Jacques Callot, “Le Jeudy Saint”, c.1632/35

Jacques Callot (1592–1635)

“The Last Supper” (aka “Le Jeudy Saint”; “Maundy Thursday”; “Holy Thursday”), c.1632/35, Plate 2 from the series of twelve compositions featuring the variable feast days from the Christian calendar, “Images des Fêtes Mobiles”, published in Paris in 1636 (a year after the death of Callot) by Israël Henriet (c.1590–1661). This impression is the final state of the remarkable evolution of this plate.

I understand that in states i and ii this print was a part of a larger plate consisting of four images in a series of 124 plates with a total of 490 images. In state iii the large plate featuring four images including this one was cut into four small plates. This plate was then grouped as a part of a series of twelve small plates with this print being numbered as second plate/image. By design, the twelve prints represent the variable feast days/holidays in the Christian calendar. Regarding this series, Jules Lieure (1989) advises: (transl.) “The images of the mobile festivals are original etchings, absolutely of the same type as the previous ones, to which they follow. ... the 12 images were... printed separately with a title of the same size engraved for this purpose by Abraham Bosse” (p. 57).

Etching on laid paper trimmed with a narrow margin around the platemark and backed with a support sheet.

Size: (sheet) 10 x 5.7 cm; (platemark) 9.7 x 5.3 cm; (outer image borderline) 9.3 x 5 cm.

Inscribed in plate below the image: (lower left) “J. Callot Inv: et Fec.”; (centre) “Le Jeudy Saint./ Desideriô desider ani hoc Pascha/ manducare vobis cum ante quam pas/ tiar Luc. XXII.15./ J’Ay souhaité avec ardeur de man-/ ger cette Pasque avec vous avant/ que de souffrir.”; (lower right) “2.”

State vi (of vi) with additional work (compare with state v shown by Polona: https://polona2.pl/item/le-jeudy-saint,ODY4NTAzNA/).

Lieure 1285 (Jules Lieure 1927 [revised 1989], “Jacques Callot: Catalogue Raisonné de l’Œuvre Gravé”, vol. 1 [text], San Francisco, Alan Wofsy Fine Arts, pp. 57–59, cat. no. 1285).

Condition: a strong impression still retaining the guidelines for the inscription before they were worn away. Beyond a few minor marks, the sheet is in a very good condition with no tears, holes, folds, abrasions or significant stains and is laid onto a sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this seldom seen final state impression of a plate that has a remarkable history in its evolution, for the total cost of AU$209 (currently US$136.40/EUR125.99/GBP108.03 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 small etching by one of the major old master printmakers—mindful that Callot developed the échoppe as an etching-needle enabling artists to make swelling lines in etchings similar to those made by engravers—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

Jacques Androuet du Cerceau’s etching & engraving, “Plate 34: Horse-Power Mechanism for Moving/Cutting Stone”, 1569

Jacques Androuet du Cerceau (c1520–1586), René Boyvin (1525–1598) and workshop printmakers

“Plate 34: Horse-Power Mechanism for Moving/Cutting Stone” (descriptive title only with apologies for errors), 1569, a lifetime impression from the first edition (signified by the inscribed Latin text—later editions have the text on the verso of the preceding page [see https://archive.org/details/theatruminstrum00bessa/page/n77/mode/2up]) published in 1578 in Lyon in Jacques Besson (c1540–c1576) and François Béroalde de Verville’s (1556–1626), ”Theatrum instrumentorum et machinarum Iacobi Bessoni Delphinatis, mathematici ingeniosissimi".

Etching with engraving on laid paper trimmed with a narrow margin around the platemark and backed with a support sheet.

Size: (sheet) 20.5 x 32 cm; (plate) 19.5 x 31.4 cm; (image borderline) 19 x 30.9 cm.

Numbered and lettered in plate at upper edge: (right) “34”; (centre) “ARTIFICIVM NOVVM AC COMPENDIOSVM, IN QVO ROTA AD EA SDEM PARTES/ CONV[E]RSA, VLTRÓ CITRÓQUE TRABEM DVCIT, ET REDVCIT, VT TELA/ ELABORETVR INSTAR AD VNDVLATI SERICI–” (translation with apologies for errors) “A new and comprehensive artificial technique, in which the wheel is turned to the same parts, and leads the beam back and forth, and reduces it, so that the web is elaborate like waved silk–”.

The Curator of the British Museum offers the following insights regarding the plates in this publication: “… 'Theatrum Instrumentorum et machinarum', a treatise written by Jacques Besson, illustrated by 60 plates (engraved by various artists including Androuet du Cerceau), and allegedly firstly published in Orléans in 1569, though it is also referred as a book firstly published in 1578 in Lyon.

This very popular work was republished several times, in Geneva (1594 and 1626), in Spain (1602) and in Nuremberg (1595)” (https://www.britishmuseum.org/collection/object/P_1850-0612-93).

Of curious interest to me is the introduction of plants into this explanatory diagram. Arguably this may suggest that the artist was providing an underground context of roots and vegetative matter. Alternatively, perhaps the plants shown growing on the stone block are to advance the notion of vanitas in terms of nature “waiting” for man’s work to be abandoned. I also understand that at the time there was interest in connections between the worlds of what lay underground and above and the plants—especially the focus on their roots—may reflect this concern. Of course, these thoughts are only my speculations and the true reason for showing plants may be simply that the artist liked plants.

Condition: a strong lifetime impression showing no sign of wear to the printing plate, trimmed with a small margin around the image borderline and laid onto a sheet of archival (millennium quality) washi paper. The lower left and right edges are stained, otherwise, the sheet is in a good condition with no tears, holes, folds or abrasions.

I am selling this rare lifetime impression (c.1569/78) showing a Renaissance period proposal by Jacques Besson for moving a large block of stone (e.g., marble) back and forth to cut it by a mechanism powered by a horse for the total cost of AU$253 (currently US$165.42/EUR152.55/GBP130.85 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 amazing illustration from what is arguably the first published compendium of machine inventions—and certainly the most influential! —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

Paulus Pontius, “Gerardus Honthorst”, 1630–45, after Anthony van Dyck

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

“Gerardus Honthorst” (aka “Portret van de schilder Gerard van Honthorst”), 1630–45, a half-length portrait of the Dutch artist, Gerard van Honthorst (aka Gherardo della Notte; Gerrit van Honthorst; Gherardo della Notte; Gherardo delle Notti) (1590–1656), who was trained under Abraham Bloemaert, influenced by Caravaggio and famous for his night time scenes (see https://www.britishmuseum.org/collection/term/BIOG31972), from the series, “Icones Principum Virorum”, after a painting by Anthony van Dyck (1599–1641).

Engraving on fine laid paper with Seven Provinces’ “States Lions” watermark of Jan Honig & Zoonen (18^th century) featuring a rampant heraldic lion wielding a sword and holding a bundle of seven darts (see Churchill no. 120, p. LXXXV) with wide margins.

Size: (sheet) 33.5 x 24.1 cm; (plate) 23.9 x 16.9 cm; (image borderline) 21.6 x 16.7 cm.

Lettered in plate below the image borderline: (left) “Ant. van Dyck pinxit/ Paul du Pont Sculp.”; (centre) “GERARDVS HONTHORST/ HAGÆ COMITIS PICTOR HUMANARUM FIGVRARARVM MAIORṼ.”; (RIGHT) Cum priuilegio”/

Final state: vii (New Hollstein); viii (Hollstein)

Hollstein Dutch 87-8(8); New Hollstein Dutch 67-7(7); Mauquoy-Hendricx (van Dyck) 52-8(8)

The British Museum offers the following description of this print: “Portrait of Gerard van Honthorst, half-length turned to left but looking towards the viewer, with long hair, moustache and beard, wearing a large flat collar, buttoned doublet and cloak, holding his left hand at the level of his chest, against a background of clouds; seventh state with initials of [G]illis Hendricx burnished; after Anthony van Dyck (https://www.britishmuseum.org/collection/object/P_1863-0509-878).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.166086.

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

I am selling this masterwork of engraving for the total cost of AU$263 (currently US$171.48/EUR158.49/GBP136.10 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 superb impression of a very beautiful 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

Dalziel Brothers, “The Spirit of Eld”, 1863

Dalziel Brothers (aka Brothers Dalziel; Camden Press; Dalziel and Co.) (1839–1905)

“The Spirit of Eld” (aka “He followed them through the fire, and not one of the hairs of his head was singed”), 1863, wood engraving after the design by Thomas Morten (1836–1866), published in 1863 in London by Alexander Strahan (aka Strahan & Co.) (1833–1918) and printed by Bradbury & Co (aka Bradbury & Evans; Bradbury, Agnew & Co.) (1828–1900) as an illustration facing page 629 (and later page 621) to “Good Words for1863”, edited by Norman Macleod. See the description of the publication offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1992-0406-206-c.

Regarding the engravings in “Good Words for 1863”, the British Museum proposes that as “the plates are separate from the text throughout”: “This may mean that Bradbury and Evans or Dalziel Brothers have used electrotypes to reproduce the original wood engravings” (see https://www.britishmuseum.org/collection/object/P_1992-0406-206-c). This idea is not advanced by the MET museum (see https://www.metmuseum.org/art/collection/search/647389.) Based on a different copy of this engraving from “Good Words for 1863” in my collection, I can see that the printing plate developed a crack that shows in later impressions (see the detail in the images), suggesting that the original engraved wood plates were indeed used in the publication.

Wood engraving on fine wove paper with letterpress text below the image, backed by a support sheet.

Size: (sheet) 23.4 x 16.2 cm; (image borderline) 18.3 x 11.6 cm.

Inscribed in plate/block: (lower left corner) “Dalziel”.

Letterpress text below the image: “He followed them through the fire, and not one of the hairs of his head was singed.” [Daniel 3:27]

Condition: a strong and well-printed early impression (before the printing plate developed fractures). Beyond minor breaks in the lower margin the sheet is in an excellent condition with holes, folds, abrasions or no significant stains and is laid upon a support sheet of archival/millennium quality washi paper providing wide margins.

I am selling this very beautiful wood engraving showing the highest order of skill in the cutting of the plate for the total cost of AU$166 (currently US$108.19/EUR100.04/GBP85.87 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 amazing wood engraving—mindful that each black line is carved in relief to stand “proud” on the printing plate—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Karel Dujardin, “Cow, Bull and Calf”, 1652–59

Karel Dujardin (aka Carel Dujardin; Carel du Jardin; Karel Du Jardin; Bokkebaart) (1626 –78)

“Cow, Bull and Calf, (aka “Les vaches, le taureau et le veau”; “Koe, stier en een kalf”), 1652–59, after a chalk and wash study (in reverse to the etching) by Dujardin held by the British Museum (see https://www.britishmuseum.org/collection/object/P_1895-0915-1183).

Etching on laid paper with the plate number, “34”, a thread margin around the image borderline and backed with a support sheet.

Size: (sheet) 17.2 x 22.2 cm; (inner image borderline) 16.8 x 22 cm.

Numbered in plate: (lower right corner) “34”.

State iii (of iii).

TIB 1.34 (Leonard J. Slatkes [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 1, New York, Abaris Books, p. 204, cat. no. 34); Hollstein Dutch 34.

The British Museum offers the following description of this print: “A cow, a bull, and a calf. Landscape with a cow standing at centre, in profile to left, her calf sitting in her shadow at left and seen from the rear, a bull standing behind the cow at right, head turned to the front, two oxen in mid-distance at left; third state with reduced plate” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-893).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.494808.

Condition: a richly inked and well-printed impression showing no sign of wear to the printing plate with a thread margin around the image borderline. The sheet is in an excellent (near pristine) condition with no tears, holes, folds or significant stains and is laid upon a support sheet of archival/millennium quality washi paper providing wide margins.

I am selling this exceptionally fine and rich impression of a very beautiful etching for the total cost of AU$289 (currently US$188.35/EUR174.16/GBP149.49 at the time of posting this print) 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 remarkable print showcasing Dujardin’s skill in representing light, space and subtle differences of texture, 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