Lucas Vorsterman II's engraving, “Lucas Vorstermans”, c.1643, after Van Dyck

Lucas Vorsterman II (1624–fl.1666)

“Lucas Vorstermans [the Elder]”, 1640–45, after the painting in the Museu Nacional de Arte Antiga in Lisbon of the engraver’s father that was executed in around 1631 by Anthony van Dyck (aka Anton van Dyck; Anthony van Dijck; Anthoni van Dijck; Antoon van Dijk) (1599–1641), from the series, “Icones Principum Virorum”, published by Lucas Vorsterman II in Antwerp. The Curator of the BM advises regarding this print that “the copper-plate is kept in the Chalcographie, Musée du Louvre, inv.no.2373” (see BM inv. no. P,3.277).

The Museu Nacional de Arte Antiga offers the following description of Van Dyck’s painting of Vorsterman the Elder:

“Probably painted immediately after Vosterman’s return to Antwerp, in 1630, after some time spent in England, the portrait not only gives us an image of the engraver with the veil of melancholy that characterised his whole existence, but, by also affording him a rather haughty expression, Van Dyck fully encapsulates the artist’s new social status”

(http://museudearteantiga.pt/collections/european-painting/portrait-of-lucas-vosterman-the-elder).

Etching and engraving on laid paper trimmed with a narrow margin around the platemark, with replenished losses to the lower corners and backed on a support sheet.

Size: (sheet) 26 x 18.4 cm; (plate) 25.3 x 17.9 cm; (image borderline) 22.2 x 17.5 cm.

Lettered on plate below the image borderline: (lower left corner) “Ant. van Dÿck pinxit.”; (centre) “LVCAS VORSTERMANS / Desine Lysippos iactare animosa vetustas / Hic Vir, hic excudit spirantia mollius æra. LL” (transl. “Proud antiquity, boast no more of Lysippus and his kind, more subtly does this man’s burin breathe life into copper”); (lower right corner) “Luc. Vorstermans iunior sculpsit et excudit.”

State iv (of v) with lettered publication details.

Mauquoy-Hendrickx 1991 166.IV; New Hollstein (Dutch & Flemish) 174.IV (Van Dyck) (Simon Turner [comp.] 2002, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Anthony van Dyck”, vol. III, Rotterdam, Sound and Vision, p. 196, cat. no. 174); van Someren 1888 5949; Hollstein 87.IV (Vorsterman) (Christiaan Schuckman [comp.] 1993, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Alexander Voet I to Anthonie de Vos”, vol 42, Roosendaal, Koninklijke Van Poll Rijksprentenkabinet, p. 143, cat. no. 87).

The British Museum offers the following description of this print:
“Portrait of Lucas Vorsterman I, half-length [turned] to right but looking towards the viewer, with long hair, a beard and moustache, wearing a collar and large cloak draped forward at the front; fourth, lettered state, finished, with monogram in lower right corner; after Anthony van Dyck Engraving”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1430348&partId=1&searchText=VORSTERMANs&page=1).

Condition: richly inked and well-printed impression showing no sign of wear to the printing plate, trimmed with a narrow margin around the around the platemark, with replenished losses to the lower corners and laid upon a support sheet of archival (millennium quality) washi paper.

I am selling this superb engraving of the engraver’s father—a revealing portrait from a low viewpoint that casts the subject as a somewhat handsome but haughty man—for AU$330 in total (currently US$221.58/EUR204.36/GBP170.05 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 exceptionally fine portrait—note how the engraver has used rectangular highlights on Vorsterman’s eyes that (to me) suggest an analytically penetrating gaze and how his moustache is sprung with unsettling curves in different directions—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 II’s etching, “Porta Suda Paleo in Candia” (the second version), c1665

Lucas Vorsterman II (1624– fl.1666)

Note: this print is VERY similar to the one shown in the previous post but close examination reveals distinct differences. In short, this impression is from a different plate.

“Porta Suda Paleo in Candia” (second version), c1665, after the design by Jan Peeters I (aka Johannes Peters) (1624–c1677), from the series of ten plates featuring Mediterranean islands, “Insula di Candia del Mare Mediteranea”, published by Jan Peeters I. This is a first state impression before lettering with the publication details.

Note: The BM advises that the publisher was the same as the designer of the composition (Jan Peeters I). This information may be incorrect and the publisher may be Jacobus Peeters (1637–95) instead who published the series in the third edition.

Etching on laid paper lined onto a support sheet of fine washi paper.

Size: (sheet) 19.5 x 29.1 cm; (plate) 11.5 x 27.7; (image borderline) 10.5 x 26.8 cm

Inscribed within the image borderline: (above the third mountain from the left) “Canca”; (right of centre) “Suda”.

Monogrammed within the image borderline at lower right corner: “VL”.

Lettered below the image borderline: (left) “Ioannes Peeters delineavit"; (centre) “Porta Suda Paleo in Candia.”; (right) "Lucas Vorstermans fecit."

State i (of iii?) My attribution of this print to the first state is based on the lettered details that match the first state impression held by the BM (no. F,1.121). I assume that as the previous print that I have listed was from the same series and it had three states that this print also has three states commensurate with the lettering of the different publishers.

Hollstein 44-53 (under Conrad Lauwers) (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam); Hollstein 56.I

The British Museum offers the following description of this print:

“View of the harbour of Souda; battle scene with soldiers in a fort in left foreground firing cannons at the fleet of ships advancing rightwards, the Souda island in centre middleground, a row of ships seen at left, mountainous landscape in the background. c.1665” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3086844&partId=1&people=103947&peoA=103947-2-60&page=1)

Condition: richly inked and crisp impression in near pristine condition (but there is a tear in the margin on the left). The sheet has generous margins (possibly as published) and has been laid onto a conservator’s support sheet. There is a collector’s ink stamp at the lower right corner.

I am selling this spectacularly fine, pre-publication, lifetime impression of Vorsterman II’s etching from the mid-1600s of a battle scene in Crete for the total cost of AU$179 (currently US$140.91/EUR119.28/GBP106.18 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this marvellously detailed depiction of the naval battle in the harbour of Heraklion (Crete), 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

In the previous discussion I mentioned that I thought (but wasn’t certain) that I had another version of Vorsterman’s naval battle at the port of Heraklion in Crete in the 17^th century, well I did as can be seen here. Both prints are surprisingly similar but they are not prints from different states of the same printing plate. Close examination shows that they are offer different angles of view of the harbour and the features of the battle portrayed.

Lucas Vorsterman II’s etching, “Porta Suda Paleo in Candia”, c1665

Lucas Vorsterman II (1624– fl.1666)

“Porta Suda Paleo in Candia”, c1665, after the design by Jan Peeters I (aka Johannes Peters) (1624–c1677), from the series of ten plates featuring Mediterranean islands, “Insula di Candia del Mare Mediteranea”, published by Gaspar Huberti (aka Gaspar Huybrechts) (fl. 1685–1724) and later by Jacobus Peeters (1637–95). This impression is from the first state of the print before the published editions by Huberti and Peeters.

Etching on laid paper trimmed along the platemark and lined onto a support sheet of fine washi paper.

Size: (sheet) 11.7 x 27.4 cm; (image borderline) 10.5 x 26.8 cm

Inscribed within the image borderline: (centre of the left side) “Paleo”; (left of centre) “Canca” and “Suda”.

Monogrammed within the image borderline at lower left corner: “VL”.

Lettered below the image borderline: (left) “Ioannes Peeters delineavit"; (centre) “Porta Suda Paleo in Candia.”; (right) "Lucas Vorstermans fecit."

State i (of iii?) My attribution of this print to the first state is based on the lettered details that match the first state impression held by the BM (no. F,1.120) before the lettered production details of Gaspar Huberti (see BM no. 2AA+,a.43.82) and Jacobus Peeters (see BM no. 2AA+,a.43.80).

Hollstein 44-53 (Conrad Lauwers) (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam); Hollstein 55.I; Landwehr 1970 82 (J Landwehr 1970, “Romeyn de Hooghe as book illustrator”, Amsterdam)

The British Museum offers the following description of this print:

“View of the harbour of Souda; a row of ships in foreground, the Souda island with the harbour at centre, a town ('Paleo') on a hill at left; mountainous landscape in the background.” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3086845&partId=1&searchText=vorsterman+porta+suda&page=1)

Condition: richly inked and crisp impression in near pristine condition. The sheet is trimmed along the platemark and has been laid onto a conservator’s support sheet.

I am selling this spectacularly fine, pre-publication, lifetime impression of Vorsterman II’s etching from the mid-1600s of a battle scene in Crete for the total cost of AU$179 (currently US$140.91/EUR119.28/GBP106.18 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this marvellously detailed depiction of the naval battle in the harbour of Heraklion (Crete) and, interestingly, shows cannon fire from the fortress of Paleo Castro—a place that I understand is now only in ruins—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

I’m presently experiencing one of those moments when my brain tells me one thing but reality tells me another. The issue for me right now is that I know—or rather I think that I know—that I have another variation of this same scene. Hopefully I can find it and feature it tomorrow night.

Regarding this image, what is missing in the BM’s account of what is featured here is far more than “a row of ships in foreground, the Souda island with harbour at centre” (see BM no. F,1.120). What is REALLY going on here is a battle in the harbour of Heraklion in Crete. On the left, the fortifications at Paleo Castro (inscribed, “Paleo”) are enlivened with puffs of smoke from the cannons firing on the attacking ships which are clearly responding with their own puffs of cannon smoke. From what I understand (based on information gleaned from http://www.cretanbeaches.com), the Fort of Paleo Castro was originally built by the Venetians to protect the harbour. Interesting the fort was soon abandoned and was in ruins well before 1668, according to the Turkish traveller Evliya Celebi (1611–82). This means that Vorsterman II’s etching which was executed circa 1665 shows the final days of the old fort.