Peter Paul Bouche, “Icarus and Daedalus”, 1703, after Hendrik Abbé

Peter Paul Bouche (c. 1646–1702)

“Icarus and Daedalus”, 1703, engraving after the design by the Flemish artist, Hendrik Abbé (1639–after 1677). The engraving was published in Amsterdam in 1703 by Pieter and Johannes Blaeu and Johannes Janssonius van Waesberge (c. 1651–1706) as an illustration to Joost van den Vondel’s (1587–1679) translation of Ovid’s Metamorphoses, “Herscheppinge, in Nederduitsch dicht vertaelt door J. V. Vondel. Verrijkt met de Historische, Zede- ent Staetkundige Aenmerkingen van den Heere Pieter du Ryer” (Re-creations, in Low German closely translated by J. V. Vondel. Enriched with the Historical, Moral, and Statesmanship Remarks of Lord Pieter du Ryer) (see “The Works of Vondel. Part 7. Translations from the Latin of Virgil, Horace, and Ovid”: https://www.dbnl.org/tekst/vond001dewe07_01/vond001dewe07_01_0027.php).

Engraving on laid paper with a small margin around the platemark and letterpress text verso.

Size: (sheet) 17.3 x 24.9 cm; (plate) 16.5 x 22.9 cm; (image borderline) 15.8 x 22.5 cm.

Inscribed in plate below the image borderline: (left) “[monogram of Hendrik Abbé], delin.”; (right) “Petr. Paul Bouche. Sculpsit.”

Condition: a strong and well-printed impression with small margins. The sheet is in an excellent condition with no tears, holes, folds or significant stains.

Price & Shipping: The total price is AU$260 (approximately US$168.20 / €146.35 / £129.22), which includes worldwide express shipping. Please note that import duties and taxes are the responsibility of the buyer.

If you're interested in acquiring this eye-catching engraving, it depicts Daedalus already wearing his wings and attaching a set to his son Icarus—with the tragic aftermath of Icarus flying too close to the sun visible in the distance. Please contact me at oz_jim@printsandprinciples.com. I’ll be happy to send you a PayPal invoice for a secure and straightforward transaction.

Nicolas Chaperon, “Fall of Jericho”, 1649, after Raphael

Nicolas Chaperon (aka Nicolas Chapron) (1612–1654/5)

“Fall of Jericho” (aka “Val van Jericho”; “La Prise de Jéricho”), 1649, plate 38 from the series or 54 plates (including the Title and Dedication plates), “Raphael Bible” (aka “Sacrae Historiae Acta a Raphael Urbin in Vaticanis xystis ad picturae miraculum expressa”), after Raphael’s (aka Raffaello Sanzio; Raffaello Santi) (1483–1520) frescoes in the Logge di Raffaello of the Vatican, published in Paris by Pierre Mariette I (c.1603–1657) from the first Parisian edition.

Etching on heavy laid paper backed with a support sheet.

Size: (sheet) 28.8 x 37.8 cm; (plate) 24.5 x 29 cm; (image borderline) 23 x 28.9 cm.

Lettered in plate within the image borderline: (lower right corner) “Typis Petre Mariette via Iacobea Sub Signo Spei”.

Lettered in plate below the image borderline: “R. V. I.” (Raphaelis. Urbinatis. Inventor.); (centre) “Arca Dni septies circuit Ciuitatem et clangentib⁹ tubis/ Jericho corruerunt Moenia. Iosue. C.VI.” (The Ark of the Lord circled the City seven times and with the sound of trumpets the walls of Jericho fell. Joshua. C.VI); (right) “N. C. F. (Nicolas. Chaperon. Fecit.)/ 38”

State iii (of iv) before the addition of the royal privilege note, “cum privilegio regis”, of the second edition.

Robert-Dumesnil 40 (Robert-Dumesnil 1842, “Le Peintre-Graveur Français”, Paris, vol. 6, p. 227, cat. no. 40 [https://archive.org/details/bnf-bpt6k65576943/page/n245/mode/2up): IFF 38 (Département des estampes 1939–, “Inventaire du Fonds Français: Graveurs du XVIIe Siècle”, vol. 2, Paris, Bibliothèque Nationale, vol. 2, cat. no. 38).

See also the description of this print offered by the Rijksmuseum: https://id.rijksmuseum.nl/200170535.

Condition: a richly inked and well-printed impression. Beyond a few faint marks in the margin, the sheet is in an excellent condition for its considerable age and size with no tears, holes, abrasions, or significant stains. The print has been mounted onto an archival, millennium-quality washi paper support to ensure its stability and preservation.

Price & Shipping: The total price is AU$312 (approximately US$203.63 / €176.77 / £155.07), which includes worldwide express shipping. Please note that import duties and taxes are the responsibility of the buyer.

If you are interested in acquiring this striking etching by Chaperon depicting the Fall of Jericho, which shows the walls collapsing in response to the sound of trumpets and the Israelites’ march, with the Ark of the Covenant carried on a procession to the left, please contact me at oz_jim@printsandprinciples.com. I will be happy to send you a PayPal invoice for a secure and straightforward purchase.

This print has been sold

Baron Dominique Vivant Denon, “An Old Man with Two Children”, c. 1790, after Guercino

Baron Dominique Vivant Denon (aka Vivant De Non; Vivant Denon) (1747–1825)

“An Old Man with Two Children” (TIB title) (aka “Viellard tenant deux enfants”), c. 1790, after a drawing by Guercino (aka Giovanni Francesco Barbieri) (1591–1666).

This is an early impression before the addition of the inscription, “Tiré de Cabinet de Mr Denon” (Taken from the Cabinet of Mr. Denon) (see TIB 12101.349), when it was published in 1829 after Denon’s death as plate/table 202 in volume 3 of the series of 310 plates by a variety of artists including Denon, “Monuments des arts de dessin chez les peuples, tant anciens que modernes recueillis par le Baron Denon pour servir à l'histoire des arts” (Monuments of the drawing arts among peoples, both ancient and modern, collected by Baron Denon to serve the history of art). See details about this series offered by the British Museum (inv. no. 1856,0209.558-973) and the page from the 1829 publication: https://commons.wikimedia.org/wiki/File:Monuments_des_arts_T._3_1829_(23685419).jpg.

Etching on laid paper backed with a support sheet.

Size: (sheet) 29.4 x 37.5 cm; (plate) 20.5 x 30.5 cm; (image borderline) 17.7 x 26 cm.

Inscribed in plate below the image borderline: (lower left) “De[n]on S.”

TIB 12101.349 (Petra ten-Doesschate Chu 1988, “The Illustrated Bartsch: Dominique Vivant Denon: French Masters of the Nineteenth Century”, Vol. 121 [Part 2], New York, Abaris Books, p. 285, cat. no. [12101].349).

Condition: a richly inked and finely printed impression with wide margins. The sheet has a closed tear and a flattened wrinkle in the lower margin; aside from these issues, it is in an excellent condition with no significant stains. The print has been mounted onto an archival, millennium-quality washi paper support to ensure its stability and preservation.

Price & Shipping: The total price is AU$276 (approximately US$181.01 / €156.86 / £137.72), which includes worldwide express shipping. Please note that import duties and taxes are the responsibility of the buyer.

If you would like to acquire this freely drawn interpretative etching of a drawing by the renowned draughtsman Guercino—executed with great confidence and insight—please contact me at oz_jim@printsandprinciples.com. I will gladly send you a PayPal invoice for a secure and straightforward purchase.

Valentine Green, “Pope Innocent X”, 1774, after Velázquez

Valentine Green (1739–1813)

“Pope Innocent X”— Giovanni Battista Pamphilj (aka Pamphili) (1574–1655), 1774, from the series, “Houghton Gallery”, after the design by the intermediate draughtsman, George Farington (1752–1788) after Diego Rodríguez de Silva y Velázquez’s (1599–1660) famous painting, published in London by John Boydell (1719–1804).

Mezzotint printed in brown ink on fine laid paper.

Size: (sheet) 17.4 x 12.3 cm; (plate) 15.1 x 10 cm; (image borderline) 12 x 10 cm.

Lettered in plate below the image borderline: (left) “Velasco Pinxit./ G.Farington delin^t.”; (centre) “J.Boydell exudi^t. 1774/ INNOCENT [Dobson's crest with moto “FARI QUÆ SENTIAT”] THE TENTH./ In the Cabinet […] at Houghton/ Size of the Picture 1^F T.3 ½ by 1 ^FT.6 ¾ in height […]/ published Oct^r. 30^th, 1^st by John […] Boydell Engraver in Cheapside London.”; (right) “Val:Green fecit.”

Smith 73 (John Chaloner Smith 1878, “British mezzotinto portraits: being a descriptive catalogue of these engravings from the introduction of the art to the early part of the present century…”, vol. 3, London, H. Sotheran, p. 566, cat, no. 73 [see https://archive.org/details/britishmezzotint02smit_0/page/566/mode/2up]); LeBlanc 100; Whitman 47.

The British Museum offers the following description of this print: “Portrait, bust, three-quarter to right, with a small beard and moustache, wearing a white collar over the neck of his cape and a cap shaped like a soft fez, looking out of the corner of his eye towards the viewer; after Velasquez. 1774/ Mezzotint” (https://www.britishmuseum.org/collection/object/P_1902-1011-2317).

Condition: a richly inked and near faultless impression in an excellent condition with no tears, holes, folds, abrasions, or stains.

Price & Shipping: AU$304 in total (approximately US$199.06 / €207.61 / £151.36172.44), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you are interested in purchasing this exquisite, jewel-like mezzotint after Velázquez's renowned painting of Pope Innocent X—later reinterpreted in Francis Bacon’s memorable “Study after Velázquez’s Portrait of Pope Innocent X” (1953)—please contact me at oz_jim@printsandprinciples.com. I will gladly send you a PayPal invoice to facilitate a secure and easy transaction.

Please note that I have previously posted another mezzotint by Valentine Green from the same series: https://www.printsandprinciples.com/2023/01/valentine-greens-mezzotint-dobsons.html.

This print has been sold