Anthony van Dyck with Lucas Vorsterman, “Christ Crowned with Thorns”, c. 1630

Anthony van Dyck (1599–1641) in collaboration with Lucas Vorsterman I (also known as Lucas Aemilius Vorsterman) (1595–1675)

“Christ Crowned with Thorns” (also known as “The Mocking of Christ” or “The Reed Offered to Christ”), circa 1630

Artistic & Technical Collaboration:

The etching component was completed by the hand of Anthony van Dyck—as inscribed in the plate, “Anton. van Dyck invenit et fecit aqua forti”—and the plate was completed in engraving by Lucas Vorsterman. Notably, the technique of finishing an etching with burin (the engraving tool) was innovative at the time. Carl Depauw and Ger Luiten (1999) cite John Evelyn describing it as “a new invention linked to the name of Lucas Vorsterman.” 

Depauw & Luiten also suggest that Vorsterman re-etched the plate to create a spatter-like, speckled effect, transforming van Dyck’s parallel lines into detailed cross-hatching and expertly rendering textures, such as the shining Roman helmet.

Technical Details & Condition:

Etching with engraving on laid paper, with narrow margins around the image border, retaining the verses below the image. This impression is from State VI (of VII) with the note of privilege (“Cum Privilegio”) erased, but before the addition of publication details for Jacques Philippe Le Bas (1707–1783) of Paris. 

The impression is strong, crisp, and evenly inked. The sheet is in excellent condition for its age, with only minor age-toning and traces of glue on the verso; otherwise, it remains free of tears, holes, folds, or significant stains.

Dimensions:

• Sheet: 26.5 x 21.5 cm
• Image borderline: 24.4 x 21 cm

In-Plate lettering (below the image in two columns of two lines of Latin and publication details):

• Left: “Ecce stat innocuus spinis redemitus acutis, / Æmula sunt cuius bella labella rosis: / Anton. van Dyck inuenit et fecit aqua forti.”
• Right: “Et vero Iudæe illudis arundine Regi, / Impie sed nescis te mala quanta manent.”

(Translation): “Behold, he stands innocent, redeemed by sharp thorns, whose beautiful lips are envied by roses. And truly, O Jew, you mock the King with a reed, O impious, you do not know how many evils await you. Anthony van Dyck invented and made this with etching.”

References:

• Mauquoy-Hendricx (van Dyck) A-6 (Marie Mauquoy-Hendrickx, “L'Iconographie d'Antoine van Dyck: Catalog Raisonné”, 1991, Brussels, Royal Library Albert I, p. 116, cat. no. A-VI)
• New Hollstein Dutch 519
• Carl Depauw & Ger Luiten, “Anthony van Dyck as a Printmaker”, 1999, New York, Rizzoli, pp. 234–39, cat. no. 31
• British Museum: Museum number 1931,0413.11 — https://www.britishmuseum.org/collection/object/P_1931-0413-11
• Rijksmuseum: Object number RP-P-1953-709 — https://id.rijksmuseum.nl/200127450

Price & Shipping:

AU$1058 (approximately US$757.99 / €654.14 / £560.05, subject to daily exchange rates). Price includes worldwide express shipping. Please note that destination import duties and local taxes remain the sole responsibility of the buyer.

If you’re interested in acquiring this superb original etching—an iconic image of Christ’s suffering, with the “supernatural glow” from his halo contrasted against the textured face of the tormentor—please contact me at oz_jim@printsandprinciples.com. I’ll gladly provide a secure PayPal invoice for a seamless transaction.

This print has been sold

Lucas Vorsterman I, “Cornelius Sachtleven”, c. 1645, after Anthony van Dyck

Lucas Vorsterman I (1595–1675)

“Cornelius Sachtleven”, circa 1645 

The subject of this portrait is the Dutch printmaker and painter, better known as Cornelis Saftleven (1607–1681). Renowned for his vivid images of hell, this may explain the monster on which Saftleven nonchalantly rests his arm—a creature that Henri Hymans (1972) tentatively identifies (possibly in error) as a hippopotamus (p. 194). The Latin inscription “HOLLANDVS PICTOR NOCTIVM PHANTASMATVM”—meaning “Dutch painter of nocturnal phantasms”—suggests that Saftleven’s work often explored dreamlike, nightmarish visions. The monster reflects Saftleven’s fascination with nocturnal fantasies and dreamlike visions.

Technical Details & Condition:

Engraving on laid paper with wide margins, professionally backed with fine washi paper. This impression is from the series after Anthony Van Dyck (1599–1641), “Icones Principum Virorum” (also known as “Icones Principum Virorum Doctorum Pictorum Chalcographorum Statuariorum nec non amatorum pictoriae artis numero centum ab Antonio Van Dyck Pictore ad vivum expressae, eiusq[ue] sumptibus aeri incisae”), published in Antwerp in the Hendrick & Cornelis Verdussen edition of 1720. 

The design of this portrait is based on Van Dyck’s preparatory chalk and wash drawing in the Amsterdam Historisch Museum. The impression is richly inked and flawlessly printed. Aside from a collector’s pencil notations at lower left, the sheet is in near pristine condition, free of tears, holes, folds, stains, or abrasions.

Dimensions:

• Sheet: 37.8 x 25 cm
• Platemark: 24 x 15.8 cm
• Image borderline: 21.7 x 15.6 cm

In-Plate Lettering (along the writing edge):

• Left: “Ant. van Dyck pinxit. / LV [ligature] orsterman sculp.”
• Centre: “CORNELIVS SACHTLEVEN / HOLLANDVS PICTOR NOCTIVM PHANTASMATVM.”
• Right: “Cum priuilegio”

References:

• Hymans 208 (Henri Hymans, “Lucas Vorsterman, 1595-1675, et Son Oeuvre Gravé”, 1972, Amsterdam, G.W. Hissink & Co, pp. 194–195, cat. No. 208)
• New Hollstein 88 (van Dyck); Hollstein 199 (Vorsterman I); Mauquoy-Hendrickx 90
• Rijksmuseum: https://id.rijksmuseum.nl/200467695
• British Museum: https://www.britishmuseum.org/collection/object/P_1863-0509-891  

Price & Shipping:

AU$288 (approx. US$207.60 / €177.08 / £152.93), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this rare and outstandingly portrait of Cornelis Saftleven, please contact me at oz_jim@printsandprinciples.com. I will gladly provide a secure PayPal invoice for a smooth transaction.

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)

__________

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.

___________

“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.

Anthony van Dyck & Lucas Vorsterman I’s etching with engraving, “Titian and His Mistress,” c1635

(Etching component) Anthony van Dyck (aka Anthony van Dijck; Anthoni van Dijck; Antoon van Dijk; Anton van Dyck) (1599–1641) and

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

“Titian and His Mistress,” 1630–1640, published in Paris by Antoine Bonenfant (aka Antoon Goetkindt; Anton Goetkint) (fl.1598–1644) with the inscribed dedication:

(transl.) “Anthony van Dyck dedicates this lifelike portrait of the peerless Titian to the illustrious and venerable Lord Lucas can Uffel, patron and dear friend, in token of his affection and love”;

and the following two column inscription:

(transl.) “Behold this beauty! O happy fate! In her womb she bears a child. Whether she lives or dies, we know her thanks to the art of the great Titian.”

Etching and engraving on laid paper trimmed irregularly around the image borderline and Italian text below, backed on a support sheet.

Size: (sheet) 30.1 x 23 cm; (image borderline) 26.8 x 23 cm.

Lettered on plate below the image borderline in two columns of Italian in two lines: "Ecco il belveder! ô che felice sorte!/ Che la fruttifera frutto in ventre porte// Ma ch'ella porte, ô me; vita et morte piano/ Demonstra l'arte del magno Titiano."; (cente) "Al molto illustre, magnifico et offerunadis.mo Sig.r il SIG.R LVCA VAN VFFEL, in segno d'affectione et inclinatione/ amoreuole, com Patrone et singularis.mo amico suo dedicato il vero ritratto del vnico Titiano Ant. van Dyc[k]"; (lower left) “Titian inuentor”; (lower left of centre) “Cum Priuilege Regis”; (lower right of centre) “A Bonenfant excū”.

State iv (of vi) with the publisher’s address of Bonenfant.

Hollstein Dutch 210-4(7) (Christiaan Schuckman [comp.] 1993, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Lucas Vorsterman I”, vol. 43, Roosendaal, Koninklijke Van Poll Rijksprentenkabinet, p. 223, cat. no. 210); New Hollstein (Dutch & Flemish) 628.IV; Mauquoy-Hendrickx 1991 B.IV.

The Rijksmuseum offers the following description of this print:

(transl.) “Titian as an old man, with his mistress. He puts a hand on her stomach. At the bottom right a skull”

(http://hdl.handle.net/10934/RM0001.COLLECT.316527).

See also the detailed discussion about this print offered by Carl Depauw and Ger Luijten (1999) in “Anthony van Dyck as a Printmaker,” (Antwerp, [ex. cat.] Museum Plantin-Moretus/Stedelijk Prentenkabinet), pp. 240–248.

The British Museum also describes this print (and holds earlier states): https://www.britishmuseum.org/collection/object/P_X-1-5.

Condition: a well-printed impression trimmed irregularly around the image but retaining full lettered text below the image borderline. There are few small holes otherwise the sheet is in an excellent condition for its considerable age (i.e. there are no tears, folds, abrasions, significant stains or foxing) and it is laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this historically important etching (with engraving) showing not only a faithful portrait of the “peerless” artist, Titian, and his mistress, but also revealing a 17^th century notion about the transience of life and pleasure with regard to the portrayed couple—as expressed by the vanitas symbol of the skull at lower right—and the idea that Titian’s pregnant mistress should be thankful to have a child by such an esteemed artist—as proposed in the Italian text under the image, “whether she lives or dies” (in translation)—for AU$613 (currently US$444.65/EUR372.44/GBP336.93 at the time of posting this print) including Express Mail (EMS) 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 significant print from the early 1600s that is rarely seen on the art market, 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