroque Period, after the almost legendary master, Rubens, and executed by Rÿckemans at the time he was working for Rubens, 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 the expressed pathos of this image of Christ’s entombment is clear—note for example the wringing hands and tears of St Mary Magdalene on the far left, the tear-shiny eyes of the Virgin looking to the heavens above and her emotional pain made visible by her extended little finger as she holds up Christ’s shroud—there are other far more subtle visual devices that fascinate me.

What I find extraordinarily insightful is Rÿckeman’s echoed use (in the sense of duplication) of a set of curved parallel lines visually “explaining” the contours of Christ’s shoulder supported by St Joseph of Arimathaea on the far right and which are matched by the same curves on Christ’s lower arm. From my way of looking at the echoing of these sets of very intentionally inscribed lines, they not only describe the form of Christ's arm and its tone in the shadows, but they also project the notion of an arm that is lifeless—dead.

Even more interesting for me is Rÿckeman’s use of what I will describe as “shadow haloes” (often termed as exotopic tone) surrounding Christ’s hands. From my standpoint, I see the effect of these haloes as pictorially flattening and inlaying the hands into the surrounding drapery. To be honest, I am undecided whether this merging of the hands with their surroundings necessarily connotes that Christ’s hands are lifeless. Nevertheless, to my eyes the merging certainly adds a note of eerie transcendence to the scene.

Jean Audran’s etching (with engraving), “Henri IV deliberates on his future marriage”, after Rubens, c1708

Jean Audran (1667–1756)

“Henri IV délibère sur son futur mariage” (as inscribed on plate; transl. “Henri IV deliberates on his future marriage”) after the painting (now in the Musée du Louvre, inv. no.1772) by Peter Paul Rubens (1577–164), c1707–9, plate 7 from the series of 25 plates (including the frontispiece) reproducing Rubens’ paintings commissioned by  Marie de Médici in 1621 to illustrated episodes from her life, “La Gallerie du Palais du Luxembourg”, published in Paris by the intermediary draughtsman/designer, Jean Marc Nattier (aka Jean Marc Natier) (1685–1766) with privilege.

Etching and engraving on heavy laid paper with small margins.

Size: (sheet) 51.6 x 36.8 cm; (plate) 50.3 x 35 cm; (image borderline) 44.8 x 33.8 cm

Lettered on plate below the image borderline: (left) "Rubens pinxit"; (centre in five lines of French text) “Henri IV. délibère sur son futur marriage. / Jupiter et Junon ayant consulté ensemble sur le marriage du Roy, et luy ayant inspiré le chois de son Épouse / l’hymenée lui en aporte le portrait, et l’Amour fait observer à ce Monarque tous les traits de la beauté dont on voit / qu’it est epris: Et pendant que la France le sollicite à la conclusion, deux amours se saisissent de son casque et de son / bouclier, comme pour lui ôter les instrumens de la guerre et pout laisser jouir le Royaume d’une longue paix.”; (right of centre below the five lines of text) “A. Paris chez le S.r Nattier Peintre de l'Academie Royale rüe Frementeau. Avec Privilege du Roy."; (right) "I.M. Nattier delineavit. I. Audran Sculpsit."

(Transl. “Henri IV deliberates on his future marriage. / Jupiter and Juno having consulted together on the marriage of the King, and having inspired him the choice of his Bride / the hymenée [Hymen or God of Marriage] brings him the portrait, and the Love makes observe to this Monarch all the features of the beauty of which we see / that it is taken: And while France solicits it to the conclusion, two loves seize his helmet and his / shield, as for him to remove the instruments of the war and to allow to enjoy the Kingdom of a long peace.)

Schneevoogt 1873 220.19.7 (C G Voorhelm Schneevoogt 1873, “Catalogue des estampes gravées d'après P.P.Rubens”, Haarlem); IFF 30 (XVIIIc) (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris, 1930); Le Blanc 331

The British Museum offers the following description of this print:

“Plate 7: The Presentation of the portrait of Marie de' Medici; Henri IV standing in armour at left and looking up at a painted portrait of his future wife, held by Hymen and Cupid, Jupiter and Juno onlooking from above, a female personification of France standing behind the king, two putti carrying away the king's armour below; after Peter Paul Rubens.”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1431914&partId=1&searchText=jean+Audran+nattier&page=1)

Condition: crisp and well-inked impression with small margins in excellent condition (i.e. there are no tears, holes, abrasions, stains or foxing, but there are minor spots of light toning in the outer margin).

I am selling this large print, reproducing a pivotal event in Ruben’s famous suite of paintings featuring and commissioned by Marie de Médici, for AU$197 in total (currently US$153.03/EUR124.05/GBP107.50 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this fascinating translation of a non-verbal communication between the ancient gods and Henri IV as he consults with them about a possible marriage with the lady who commissioned the image and features in the portrait at the image centre, 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 etching (with engraving) translates Ruben’s painting of Henri IV—the King of France and Navarre (1553–1610)—in a moment of quandary as Henri contemplates a potential marriage with Marie de Médici that the ancient gods are encouraging.

In the foreground at left, Henri IV is presented by Hymen (the God of Marriage) with a framed portrait a lightly smiling Marie de Médici as a potential spouse. Just in case Henri may not notice this framed portrait, Cupid (the God of Love) assists by pointing his index finger towards Marie’s face. Henri, however, is clearly ignoring Cupid’s invitation to look at the painting as his eyes have ascended to the two gods—Jupiter (the chief god of the Roman pantheon) and Hera (Jupiter’s consort and protector women’s concerns)—portrayed in the clouds above. From my reading of the direction of Henri’s gaze, he seems to be non-verbally consulting with these gods about taking Marie’s hand in marriage. Judging by Jupiter’s approving smile seen in context with the slight tilt to Hera’s head and her hand resting on Jupiter’s thigh while gesturing broadly in the direction of Henri and the framed Marie, I think that Henri would be in little doubt that he had their blessing. To ensure that Henri doesn’t change his mind, note that Marianne (the personification of France) portrayed immediately behind Henri is about to nudge him towards the proffered portrait and a pending marriage.

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.