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 

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 

Pietro Monaco’s engraving, “The Banquet of Cleopatra”, c1770, after Giovanni Battista Tiepolo

Pietro Monaco (1707–1772)

“The Banquet of Cleopatra” (aka “Il Convito di Nabal”; “Nabals Fest”), c1770, from a series of plates reproducing paintings then in the Venetian palazzi, “Raccolta di 112 stampe di pitture della storia sacra” (see BM inv. 1865,0520.773), after the painting (1744) in the collection of the National Gallery of Victoria (Melbourne, Australia) by Giovanni Battista Tiepolo (aka Giambattista Tiepolo) (1696–1770) (see https://www.ngv.vic.gov.au/explore/collection/work/4409/). This impression was published in Venice by Teodoro Viero (1740–1819) (as inscribed in the plate).

Engraving on laid paper trimmed with a small margin around the image borderline and backed with a support sheet.

Size: (sheet) 37.4 x 52.1 cm; (image borderline) 32.1 x 49.4 cm.

Lettered in plate below the image borderline: (left) “Pietro Monaco del Scol”; (centre) “IL CONVITO DI NABAL/ Venit autem Abigail ad Nabal, et ecce erat ei convivium in domo ejus, quasi convivium regis, et cor Nabal jucundum, erat enim ebrius nimis: et non indicavit ei verbum pusillum, aut grande usque mane. Reg. 1. Cap. XXV. V. 36./ PITTURA DI GIO: BATTĀ: TIEPOLO POSSEDUTA DAL SIG. CO: FRAN.^co ALGAROTTI.”(right) “Appo Teodore Vier[o] in Venezia”.

Interestingly, Charles Le Blanc (1854) does not describe this print in his “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”, vol. 3, Paris, pp. 38–39 (see https://archive.org/details/manueldelamateu00blangoog/page/n43/mode/2up).

See the following description of this print offered by the British Museum:

“The Banquet of Cleopatra, set within an architecturally elaborate hall, after Tiepolo

Engraving” (https://www.britishmuseum.org/collection/object/P_1865-0520-760). 

The National Gallery of Victoria offers the following background account to the scene portrayed in Tiepolo’s painting:

“The story of Mark Antony (83–30 BC) and Cleopatra (69–30 BC) was a popular subject for artists in the 18th century. Both Antony and Cleopatra were powerful leaders. Cleopatra was the seventh and last queen of Egypt who enjoyed a life of refinement and luxury. Mark Antony was the Roman consul whose legendary extravagances included feasts where he would gorge himself on rare foods. The story of their love affair involved romance, war, military splendour, tragedy and death (Gott 2003, p. 102).

The episode represented in Giambattista Tiepolo’s The banquet of Cleopatra was written by the Roman historian Pliny in AD 77. As Gott (2003, p.102) notes, it tells of a famous contest between the Egyptian and Roman rulers. Cleopatra wagered that she could stage a feast more lavish than those of Mark Antony. Tiepolo’s painting shows the dramatic moment at the end of the meal when she removes one of a pair of rare, priceless pearls that she wears as earrings, and drops it in a glass of vinegar and drinks it.

Lucius Plancus, the third figure at the table, was umpiring the wager. He declared Cleopatra the winner of the bet and stopped her destroying the second pearl.

While Tiepolo’s painting is based on a historical story and includes visual references to ancient Egypt and Rome, Tiepolo has painted Cleopatra in contemporary dress.

(https://www.ngv.vic.gov.au/school_resource/art-start/image-bank/giambattista-tiepolo/)

Condition: a well-printed strong impression with a small margin around the outer image borderline and laid onto a sheet of archival (millennium quality) washi paper. There is chipping with losses the borderline (see lower right corner) otherwise this large sheet is in a very good condition with no significant stains or foxing.

I am selling this large and very rare etching—note that the National Gallery of Victoria that holds Tiepolo’s painting does not have a copy of this print (or at least not online)—for the total cost of AU$488 (currently US$356.96/EUR302.42/GBP259,43 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 remarkably beautiful and luminous 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 

Valentin Lefebre's etching, “Landscape with Flute Playing Shepherd”, 1682

Valentin Lefebre (aka Valentin Le Fevre; Valentin Le Febre; Valentin Lefebure; Valentin Lefèvre) (1637–1677 [dates attributed by the British Museum and Ruggeri, but there is discrepancy in these dates attributed by other museums such as the MET and NGV who propose c1642–1680/2])

 “Landscape with Flute Playing Shepherd” (Rijksmuseum title), 1682 [date of publication], after the drawing of the same subject by Titian (1489/90–1576) held by the Albertina in Vienna (Inv. no.1477), from the series of 53 etchings after Titian and Veronese (Ruggeri I.1-53; Hollstein X,1-53), “Opera Selectiora” (aka “Opera selectiora quae Titianus Vecellius Cadubriensis et Paulus Calliari Veronensis inventarunt ac pinxerunt”), published in the 1682 edition by Jacobus van Campen (fl.1682) in Venice. (Note: later editions published in 1786 and 1789 are inscribed with the address of the Italian printmaker and publisher, Teodoro Viero [1740–1819].)

Etching on laid paper trimmed along the image borderline and backed with a support sheet.

Size: (sheet) 31.2 x 44 cm.

Inscribed on plate along the lower edge: (left) "V. lefebre del. et sculp."; (left of centre) "Titian in."; (right of centre) "J. van Campen Formis Venetÿs.".

State i (of ii) before the address of Teodoro Viero.

Ruggeri 2001 I.27 (Ugo Ruggeri 2001, “Valentin Lefèvre: dipinti, disegni, incisioni”, Merigo Art Books, Manerba, p. 219, cat. no. I. 27); Villot 27 (Frédéric Villot 1844, "Valentin Lefebre, peintre et graveur à l'eau-forte", in "Le Cabinet de l'amateur et de l'antiquaire", vol. 3, p. 188, cat. no. 27); Hollstein Dutch 1-53 (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam).

The Rijksmuseum offers the following description of this print:

(transl.) “Watery landscape with shepherds driving their herd of sheep towards a pool of water. In the left foreground a shepherd plays the flute. The print is part of a 53-part series of prints based on paintings by Titian and Veronese.”

(http://hdl.handle.net/10934/RM0001.COLLECT.323110)

See also the description of this print at the British Museum:

“Landscape with shepherds leading a flock of sheep towards a river at centre, a city at the edge of a lake in right background; after Titian.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3087645&partId=1&searchText=Valentin+Lefebre+&page=1)

Condition: crisp and well-printed early impression with a few faint spots, a flattened centrefold, minor nicks and tears to the edges appropriate to the considerable age of the print, otherwise in an excellent condition. The print is backed with a support sheet of archival (millennium quality) washi paper.

I am selling this large masterpiece of etching that seems to shimmer with light, for [deleted] 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 extraordinary interpretation of a landscape by Titian, 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