Étienne Delaune’s engraving, “Bellum”, c1560

Étienne Delaune (aka Stephanus) (c1518–83)

“Bellum” (aka “War: Bellona sits on a trophy of arms” [La Guerre: Bellone assise sur un trophée d'armes]), 1550–72, plate 3 from a set of six works representing figures from classical mythology. Note that there is also an almost identical set of three of these prints executed by Delaune in 1575, but close examination reveals differences (e.g. the plumes on Jupiter’s helmet do not protrude through the oval border as they do in this print and the position of Jupiter’s right foot is different and, even more noticeable, the later version is dated 1575); see the later version at the British Museum no. 1834,0804.221-223.

Engraving on fine laid paper trimmed with margins on three sides but slightly within the platemark on the right side.

Size: (sheet) 6.5 x 8 cm; (oval borderline) 4.8 x 6.8 cm

Lettered below the oval borderline: (left) “BELLUM”; (right) “S. F.”

Robert-Dumesnil 1835-71 IX.108.359 (A P F Robert-Dumesnil 1835, “Le Peintre-Graveur Français”, 11 vols.)

The British Museum offers the following description of this print:

“Oval-shaped grotesque print on dark ground, with Jupiter, his head turned to the right, standing with eagle at his feet in the middle of an elaborate structure inhabited by various creatures”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1420443&partId=1&searchText=Delaune&page=1)

Condition: crisp impression with small margins on three sides and trimmed within the platemark on the right side. The sheet is in excellent condition for its age (i.e. there are no tears, holes, folds, abrasions or stains) and is attached by old mounting hinges at the top verso to an archival support card.

I am selling this tiny masterpiece of engraving from the Renaissance era for the total cost of AU$216 (currently US$168.19/EUR142.94/GBP127.47 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this rare and precious print from the mid-1500s, 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

Although this small engraving is only about the size of a biscuit—an observation based on feeling a tad hungry at the moment—it has the arresting impact and grand visual statement of a huge mural. In short, Delaune knew how to craft an image for maximum graphic strength and I’ve decided to offer a few personal ideas about how Delaune achieved this feat.

Like most images that arrest the eye, Delaune’s composition figuratively “pokes your eye out.” For me, the portrayed array of armoury on which the centre figure sits is positioned like pins radiating from a pin cushion with all the pins’ sharp ends facing dangerously outwards. Delaune, however, does not stop at using this device to arrest the eye. He also portrays the central figure, Jupiter—the mythological god of war, hence the title of this engraving, “Bellum”, which is Latin for “war”—as if Jupiter were invading the viewer’s personal space. This notion may seem odd at first, but note Delaune’s clever use of the plumes on Jupiter’s helmet that are drawn OVER the oval border. This tiny visual device of allowing the figure to migrate “out” of the pictorial space of the image effectively creates a mildly uncomfortable feeling that Jupiter has left the space of the picture and is entering the spatial realm of the viewer.

Paulus Pontius’ engraving, “Raphael de Urbin”, 1630–40

Paulus Pontius (aka Paulus du Pont) (1603–1658)

“Raphael de Urbin”, 1630–40, after Raphael’s “The Czartoryski Raphael” (arguably a self-portrait; see Hasan Niyazi’s scholarly and important article about this portrait—“an iconic victim of Nazi art looting”: http://www.3pp.website/2012/08/the-czartoryski-raphael.html), published by Paulus Pontius, Antwerp

Engraving on fine laid paper lined onto a support sheet.

Size: (sheet trimmed unevenly) 26.2 x 19.1 cm; (plate) 25.8 x 18.2 cm; (image borderline) 22.5 x 17.4 cm

State ii (of iv) My attribution of the impression to this state is based on the publication details and the image itself matching the 2^nd state impression held by the BM and Harvard.

Hollstein 115.II; Mauquoy-Hendrickx 1991 162 (Marie Mauquoy-Hendrickx 1991, “L'Iconographie d'Antoine Van Dyck”, Catalogue raisonné, 2 vols, Brussels, Bibliotheque Royale Albert Ier); New Hollstein (Dutch & Flemish) 494.II (Van Dyck)

The British Museum offers the following description of this print:

“Portrait of Raphael, half-length to right, wearing a beret; after his self-portrait.”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1428788&partId=1&people=111135&peoA=111135-2-70&page=2)

See also the technical details offered by the Harvard Museum: https://www.harvardartmuseums.org/collections/object/277800?position=1

Condition: marvellously crisp impression but with tears to the margins and uneven trimming. The sheet has been laid onto a support of fine washi paper to address these issues. There are also (almost invisible) spot restorations of small abrasions.

I am selling this masterpiece by one of the most important engravers of the Renaissance for the total cost of AU$190 (currently US$148.46/EUR126.41/GBP112.64 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this seldom seen engraving that is very likely a portrait of Raphael—certainly Pontius thought that it was hence the inscribed title—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

As a student I used to look at what I was told was a self-portrait of Raphael featured in his fresco, “The School of Athens.” In this enormous painting this so-called self-portrait of Raphael is shown in the guise of the legendary painter from antiquity, Apelles. Equally interesting to me at this time was that I was also told that Raphael’s true love in life is shown on the far left of the scene in the guise of the great Alexandrian female scholar, Hypatia. I must admit that my view of Raphael as a student was that he looked like a chap that could not catch a ball—perhaps closer to a chap that DEFINITELY could not catch a ball even if it were thrown underarm towards him. Moreover, my perception of the “love of his life”—and of course I could be very wrong—was the she was type of sensible lady who would only wear comfortable shoes.

What I find interesting in light of my early assessment is that when I examine this portrait of him by Pontius I feel that my early thoughts were close to the truth. I tend to agree with those who believe that this is not really a portrait of a man at all because of one seemingly trivial but probably important fact: he lacks an Adam’s apple—the laryngeal prominence—in the neck.

For those interested in this portrait I strongly recommend reading Hasan Niyazi’s (2012) highly informative article, “The Czartoryski Raphael”: http://www.3pp.website/2012/08/the-czartoryski-raphael.html  

Alexander Voet II’s engraving, “Lucius Annaeus Seneca”, c1670, after Ruben’s painting, “The Death of Seneca”, c1615

Alexander Voet II (c1635–1695 or a little later)

“Lucius Annaeus Seneca”, c1670 (1650/62–1678/95), after Peter Paul Rubens’ (1577–1640) painting, “The Death of Seneca”, c1615, published by Cornelis Galle II (1615–1678)

Engraving on laid paper with small margins lined onto a conservator’s support sheet.

Size: (sheet) 43 x 30 cm; (plate) 40.9 x 27.5 cm; (image borderline) 39.5 x 26.9 cm

Lettered below the image borderline: (left) "Petr. Paul Rubbens pinxit"; (centre) “LVCIVS ANNÆUS SENECA.”; (right) "Corn. Galle excudit."

State ii (of ii) after the additional publication detail, "Corn. Galle excudit.", and the erasure of the details, "Alex. Voet iunior sculpsit et excudit".

Hollstein 11.II (under Voet); Schneevoogt 1873 140.39, Corpus Rubenianum XIII 54 (copy 6)

The British Museum offers the following description of this print:

“The Death of Seneca; the philosopher standing at centre with his feet in a basin of water, supported by a disciple at left while another takes down his last words at right, two others onlooking beyond at right; second state with address of Galle; after Peter Paul Rubens”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3164821&partId=1&searchText=galle+Seneca&page=1)

See also the Rijksmuseum’s description:

“Seneca commits suicide on Nero's order, opening his veins, standing in a [basin].”

(https://www.rijksmuseum.nl/en/collection/RP-P-OB-9062)

Condition: excellent impression revealing very light wear to the plate with margins (varying in size but approximately 1 cm) and laid upon a support sheet. The sheet has minor nicks, abrasions mainly on the lower edge of the margin but these issues are addressed by the conservation of the sheet on a washi paper support and virtually invisible dot retouching.

I am selling this superbly executed, large and famous engraving for the total cost of AU$221 (currently US$172.95/EUR146.72/GBP131.17 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this 17^th century masterwork of 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

This should be a dreadful scene in that it portrays Emperor Nero’s childhood tutor and friend, the philosopher Lucius Annaeus Seneca—known better by just his surname, Seneca—committing suicide by order of his former pupil … but it really isn’t. Instead I see the scene like a crucifixion image of Christ which is hideous in its depiction of an awful physical death but is in fact a celebration of atonement and love. In the case of Seneca, the sacrifice of his physical body is a celebratory exhibition of his free will against oppression—or as Mary Beard (2014) explains in “How Stoical Was Seneca?": Seneca offered this display of his death as “the only thing he had left, and the best: ‘the image of his own life,’ imago vitae suae.” (http://www.nybooks.com/articles/2014/10/09/how-stoical-was-seneca/)

Of course, like all martyr’s deaths, the “real” circumstances are far from spiritually transcendent. Seneca was an old man and when he slit his veins his blood flowed too slowly and so he tried taking hemlock to help in his plans for a glorious suicide. This too was ineffective and so he immersed himself in a hot bath so that his blood would flow freely. Sadly, this ploy was not successful either but the fumes from the hot bath did ultimately kill this magnificent stoic.

Regarding this famous engraving by Voet, it too is not an unproblematic illustration of Seneca’s suicide. As may be seen in the composite image shown above, Voet’s engraving reproduces Ruben’s painting now in the Alte Pinakothek, Munich, inv.no.305 (Rooses 812)—“with variations” as the BM curator points out (see BM no. 1841,0809.48). The origin of the image does not end with Rubens. Rubens also visually cannibalised the image from the pose of a Roman sculpture of an old fisherman (see the left image) which was in turn a copy of an ancient Greek (Hellenistic) sculpture. Note that the “bath” included in the Roman sculpture is a recent addition designed to give a contemporary meaningful context to the old fisherman; it has nothing to do with the original sculpture and its ancient context.

A pair of Martin Elias Ridinger’s etchings of deer after his father, Johann Elias Ridinger

Martin Elias Ridinger’s (1730–1780) etchings after designs by his father, Johann Elias Ridinger (aka Johann Elias Riedinger) (1698–1767)

(Left) “Stag jumping over flags”

(Right) ““The Roe Bucks of Frederick the Great’s General”

This pair of prints has been sold

Martin Elias Ridinger (1730–1780)

“Stag jumping over flags”, 1765, plate 95 after the original design by Martin Ridinger’s father, Johann Elias Ridinger (aka Johann Elias Riedinger) (1698–1767), published by Johann Elias Ridinger.

Etching and engraving on laid paper with small margins.

Size: (sheet) 34 x 25.9 cm; (plate) 32.8 x 25 cm; (image borderline) 29.2 x 23.3 cm

Numbered above the image borderline: (right) “95”

Lettered below the image borderline in two lines: “Dieser gefleckte Hirsch ist Anno 1715 ... geschosse worden.”

Lettered with production details at the lower plate edge: (left) “Joh. El. Ridinger inv. del. et excud. Aug. Vind.”; (right) “Mart. El ridinger sculps.”

Thienemann 1856 337 (GAW Thienemann 1856, “Leben und Wirken des Johann Elias Ridinger, mit dem ausführlichen Verzeichniss seiner Kupferstiche, Schwarzkunstblätter und Handzeichnungen”, Leipzig)

The British Museum offers the following description of this print:

“A stag jumping over garlands of flags, which are hung between trees; plate 95 of the series. 1765 Etching” Martin Elias Ridinger (1730–1780)

http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1613210&partId=1&searchText=ridinger+&page=1

Condition: crisp impression in excellent condition for its age (i.e. there are signs of handling but without tears, holes, folds, abrasions or stains).

I am selling this etching along with the next print by Ridinger (i.e. two prints) for the total cost of AU$540 for the pair of etchings (currently US$422.60/EUR358.49/GBP320.50 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this pair of old master etchings, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Martin Elias Ridinger (1730–1780)

“The Roe Bucks of Frederick the Great’s General”, Plate 8 most probably after the design by Johann Elias Ridinger (1698–1767). (Note: the attribution of the composition having been based on Martin Ridinger’s father’s design is not noted in the inscribed production details on the plate).

Etching and engraving on laid paper with small margins.

Size: (sheet) 37 x 26 cm; (plate) 35.2 x 25.5 cm; (image borderline) 29.6 x 23.6 cm

Numbered above the image borderline: (centre) “VIII” (Note: the Roman numerals often signify an earlier edition.)

Lettered below the image borderline in nine lines: “Diese Reche Böcke … Revieur gepurschet.”

Lettered with production details at the lower plate edge: “Mart. El Ridinger sc.”

Condition: crisp impression in excellent condition for its age (i.e. there are signs of handling but without tears, holes, folds, abrasions or stains).

I am selling this etching along with the previous print by Ridinger (i.e. two prints) for the total cost of AU$540 for the pair of etchings (currently US$422.60/EUR358.49/GBP320.50 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this pair of old master etchings, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Niemeyer’s Aha! Events (June 2016) offers this fascinating translation of the text inscribed below the image:

“These Roe Bucks so also show rare growth of nature and in their kind have a lot variable and pretty, equally by His Ducal Highness Augustus William Sir Duke of Brunswick Bevern (“The marshal of Frederick the Great known under the name Duke of Bevern”, Brunswick 1715 – Stettin 1781). The No. 1. so shows like a crown and in the centre a unified grown protruding small antlers was shot in the royal Farther Pomeranian Mühlenbeck forest hunting ground = the No. 2. in Anterior Pomerania in the high noble Stoltzenburg Heath in the year 1767. But the one with antlers standing up and down No. 3. shot several years before in the Oder fen at Stettin called the Black Place. And finally also No. 4. so was especially strong and large, and showed up to 13 points, of which four also were grown backwards quite below at the crown, was stalked by high hand in Farther Pomerania in the Hochkrug hunting ground. Lively group of four with fawn, refreshing in a pool at the edge of the wood. Set back slightly hilly landscape.”

(http://aha.luederhniemeyer.com/aha1606e.php) 

Lorenzo Loli’s etching, “Baccanale of Putti”, c1650

Lorenzo Loli (1612–1691)

“Baccanale of Putti” (aka “Children’s Bacchanal” [Bartsch title]), 1630–90, published by Lorenzo Loli

Size: (sheet) 17.8 x 12.8 cm

State i (of i) undoubtedly a lifetime impression based on the lack of wear to the plate.

TIB 42 (19). 21 (176) (Walter L Strauss & John T Spike [eds.] 1981,“The Illustrated Bartsch: Italian Masters of the Seventeenth Century” vol. 42, p. 147); Bartsch XIX.176.21 (Adam Bartsch 1803, “Le Peintre graveur”, vol. 19, p. 176)

The British Museum offers the following description of this print:

“Two putti drinking from wine flasks beside wine barrels”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1452004&partId=1&searchText=loli&page=1)

See also the description of this print at the Rijksmuseum:

“Two naked children between wine vessels and jars. One child pours wine into the mouth of the other.”

(http://hdl.handle.net/10934/RM0001.COLLECT.141596)

See also: https://www.gonnelli.it/it/asta-0020-2/loli-lorenzo-baccanale-di-putti-.asp

Condition: crisp impression trimmed along the platemark and laid upon an early support sheet of hand-written sheet music inscribed in ink. The print exhibits a patina of handling marks, minor stains, light creases and small tears acquired over the centuries.

I am selling this exceptionally rare print that is made even more remarkable by having been glued onto a support sheet of music hand inscribed in ink —an extraordinary print on multiple levels of curiosity—for the total cost of AU$420 (currently US$329.36/EUR278.80/GBP249.85 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this old master etching laid upon what may well be an early musical composition written by an old hand, 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

Although the subject of infants getting drunk may not be one that contemporary artists would feel socially encouraged to explore, these children are not children from everyday secular life—affectionately called "rug rats". These are putti—children imbued with an allegorical purpose extracted from a classical past even if the word “putti” for such children only came into common use around the time of this etching (circa 1640). Their actions are intended to symbolise ideas of free joy—wild abandonment—and love without constraint.

Regarding the hand inscribed music on the back of this print, I would love to have advice about this score. From my early piano lessons I know that the Italian term written at the top of the score, “Larghetto”, is advice to the musician to slow the tempo down—but not as slow as largo (from which the term larghetto must originate)—and I know (or I think that I know) that such terms had their origins in the Baroque and Renaissance eras. Where I am far out of my depth is the use of what I see as bass clef on the first stave rather than what I would term (perhaps inaccurately) as a “G” or treble clef. Does this mean that the music is intended for a certain instrument leaning to the bass lines of a composition? In short, I need help.

_________________________________

Update:

My mate from Instagram (@manuscriptsok) has given me the following marvellous insights about the music shown on the support sheet: the music is likely to be a “cello or bassoon line in b flat major” and added that it “would definitely be ensemble music as it doesn’t contain a melody, rather just some structure for a chamber ensemble.” 

Thank you sincerely!

Adriaen Collaert’s engraving, “Ox hunt”, 1582, after Hans Bol

(Attrib.) Adriaen Collaert (c1560–1618) or the studio of Philips Galle (1537–1612)

“Ox Hunt”, 1582, plate 2 from the series of forty-eight engravings (BM) or 54 engravings (Rijksmuseum), “Venationis, piscationis, et aucupii typi” (Hunting, Fishing and Fowling Scenes) after Hans Bol (1534–93), published by Philips Galle (according to the BM) and/or Theodoor Galle (1571–1633) (according to the Rijksmuseum)

(Note: the BM holds an album and describes the title page to the series: http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3262187&partId=1&searchText=collaert+1582&page=1)

Engraving on fine laid paper trimmed along the platemarks and lined onto a conservator’s support sheet

Size: (sheet) 8.3 x 21.8 cm

Inscribed below the image borderline: (from the left) “2”; "Sic passim spiculis, gladijs, leuibusq[ae] sagittis”;  “In foueas agitant armatos cornibus Vros." (advised trans. "Thus with darts, swords, and light arrows men everywhere drive the horned Aurochs into pits.")

State ii? (of ii?) After the addition of the plate number, “2”. My uncertainty about the number of other states is that I understand that there were alterations to the number sequences in later editions (e.g. plate 37 became plate 47). This impression is certainly an early one as there is very little wear to the plate.

Hollstein 110–163 (after Hans Bol); New Hollstein (Dutch & Flemish) 1532.I (The Collaert Dynasty)

The British Museum offers the following description of this print:

“A group of men, some on foot, some on horseback, and dogs, surround and attack an aurochs, at the centre of a wooded landscape; the animal has an arrow stuck in its back, and its heels are nipped at by some of the dogs; after Hans Bol”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3263657&partId=1&searchText=collaert+1582+Sic+vros&page=1)

See also the description of this print at the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.115002

Condition: marvellous early impression showing no wear to the plate from the numbered publication state (state ii?). The sheet has been trimmed to the platemark and laid onto a support sheet. The sheet has the patina of light handling marks appropriate to the age of the print; otherwise the sheet is in excellent condition (i.e. there are no tears, holes, abrasions, folds, stains or foxing).

I am selling museum-quality early impression showing a hunt for the wild European ox—the anurochs—only 45 years before this species of animal became extinct, for the total cost of AU$280 (currently US$220/EUR186.54/GBP167.38 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this panoramic illustration of the drama of a 16th century hunt, 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

For those, like me, who may not be familiar with animal called an anurochs (the spelling of a herd of anurochs is the same as that of a single anurochs) being hunted here, according to www.merriam-webster.com/dictionary, it is “an extinct large long-horned wild ox (Bos primigenius) of Europe that is the ancestor of domestic cattle.” Interestingly—perhaps the adverb, “poignantly”, might be more appropriate—as the scene portrayed here in 1582 must be one of the last recorded hunts for an anurochs as the breed was exterminated in 1627 with the last one killed in Poland. So sad …