Jan van Vliet, “Touch”, c1634

Jan van Vliet (aka Jan Georg van Vliet; Jan Joris van Vliet) (c1600/1610–1668?)

“Touch”, c1634, from the series of five plates, “The Five Senses”, published by Clement de Jonghe (aka Clemendt de Ionghe) (1624/25–1677).

Etching and engraving on laid paper trimmed along the image borderline and backed with a support sheet.

Size: (sheet) 24.4 x 20 cm

Inscribed in plate: (lower left) “JG [entwined]. v. vliet fec. Clemendt de Ionghe excud.”

State iii (of iii) with the addition of Clement de Jonghe as the publisher.

Hollstein 30.III (Christiaan Schuckman [comp.] 1992, “Hollstein’s Dutch & Flemish Etchings, Engravings and Woodcuts c.1450–1700: Johannes [de] Visscher to Robert van Voerst”, Roosendaal, Koninklijke van Poll, vol. XLI, p. 172, cat. no. 30. III).

The British Museum offers the following description of this print: “A physician's surgery with the doctor kneeling in foreground as he operates on the leg of the male figure flinching with pain at right; another figure looking on; on the back wall a shelf with various vessels and medical instruments; a tortoise and a dog at far left; from a series of five plates. c.1634/ Etching and engraving” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-199).

Note that Cornelis Dusart presents a similar scene of medical intervention in his etching, “The Cupping-Glass”, executed around sixty years after Jan van Vliet’s etching; see https://www.printsandprinciples.com/2023/05/cornelis-dusarts-etching-cupping-glass.html.

Condition: a strong and well printed impression trimmed around the image borderline and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this superb etching exemplifying perfectly the sense of touch—mindful that this print is from the series of the five senses—by showing a patient screaming in pain (or “flinching” as the British Museum describes the scene), for AU$422 (equivalent to approximately US$275, EUR 241.26, or GBP 202.65 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country, if any, are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$422).

If you are interested in purchasing this marvellous etching by one of the most famous of the Dutch old masters and a collaborator with Rembrandt (see “Rembrandt and van Vliet. A Collaboration on Copper”, exh. cat., 1996), 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

Orazio Borgianni, “God Creating the Sun and Moon”, 1615, after Raphael

Orazio Borgianni (aka Orazio Borgiani) (c.1578–1616)

“God Creating the Sun and Moon” (aka “Dieu Créant le Soleil et la Lune”), 1615 (inscribed in plate), plate 3 from the series of 52 etchings, “Paintings in the Loggia of Raphael” (aka “Schilderingen in de Loggia van Rafaël”), after Raphael’s (1483–1520) Loggia frescoes in the Vatican.

Etching on fine laid grey paper, trimmed irregularly within the platemark with loss of outer corners and backed with a support sheet.

Size: (irregularly cut sheet) 13.8 x 20.4 cm.

Inscribed in plate at lower left: “1615/ [monogram of the artist]”.

State i? (of ii) Although the corners that are lost in this impression would have clarified the state—mindful that in the second state the corners show inscribed additions to the plate—the scratches below the portrayed figure of God of the first state are still evident before they were erased/worn away in the second state. Compare the first state impression held by the Rijksmuseum (inv. no. RP-P-OB-35.412) and the second state impression held by the British Museum (BM inv. no. 1890,0415.120).

TIB 38.3 (Walter L Strauss [ed.] 1979, “The Illustrated Bartsch”, vol. 38, New York, Abaris Books, p. 362, cat. no. 3 [316]).

The Rijksmuseum offers the following description of this print: (transl.) “God, an old man with a beard, hovers above the earth. With his left hand he creates the sun. With his right hand he creates the moon.” (https://id.rijksmuseum.nl/200163724).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1890-0415-12.

Condition: a strong impression trimmed irregularly within the platemark laid onto a support of archival (millennium quality) washi paper providing wide margins. Beyond a replenished hole, the sheet is in a good condition with no significant stains.

I am selling this interesting etching executed in the last year of the artist’s life and based on the design of the legendary Raphael who had passed away only 95 years before this print was created, for AU$287 (equivalent to approximately US$186.45, EUR 164, or GBP 137.73 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country, if any, are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$287).

If you are interested in purchasing this rare Renaissance period print, 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

Kiang Ping, “Un Chantier Naval”, c1955

Kiang Ping (fl.1950s—?)

“Un Chantier Naval” (A Shipyard), c1955, an original woodcut in three colours published in Peking (now Beijing) in 1956 by Éditions en Langues Étrangères (Foreign Languages Press) (fl.1952–) as plate 8 to the folio of 40 original woodcuts printed in the People’s Republic of China, “Gravures sur Bois de la Chine Nouvelle.” Note that this print was featured in the second National Exhibition of Fine Arts (China) in 1955 and was chosen from this exhibition for its inclusion in the 1956 folio of prints representing the achievements of “la Chine Nouvelle” (the new China).

Woodcut in three colours (black, khaki and yellow) printed on fine cream wove (China) paper with full margins and with printed title as published.

Size: (sheet) 34.8 x 25 cm; (image borderline) 25.3 x 16.2 cm.

Lettered below the image: (centre) “8. Un chantier Naval   Kiang Ping”.

Condition: a strong and well-printed impression in a pristine condition.

I am selling this superb colour woodblock print designed to showcase what must have been a period of thriving industry and constrained celebration of the arts in China during the mid-1950s—mindful that the folio in which this print features was published by a press that was later “owned and controlled by the Publicity Department of the Chinese Communist Party” (https://en.wikipedia.org/wiki/Foreign_Languages_Press)— for AU$174 (equivalent to approximately US$113.04 , EUR 99.43, or GBP 83.50 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country, if any, are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$174).

If you are interested in purchasing this original and one of the earliest images of propaganda art from the founding period of the People's Republic of China (my apologies if I’m incorrect about this), 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

Jan Ruijscher & Anthonie Waterloo, “Village beside a Canal”, 1640–1675

Jan Ruijscher (aka Johannes Ruijscher; Johannes Rauscher; Johannes Ruischer; Johannes Ruisscher; Jan Ruyscher) (c1625–1675)—Dutch printmaker who is thought to have studied with Rembrandt in the mid-1640s and was so influenced by Hercules Segers, that he was dubbed the “Young Hercules” (see https://www.britishmuseum.org/collection/term/BIOG44487)­—possibly in collaboration with Anthonie Waterloo (aka Anthoni Waterloo; Antoni Waterlo) (1609–1690).

“Village beside a Canal” (aka “Le Village au bord du Canal”, 1640–1675, from a series of six landscapes, published by Anthonie Waterloo (as inscribed in plate) and later published in Paris in c.1785 (1784–1786) by Pierre-François Basan (1723–1797). The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_Sheepshanks-1685.

Etching on fine laid paper trimmed close to the image borderline, or possibly along the platemark, and backed with a support sheet.

Size: (sheet) 12 x 21.1 cm.

Inscribed in plate: (upper left) “A W ex.”

State iii (of iii) with heavy cross-hatching added on the foreground hill.

TIB 0201.091 S3 (Peter Morse [ed.] 1992, “The Illustrated Bartsch: Antoni Waterloo”, vol. 2, Commentary, Part 1, New York, Abaris Books, pp. 105–107, cat. no..091 S3).

Condition: a well-printed impression trimmed close to the image borderline and laid upon a support sheet of archival (millennium quality) washi paper providing wide margins. The sheet is in a good condition with no tears, holes, folds, abrasions but with minor stains in the upper corners.

I am selling this marvellous etching of the country around Rhenen (central Netherlands)—interestingly the view may have been observed from the Cunera Tower in Rhenen (see TIB 0201.091)— for AU$232 (equivalent to approximately US$149.37, EUR 131.88, or GBP 110.99 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country, if any, are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$232).

If you are interested in purchasing this rare etching, 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 

Jules Jacquemart, “Jacob van Veen”, 1871, after Marten van Heemskerck

Jules Jacquemart (aka Jules Ferdinand Jacquemart) (1837–1880)

“Jacob van Veen”, 1871, after Maarten van Heemskerck’s (aka Martin Heemskerk;  Maarten van Veen) (1498–1574) portrait executed in 1532 of his father, Jacob Willemsz van Veen (1456–1535), in the collection of the Metropolitan Museum of Art, New York (see https://www.metmuseum.org/art/collection/search/436638 [inv. no 71.36]), printed by François Liénard (fl.c1860s–1880s) and published in Paris in the art periodical, “Gazette des Beaux-Arts”, 1^st January, 1872, between pages 34 and 35.

Etching on fine laid paper with full margins as published.

Size: (sheet) 27.5 x 18.2 cm; (plate) 19.8 x 14.8 cm (image borderline) 11 x 7.7 cm.

Lettered in plate below the image borderline: (left) “Marten ven Heemskerck, pinx./ Gazette des Beaux-Arts.”; (centre) “JACOB VAN VEEN/ Metropolitan Museum of art/ of New-York”; (right) “J.Jacquemart, sculp./ Imp. F^s. Liénard.”

Scratch inscribed in plate very faintly below the first line of the lettered text: “Jules Jacquemart aq. for. 1871”.

Beraldi 277 (Henri Béraldi 1889, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: GUÉRIN–LACOSTE”, vol. VIII, Paris, Librairie L. Conquet, p. 207, cat. no. 277).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1982-U-1277.   

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

I am selling this small and visually arresting etching translating Van Heemskerck’s portrait of his father into line, for AU$189 (equivalent to approximately US$121.08, EUR 108.23, or GBP 91.02 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country, if any, are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$189).

If you are interested in purchasing this extraordinarily fine etching capturing the penetrating gaze of Maarten van Heemskerck’s father a few years before he died at what must have been the grand age at the time of seventy-nine, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.