Francesco Polanzani’s etching, “Portrait of Cornelis de Vos”, c.1740, after Vorsterman and Van Dyck

Francesco Polanzani (aka Felice Polanzani) (1700–c.1783)

“Portrait of Cornelis de Vos”, c.1740 (1720–1760), plate 11 from the series of 13 plates, “Icones aliquot...:  A. van Dyck.” (LeBlanc title) (aka “Portraits after Anthony van Dyck”), after a section of Lucas Vorsterman I’s (aka Lucas Aemilius Vorsterman) (1595–1675) engraving, “Cornelius de Vos” (1630–1645) (see https://www.britishmuseum.org/collection/object/P_R-1b-91), after the design by Anthony van Dyck (aka Anthoni [Ridder] van Dijck; Anthony van Dijck; Antoon van Dijk; Anton van Dyck) (1599–1641).

Inscribed in plate: (lower right edge in small letters) “A. van D[yc]k Pi. [F.] Polanzani Sc.”

LeBlanc 30-42 (Charles Le Blanc 1888, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 3, Paris, Emile Bouillon, p. 225, cat. nos. 30–42); New Hollstein 98 (Simon Turner [comp.] 2002, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Anthony van Dyck”, vol. 1, Rotterdam, Sound and Vision, cat. no. 98).

The British Museum offers the following description of this print: “Portrait of Cornelis de Vos, half-length turned slightly to the right but looking towards the viewer, with short hair, beard and moustache, wearing a high collar; after Lucas Vorsterman who engraved after Anthony van Dyck/ Etching” (https://www.britishmuseum.org/collection/object/P_R-1b-96).

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

I am selling this startlingly fine head study after Lucas Vorsterman’s engraving of the whole figure of Cornelis de Vos (1584–1651)—a leading portrait painter in Antwerp at the time—and, in turn, after the initial design by Van Dyck, for the total cost of AU$237 (currently US$158.48/EUR144.49/GBP124.25 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 superb etching executed with amazing sensitivity and skill, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Lucas Vorsterman I's engraving, “Adoration of the Shepherds”, 1620, after Rubens

Lucas Vorsterman I (aka Lucas Aemilius Vorsterman) (1595–1675)

“Adoration of the Shepherds” (aka “Aanbidding der herders”), 1620, after Peter Paul Rubens’ (aka Petrus Paulus Rubenius) (1577–1640) painting in the Musée des Beaux-Arts (Rouen) with a Latin dedication in lower margin by Rubens to Pieter Peck the younger (1562–1625)—a diplomat and chancellor of Brabant for the Sovereign Archdukes Albert and Isabella (according to Wikipedia), published by Lucas Vorsterman I in Antwerp. This is a later impression.

The Curator of the British Museum offers the following insights about this print:

“After the painting by Rubens in Musée des Beaux-Arts, Rouen, inv.no.D.803-6 (Rooses 150). A drawing retouched by Rubens is in the Musée du Louvre, Paris, inv.no.20.309. The copperplate is in Antwerp.” (BM No. R,3.39)

Engraving on heavy buff-coloured wove paper, trimmed with small margins (approx. 1.5. cm) around the platemark and backed with a support sheet.

Size: (sheet) 61.4 x 47.5 cm; (plate) 58.7 x 44.7 cm; (image borderline) 57.5 x 44.2 cm.

Lettered on plate below the image borderline (left) “NOBILISSIMO ET AMPLISSIMO ... RVBENVS DEDICAT CONSERCRATQVE. / P.P.Rubens pinxit.”; (centre) “Cum priuilegÿs, Regis Christianissimi, Principum Belgarum, & Ordinum Batauiæ.”; (right) “Lucas Vorsterman sculp. et excud. An.1620."

Hollstein 6 (Vorsterman) (Christiaan Schuckman [comp.] & D. de Hoop Scheffer [ed.] 1993, “Hollstein's Dutch & Flemish Etchings, Engravings & Woodcuts, 1450–1700: Lucas Vorsterman I”, vol. 43, Amsterdam, p. 14, cat.no. 6); Schneevoogt 1873 15.23 (C G Voorhelm Schneevoogt 1873, “Catalogue des estampes gravées d'après P.P.Rubens”, Haarlem, p. 15, cat.no. 23).

The British Museum offers the following description of this print:

“Adoration of the shepherds with nine figures, called 'with the spider'; four shepherds and two women (one holds a basket) gaze at the Christ child lying in a manger; after Peter Paul Rubens. 1620 Engraving”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1631202&partId=1&people=103948&peoA=103948-2-60&page=1)

See also the description of this print at the Rijksmuseum:

(transl.) “adoration of the Christ-child by the shepherds; Mary and Joseph present”

http://hdl.handle.net/10934/RM0001.COLLECT.338265

Condition: well-printed faultless but slightly dull later impression with small margins and laid upon a support sheet of archival (millennium quality) washi paper. The sheet is in museum quality/near pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or significant signs of use).

I am selling this very large engraved masterwork by one of the most famous and accomplished printmakers who collaborated with Rubens (until they had an major argument and parted), for AU$525 (currently US$359.39/EUR325.68/GBP292.73 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 major engraving from the Baroque period, 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

Lucas Vorsterman's engraving, “Adoration of the Magi”, 1602, after Rubens

Lucas Vorsterman I (aka Lucas Aemilius Vorsterman) (1595–1675)

“Adoration of the Magi” (aka “Adoration with the Torches”), 1620, after Peter Paul Rubens’ (aka Petrus Paulus Rubenius) (1577–1640) painting in the Church of St John, Malines and the modello drawing in the Cabinet du Dessins, Musée du Louvre (Paris) with a Latin dedication by Rubens to Albert, Archduke of Austria, published by Lucas Vorsterman I in Antwerp. This is a later impression.

Note that there is a very close copy of Vorsterman’s engraving by Pieter Nolpe (1613/14–c1652/3) but this copy can be easily distinguished from Vorsterman’s print by the production detail, “Peter Nolpe fecit”, and the lighter tone of the keystone illuminated in the archway above the Holy Family (see Nolpe’s engraving at the British Museum: https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1631634&partId=1&searchText=vorsterman+adoration+&page=1).

Engraving on heavy wove paper, trimmed with small margins around the plate mark and backed with a support sheet.

Size: (sheet) 61.7 x 46.8 cm; (plate) 59.1 x 44.5 cm; (image borderline) 58 x 43.9 cm.

Lettered on plate below the image borderline (left) “SERENISSIMO … CONSECRATOVE. / P.P.Rubens pinxit.”; (centre) “Cum priuilegÿs, Regis Christianissimi, Principum Belgarum, & Ordinum Batauiæ.”; (right) “Lucas Vorsterman sculp. et excud. An.1620."

Schneevoogt 1873 22.84 (C G Voorhelm Schneevoogt 1873, “Catalogue des estampes gravées d'après P.P.Rubens”, Haarlem, p. 22, cat. no. 84); Dutuit.VI.54.44 (Eugène Dutuit 1884, ”Manuel de l'amateur d'estampes”, Paris); Hollstein 8 (Christiaan Schuckman [comp.] & D. de Hoop Scheffer [ed.] 1993, “Hollstein's Dutch & Flemish Etchings, Engravings & Woodcuts, 1450–1700: Lucas Vorsterman I”, vol. 43, Amsterdam, p. 16, cat.no. 8).

The British Museum offers the following description of this print:

“Adoration of the Magi; the Holy Family at right; the Christ child delves His hand into a vessel offered by one of the reverential Magi; the turbaned magi holds open a precious casket and the other holds a censer; behind them a crowd of figures strain for a better view; in the background by some columns two figures bear torches; after Peter Paul Rubens. 1620 Engraving”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3082620&partId=1&searchText=vorsterman+adoration+&page=1)

See also the description at the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.338266

Condition: well-printed faultless but slightly dull later impression with small margins and laid upon a support sheet of archival (millennium quality) washi paper. The sheet is in museum quality/near pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or significant signs of use).

I am selling this very large engraved masterwork by one of the most famous and accomplished printmakers who collaborated with Rubens (until they had an major argument and parted), for AU$525 (currently US$360.87/EUR323.52/GBP285.28 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 major engraving of the Baroque period, 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

Lucas Vorsterman I's engraving, “Peter finds a coin in a fish”, c1620

Lucas Vorsterman I (aka Lucas Aemilius Vorsterman) (1595–1675)

“Peter finds a coin in a fish” (Rijksmuseum title) (aka “St Peter Finding the Tribute Money in the Mouth of a Fish”), c1620, illustration to the Gospel of St Matthew (New Testament) 17:27, after the left panel of Peter Paul Rubens’ (1577–1640) triptych, “The Miraculous Draught of Fishes” in the Onze-Lieve-Vrouw-over-de-Dijlekerk in Mechelen, published by Esnault & Rapilly (fl.c.1766–1804) with the original privilege from Archduchess Isabella of Austria (as noted on plate in the publication details). 

Regarding Rubens’ composition, the Curator of the British Museum advises: “A second painting with this subject is mentioned in Rubens' letter to Sir Dudley Carlton of 28 April 1618 (Renger, 1974, p.171)” (see BM no. R,3.62). Regarding the privilege Henri Hymans (1972), proposes that this print is the first published by Rubens after obtaining his privileges (p. 75).

Engraving on laid paper trimmed with thread margins around the plate mark and backed with a support sheet.

Size: (sheet) 28.6 x 36.7 cm; (plate) 28.9 x 36.6 cm; (image borderline) 27.6 x 36.2 cm

Lettered on plate below the image borderline: (left) “P.P. Rubens pinxit. / A Paris chez Esnauts et Rapilly, Rue St. Jacques à la Ville de Coutances”; (centre) “Vade ad mare et mitte hamum, et eum piscem qui primus ascenderit, tolle; et aperto. / ore eius, inuenies staterem. Mat.XVII.”; (right) “Cum privilegiis Regis Christianissimi, / Principum Belgarum, et Ord. Bataviæ.”

State iii(?) (of iii)

Hollstein Dutch 13-III(3) (F W H Hollstein 1993, “Hollstein's Dutch & Flemish Etchings, Engravings & Woodcuts, 1450-1700: Lucas Vorsterman I”, vol. 43, Amsterdam, p. 24, cat. no. 13); Schneevoogt 1873 33.188 (C G Voorhelm Schneevoogt 1873, “Catalogue des estampes gravées d'après P.P.Rubens”, Haarlem); Dutuit.VI.54.44 (Eugène Dutuit 1884, ”Manuel de l'amateur d'estampes”, Paris); Hymans.14 (Henri Hymans 1972, “Lucas Vorsterman 1595–1675, et Son Oeuvre Gravé”, Amsterdam, G W Hissink & Co, p. 75, cat. no. 14); Nagler.XX.92; Le Blanc.IV.105; Van den Wijngaert.717

The British Museum offers the following description of this print:

“St Peter finding the tribute money in a fish; the Apostle holding a fish in his hand and a coin in the other, surrounded by several men, one women at left carrying a basket with fish; after Peter Paul Rubens”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1632498&partId=1&searchText=vorsterman++tribute+money+&page=1)

See also the description offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.192229

Condition: richly inked and near faultless impression trimmed with thread margins around the plate mark and backed with a support sheet of archival (millennium quality) washi paper. The sheet shows minor signs of handling otherwise it is in very good condition (i.e. there are no tears, holes, folds, significant stains or foxing).

I am selling this masterpiece of early engraving for AU$260 (currently US$187.29/EUR163.84/GBP143.05 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 very strong engraving showing St Peter extracting a coin—Henri Hymans’ (1972) in his catalogue raisonné regarding this print advises that it is a four drachmas coin (p. 75)— from the head of a fish, 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

Engraving in reverse after Lucas Vorsterman published by Claes Jansz. Visscher, c1650

Unidentified engraver from the circle of Lucas Vorsterman I (1595–1675)

“Lot (aka Loth) and his family leaving Sodom”, c1650 (Rijksmuseum attribution: 1630–1652 and/or 1630–1702), in reverse after the engraving of the same name by Lucas Vorsterman I (aka Lucas Aemilius Vorsterman) (1595–1675) (see my previous post) based on a chalk drawing by Anthony van Dyck (1599–1641) in the Musée du Louvre, Paris (inv. 20.314), after the painting of the same name (c1613–15) by Peter Paul Rubens (1577–1640) in the collection of The John and Mable Ringling Museum of Art, Sarasota, Florida (Rooses 102; see: http://emuseum.ringling.org/emuseum/objects/21966/the-flight-of-lot-and-his-family-from-sodom), published by Claes Jansz. Visscher II (aka Piscator; Nicolaes Jansz Visscher) (1587–1652) and Nicolaes Visscher I (aka Nicolaas Visscher; Claes Claesz Visscher) (1618–1679) with Nicolaes Visscher II (aka Nicolaas Visscher; Claes Claesz Visscher; Nicolai Vischer) (1649–1702).

Engraving on laid paper trimmed unevenly close to the plate mark and lined with a heavy wove paper support sheet.

Size: (sheet trimmed unevenly) 41 x 51.7 cm; (image borderline) 37 x 51.3 cm

Inscribed on plate within the image borderline along the lower edge: (centre) "P P Rubens invent."; (right of centre) "CIVißcher Excudit."

Lettered below the image borderline with biblical verse in Latin and four columns containing four lines of Dutch verse: "[I]gne et sulphure...statuam vertitur. Gene.19.15." and "Hoe hangt des mensche hert.../...stanck en [roock]".

Hollstein 1 (Vorsterman; copy a); Schneevoogt 1873 2.10; Hollstein undescribed (Visscher)

The Rijksmuseum offers the following description of this print:

“Lot leaves Sodom with his wife and his daughters. Two angels accompany them and show them the way. Under the [image] the title in Latin, four four-line verses in Dutch and a reference to the Bible text in Gen. 19:15.”

(http://hdl.handle.net/10934/RM0001.COLLECT.344678)

See also the description at the Museums of San Francisco: https://art.famsf.org/peter-paul-rubens/ne-et-sulphure-pluit-supra-sodomam-et-gomorham-angel-urges-lot-take-his-wife-and

Condition: an excellent impression but with numerous condition issues: the sheet has restored losses to the upper left and the two lower corners; there is a flattened fold at centre; there is scattered minor staining; the sheet is trimmed unevenly with chips and tears along the edges (these are addressed by the support sheet); there are abrasions.

I am selling this large engraving in reverse of Vorsterman’s engraving of the same composition for AU$283 (currently US$219.77/EUR249.58/GBP159.22 at the time of posting this listing). Postage for this print is extra and will be the actual/true cost of shipping.

If you are interested in purchasing this beautifully executed engraving—see for example the skill of the engraver to connote the reflective shine of silk and satin, the rigidity and sheen of the angel’s wings, especially in contrast with the suggested softness of angel’s arms—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

Regarding this print the curator of the Rijksmuseum offers the following explanation about its publication (with possible translation mistakes):

“The Amsterdam publisher Claes Jansz. Visscher (II) produced large biblical prints on so-called generous format paper (approx. 480 x 580 mm) from the [1630s] onwards. After his death in 1652 his son Nicolaes Visscher (I) continued the business and so also the publication of generous Bible prints. When Nicolaes died in 1679, his son Nicolaes Visscher (II) took over the company … Complete picture books in generous format were published by father and son Nicolaes Visscher under the title ‘Historiae Sacrae Veteris et Novi Testamenti.’ The magazines were also sold separately and could be combined with generous Bible prints from other publishers. Several Amsterdam publishers also published Bible prints in a generous format, including Clement de Jonghe and Cornelis Danckerts. The prints produced by the Visscher company were mostly made by anonymous printmakers, following an example of various sixteenth- and seventeenth-century biblical prints and print series. Often the compositions had to be adapted to the larger and elongated generous format. In addition, there are also large magazines by famous printmakers such as Jan van Londerseel, Pieter Nolpe, Jacques de Gheyn (II) and Jan Harmensz. Muller included in the category ‘Bybelsche Figures, on Royaal sheets’ in the Visscher [publication] list. [This print] possibly used in: ‘Historiae Sacrae Veteris et Novi Testamenti’ (Royal Bible).” (https://www.rijksmuseum.nl/nl/collectie/RP-P-1908-3784)