Valentin Lefebre, “Youth and Old Age”, 1682, after Veronese (2nd copy)

Valentin Lefebre (also known as Valentin Le Fevre, Valentin Le Febre, Valentin Lefebure, Valentin Lefebvre) (1637–1677)

“Youth and Old Age” (Gioventù e Vecchiaia), 1682

Provenance & Iconography Note:

While some prominent institutional collections (such as the National Gallery of Victoria) catalogue this print under the literal description of “Saint Peter” due to the figure on the right holding keys, it is historically and allegorically the personification of “Youth and Old Age.” It reproduces a famous ceiling composition by Paolo Veronese located in the Sala del Consiglio dei Dieci (Hall of the Council of Ten) in the Doge's Palace, Venice.

Technical Details & Condition:

Etching on fine laid paper with wide margins.

This etching is part of a series of fifty-three plates titled “Opera Selectiora” (Selected Works), reproducing paintings by Titian (also known as Vecellio Tiziano) (1489/90–1576) and Paolo Veronese (also known as Paolo Caliari) (1528–1588).

This impression features the lower right plate inscription of the original Venice publisher, Jacobus van Campen (active 1682). This confirms the sheet is from the highly sought-after initial editions of 1682 or 1684, prior to the late 18th-century editions (1786/1789) where the publisher Teodoro Viero acquired the plates and added his own address.

The impression is strong and crisp. The sheet is in near-pristine condition with no tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 39.9 x 24.4 cm
• Platemark: 29.8 x 14.9 cm
• Image borderline: 29.2 x 14.3 cm

Plate Lettering (below the image):

• Left: “V. lefebre del. et sculp.”
• Centre: “PAVLVS CALIARŸ, VERONENSIS. IN. &. PINX.”
• Right: “J. Van Campen. F. Venetÿs.”

References:

• Hollstein 1–53 (F.W.H. Hollstein, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700: L'ADMIRAL–LUCAS VAN LEYDEN,” vol. 10, 1954, Amsterdam, Menno Hertzberger, p. 46, cat. nos. 1–53)
• Villot 43 (Frédéric Villot, “Le cabinet de l'amateur et de l'antiquaire: revue des tableaux, et des estampes anciennes, des objets d'art, d'antiquité et de curiosité”, Vol. 3, 1844, pp. 169–197)
• Ruggeri I.43 (Ugo Ruggeri, “Valentin Lefèvre dipinti, disegni, incisioni”, 2001, Manerba, Merigo Art Books,)
• Rijksmuseum: Object Number RP-PHH-1184 (Catalogued as Jeugd and Ouderdom)— https://id.rijksmuseum.nl/200218709
• National Gallery of Victoria (NGV): Accession Number 919.83-4 (Catalogued as Saint Peter)— https://www.ngv.vic.gov.au/explore/collection/work/39624/

Price & Shipping:

AU$266 (approximately US$186.65 / €162.16 / £139.00—subject to daily currency fluctuations) including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

If you are interested in acquiring this exceptional allegorical work, please contact me directly at oz_jim@printsandprinciples.com. I will gladly provide a secure PayPal invoice for a smooth, fully protected transaction.

Collector's Note: Notice how the tight, pictorial cropping of the figures within the oval frame creates a fascinating “keyhole” effect. It beautifully separates our immediate viewer's space from the loftier, timeless world of the allegorical figures.

This print has been sold 

Pietro Monaco, “La Probatica Piscina”, c. 1763, after Paolo Veronese

Pietro Monaco (1707–1772)

“La Probatica Piscina” (The Probatica Pool), or “Christ Healing the Lame at the Pool of Bethesda”, c. 1763

Technical Details & Condition:

Etching and engraving on heavy laid paper. This print is Plate 69 from the renowned series “Raccolta di 112 stampe di pitture della storia sacra” (Collection of 112 Prints of Paintings of Sacred History). The scene is based on a painting by Paolo Veronese (also known as Paolo Caliari) (1528–1588). While Veronese famously depicted this subject on the inner organ shutters of the Church of San Sebastiano in Venice—a work visible only when the organ doors are opened—this etching documents a different, now-lost canvas version. The mystery surrounding this missing painting, of which this engraving is the only surviving evidence, is discussed by the BBC: https://www.bbc.com/news/uk-scotland-north-east-orkney-shetland-60290162.

The impression is strong and well-defined, although it shows signs of wear to the copper plate. The sheet remains in excellent condition—remarkably well-preserved for its large size—and is free from tears, holes, folds, or significant staining.

Dimensions:

• Sheet: 40.6 x 57.3 cm
• Platemark: 36.3 x 51 cm
• Image borderline: 31.4 x 48.5 cm

In-Plate Lettering (below the image borderline):

• Centre: “LA PROBATICA PISCINA. / Est autem Ierosolymis Probatica piscina, quæ cognominatur Hebraice Bethsaida quinque porticus habens Ioan: Cap: V.v.2. / PITTURA DI PAOLO CAGLIARI VERONESE, POSSEDUTA DALLA NOBIL FAMIGLIA GRASSI, A S. SAMUELE. / Pietro Monaco del: scol: e forma in Venezia”

(The Probatica Pool. / Now there is in Jerusalem a Probatic pool [Sheep Pool], called in Hebrew Bethsaida [House of Mercy], with five porticoes. John: Chapter V, v. 2. / Painting by Paolo Caglieri Veronese, owned by the noble family Grassi at San Samuele [referring to their residence, Palazzo Grassi, in the parish of San Samuele]. / Pietro Monaco drew [delineò], engraved [scolpì], and published/printed [e formò] this work in Venice.)
• Right: “69.”

References

• Apolloni 69 (Davide Apolloni, “Pietro Monaco e la Raccolta di Venti Dodici Stampe di Pitture della Storia Sacra,” 2000, Monfalcone, Edizioni della Laguna, p. 254, cat. no. 69)
• LeBlanc 56-167 (Charles Le Blanc, “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”, 1856, vol. 3, p. 38, cat. nos. 56-167). See https://archive.org/details/manueldelamateur03lebl/page/38/mode/2up
• British Museum https://www.britishmuseum.org/collection/object/P_1865-0520-756

Price & Shipping:

AU$316 (approximately US$226.52 / €192.49 / £167.59), including worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you’re interested in acquiring this large, beautifully illuminated etching by Monaco—bearing the only known depiction of the missing Veronese painting once in the collection of the Grassi family in Venice, later acquired by Catherine the Great of Russia, and now believed to be somewhere in northeast Scotland (possibly “hiding in plain sight”)—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and safe transaction.

Valentin Lefebre, “Saint Matthew and the Angel” (etching & counterproof), 1682, after Veronese

Valentin Lefebre (also known as Valentin Le Fevre, Valentin Le Febre, Valentin Lefebure, Valentin Lefèvre) (1637–1677)
“Saint Matthew and the Angel” (also known as “San Matteo e l'Angelo”]), etching and counterproof impressions, 1682

While some sources suggest that the subject and title of this print is “Tobias and the Angel,” the British Museum and the Rijksmuseum identify the central figure as Saint Matthew.

Technical Details & Condition:
An etching and a counterproof impression (taken from the etching) printed on separate sheets of laid paper. The etching is a strong impression, trimmed with approximately 3mm margins around the platemark, and mounted on a blue support sheet. It shows minor age toning, but is otherwise free of tears, holes, folds, or significant stains. The counterproof is a pale impression—being a direct impression taken from the freshly printed etching, resulting in a reversed image—with small margins on the sides and larger margins at the top and bottom. It has two binding holes in the right margin, a minor stain on Saint Matthew, and a small tear in the lower margin; otherwise, the sheet remains in good condition with no other significant issues.

This etching is part of a series of fifty-three plates titled “Opera Selectiora” (Selected Works), reproducing paintings by Titian (also known as Vecellio Tiziano) (1489/90–1576) and Paolo Veronese (also known as Paolo Caliari) 1(528–1588). It was published in Venice by Jacobus van Campen (fl.1682) and is based on a ceiling painting by Veronese in the Doge’s Palace. Both impressions offered here are from the initial editions of 1682 or 1684, prior to the later 18th-century editions where Teodoro Viero added his address to the plate.

These closely connected prints are exceedingly rare. Despite their rarity, the British Museum holds several examples of Lefebre’s counterproofs; for example, https://www.britishmuseum.org/collection/object/P_1950-0211-173.

Dimensions:
• Sheet (Etching): 24.3 x 22.8 cm
• Sheet (Counterproof): 34 x 24.2 cm
• Platemark: 23.5 x 22.1 cm
• Image borderline: 22.7 x 21.5 cm

Plate Lettering (below the image border):
• Left: “V. lefebre del et sculp.”
• Centre: “P. Caliary Ver.P”
• Right: “J. Van Campen Formis Venetÿs.”

References:
• Hollstein 1–53 (F.W.H. Hollstein, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700: L'ADMIRAL–LUCAS VAN LEYDEN,” vol. 10, 1953, Amsterdam, Menno Hertzberger, pp. 46–48, cat. nos. 1–53)
• Villot 35
• Ruggeri I.35
• British Museum: https://www.britishmuseum.org/collection/object/P_1954-0211-6-19
• Rijksmuseum: https://id.rijksmuseum.nl/200218687

Price & Shipping:
AU$334 (approximately US$236.13 / €199.41 / £174.17) for the pair of prints, including worldwide express shipping. Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this exceptionally rare pair of prints—comprising the original etching and the counterproof taken directly from the freshly printed plate—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and safe transaction.

This print has been sold