Nicolas Chaperon, “God Appears to Moses in a Pillar of Smoke”, 1649

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

“God Appears to Moses in a Pillar of Smoke”, 1649

Technical Details & Condition:

Etching on laid paper with a small margin around the platemark, professionally supported on tissue-thin archival (Kozo) washi paper. This print is plate 35 from the series of 54 plates (including title and dedication plates) titled “Raphael Bible” (also known as “Sacrae Historiae Acta a Raphael Urbin in Vaticanis xystis ad picturae miraculum expressa”), after Raphael’s (Raffaello Sanzio; Raffaello Santi) (1483–1520) frescoes in the Logge di Raffaello of the Vatican. It was published in Paris by Pierre Mariette I (c. 1603–1657) from the first Parisian edition. This impression is from state iii (of iv), prior to the addition of the royal privilege note, “cum privilegio regis,” of the second edition.

The impression is richly inked, crisp, and well-printed. There is a stain on the lower edge at the centre; otherwise, the sheet is in good condition with no tears, holes, or folds.

Dimensions:

• Sheet: 26.1 x 28.9 cm
• Platemark: 24.8 x 26.5 cm
• Image borderline: 23.4 x 26.1 cm

In-Plate Lettering (below the image borderline):

 • Left: “R.V.I.”

(Raphaelis. Urbinatis. Inventor.)
• Centre: “Descendebat nubis Columua [sic], et loquebatur Dns [Dominus]. cum Moyse, stabantq. / uniuersi, et adorabant perfores tabernaculor suorum. Exod. XXXIII.”

(A cloud-like pillar descended, and God spoke with Moses, and all stood and worshipped at the entrances of their tents. Exodus XXXIII.)
• Right: “N. C. F. / Typis P. Mariette Via Jacobea Sub insigne spei. 35”

(Nicolas Chaperon Fecit [made it] / printed by Pierre Mariette at Via Jacobea [Rue Saint-Jacques] at the shop, “The Sign of Hope” [L'Espérance], plate 35)

References

• IFF 35 (IFF 35 (Roger-Armand Weigert, Inventaire du Fonds Français Graveurs du XVIIe Sièle, vol. 2, 1951, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 270, cat. no. 35). See: https://gallica.bnf.fr/ark:/12148/bpt6k5488514d/f282    
• Robert-Dumesnil 37-3(4) (Robert-Dumesnil, Le Peintre-Graveur Français, 1842, Paris, vol. 6, p. 226, cat. no. 37). See: https://archive.org/details/bnf-bpt6k65576943/page/n245/mode/2up)
• Rijksmuseum: https://id.rijksmuseum.nl/200170532

Price & Shipping:

 AU$298 (approximately US$213.06 / €181.25 / £157.91), including worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you’re interested in acquiring this striking depiction of Moses speaking with God—who has appeared in the form of a pillar of smoke—note the contrast in treatment: long, curved strokes representing Moses cast in shadow, contrasted with the short strokes flowing with the contours of the brightly lit smoke column. Please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and safe transaction.

Théophile Chauvel, “Falaises de Dieppe”, 1877, after Jean Baptiste Antoine Guillemet

Théophile Chauvel (1831–1909)

“Falaises de Dieppe” (Cliffs of Dieppe), 1877

Technical Details & Condition:

Etching on fine buff laid paper with full margins as issued. This etching was printed in Paris by François Liénard (fl. c. 1860s–1880s) and published in the French art periodical L'Art in 1877. The design of the etching is after a painting by Jean Baptiste Antoine Guillemet (1841–1918), exhibited at the Salon of 1877.

This is a strong, well-printed impression (nearly faultless). The sheet is in near-pristine condition, free of tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 28.8 x 43.1 cm
• Platemark: 21.8 x 29 cm
• Image borderline: 18.1 x 25 cm

In-Plate Lettering:

• Above image at centre: “Solon de 1877”
• Below image at left: “A.Guillemet,pinx. / L'Art.”
• Below image at centre: “FALAISES DE DIEPPE”
• Below image at right: “Th. Chauvel sc. / 'F^çois Liénard,Imp,Paris”

References

• IFF 53 ((Jean Adhémar, Inventaire du Fonds Français après 1800: CABANE–CICÉRI, 1949, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 4, p. 423, cat. no. 53) See: https://gallica.bnf.fr/ark:/12148/bpt6k5510949t/f445.item
• Beraldi 52 (Henri Beraldi, Les Graveurs du Dix-Neuvième Siècle: BRASCASSAT– CHÉRET, 1886, vol. IV, Paris, Librairie L. Conquet, p. 152, cat. no. 52)
• British Museum: https://www.britishmuseum.org/collection/object/P_1862-0809-150

Price & Shipping:

AU$238 (approximately US$170.60 / €144.98 / £126.22), including worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you are interested in acquiring this remarkably sensitive depiction of the ephemeral and ever-changing clouds contrasted against the tactile solidity of the cliffs of Dieppe—note how Chauvel masterfully contrasts horizontal hatched strokes, capturing the subtle surface textures of the cliffs against the rhythmic upward flow of strokes depicting the sky—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and safe transaction.

This print has been sold

Pietro Monaco, “La Probatica Piscina”, c. 1763, after Paolo Veronese

Pietro Monaco (1707–1772)

“La Probatica Piscina” (The Probatica Pool), or “Christ Healing the Lame at the Pool of Bethesda”, c. 1763

Technical Details & Condition:

Etching and engraving on heavy laid paper. This print is Plate 69 from the renowned series “Raccolta di 112 stampe di pitture della storia sacra” (Collection of 112 Prints of Paintings of Sacred History). The scene is based on a painting by Paolo Veronese (also known as Paolo Caliari) (1528–1588). While Veronese famously depicted this subject on the inner organ shutters of the Church of San Sebastiano in Venice—a work visible only when the organ doors are opened—this etching documents a different, now-lost canvas version. The mystery surrounding this missing painting, of which this engraving is the only surviving evidence, is discussed by the BBC: https://www.bbc.com/news/uk-scotland-north-east-orkney-shetland-60290162.

The impression is strong and well-defined, although it shows signs of wear to the copper plate. The sheet remains in excellent condition—remarkably well-preserved for its large size—and is free from tears, holes, folds, or significant staining.

Dimensions:

• Sheet: 40.6 x 57.3 cm
• Platemark: 36.3 x 51 cm
• Image borderline: 31.4 x 48.5 cm

In-Plate Lettering (below the image borderline):

• Centre: “LA PROBATICA PISCINA. / Est autem Ierosolymis Probatica piscina, quæ cognominatur Hebraice Bethsaida quinque porticus habens Ioan: Cap: V.v.2. / PITTURA DI PAOLO CAGLIARI VERONESE, POSSEDUTA DALLA NOBIL FAMIGLIA GRASSI, A S. SAMUELE. / Pietro Monaco del: scol: e forma in Venezia”

(The Probatica Pool. / Now there is in Jerusalem a Probatic pool [Sheep Pool], called in Hebrew Bethsaida [House of Mercy], with five porticoes. John: Chapter V, v. 2. / Painting by Paolo Caglieri Veronese, owned by the noble family Grassi at San Samuele [referring to their residence, Palazzo Grassi, in the parish of San Samuele]. / Pietro Monaco drew [delineò], engraved [scolpì], and published/printed [e formò] this work in Venice.)
• Right: “69.”

References

• Apolloni 69 (Davide Apolloni, “Pietro Monaco e la Raccolta di Venti Dodici Stampe di Pitture della Storia Sacra,” 2000, Monfalcone, Edizioni della Laguna, p. 254, cat. no. 69)
• LeBlanc 56-167 (Charles Le Blanc, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, 1856, vol. 3, p. 38, cat. nos. 56-167). See https://archive.org/details/manueldelamateur03lebl/page/38/mode/2up
• British Museum https://www.britishmuseum.org/collection/object/P_1865-0520-756

Price & Shipping:

AU$316 (approximately US$226.52 / €192.49 / £167.59), including worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you’re interested in acquiring this large, beautifully illuminated etching by Monaco—bearing the only known depiction of the missing Veronese painting once in the collection of the Grassi family in Venice, later acquired by Catherine the Great of Russia, and now believed to be somewhere in northeast Scotland (possibly “hiding in plain sight”)—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and safe transaction.

Romeyn de Hooghe, “Allegorie rond de Bataafse Opstand”, c. 1706

Romeyn de Hooghe (also known as Romeijn de Hooge; published occasionally under the pseudonym Gisling) (1645–1708)
“Allegorie rond de Bataafse Opstand” (Allegory of the Batavian Revolt), c. 1706

Technical Details & Condition:

Etching (possibly with engraving) on fine laid paper, trimmed around the image borderline and professionally mounted onto an archival-quality washi support sheet, providing stable margins suitable for framing. The print was published in Amsterdam in 1706 as an illustration to the first volume of Spiegel van Staat der Vereenigde Nederlanden (Mirror of the State of the United Netherlands)—a work designed to chronicle Dutch history.

This powerful etching vividly illustrates the famous motto by the Dutch poet Joost van den Vondel (1587–1679):

“HOLLANDIA BLYFT VRY, IN TWEESPALTS ONGELUCKEN. KAN BEYERS RYKSTAF, NOCH BORGONJES MACHT UW DRUCKEN.” (Holland remains free amidst the misfortunes of discord. Neither Bavaria's sceptre nor Burgundy's power can oppress you.)

Though ostensibly depicting the ancient Batavian Revolt against Rome, de Hooghe employs it as a contemporary political allegory. Created during the War of the Spanish Succession (1701–1714), the scene symbolises the Dutch Republic as the modern “Batavians” fighting for their freedom against a new tyranny—represented by the alliance of France (the House of Burgundy) and Bavaria. The central combat takes place before a monumental gate adorned with the coats of arms of the Seventeen Provinces, symbolising unified resilience against foreign oppression.

The impression is strong and well-printed, and the sheet is in near-pristine condition—free of tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 16.9 x 29.8 cm
• Image borderline: 16.6 x 29.5 cm

References

• Landwehr 103 (John Landwehr, Romeyn de Hooghe as Book Illustrator, 1970, Amsterdam, Vangendt & Co., p. 221, cat. no. 103)
• Hollstein (Dutch & Flemish) 737–752 (FWH Hollstein, Dutch and Flemish Etchings, Engravings, and Woodcuts, vol. 9, Amsterdam, Menno Hertzberger, p. 131, cat. nos. 737–758; specifically from the 16 illustrations for Spiegel van Staat)
• Muller (Nederlandsche Geschiedenis in Platen) 3060

Price & Shipping:

AU$255 (approximately US$182.83 / €155.15/ £135.25), including worldwide express shipping. Please note that import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this lively Baroque period etching—an allegorical representation of the Eighty Years' War, emphasising resistance against Spanish tyranny and religious persecution—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless transaction.

This print has been sold