Boëtius Adamsz. Bolswert’s engravings, “Sancta Marcella” & “Sancta Sylvia,” c1600

Boëtius Adamsz. Bolswert (aka Boëtius Adamsz. Bolswerd) (1580–1633)

(left) “Sancta Marcella” and (right) “Sancta Sylvia,” c1600 (1590–1612), plates 14 and 24 from the series of 25 plates, “Sacra Eremus Ascetriarum,” after the design by Abraham Bloemaert (1564/66–1651), first published in 1612 by Boëtius Adamsz. Bolswert in “Sylva Anachoretica Ægypti et Palæstinæ” and later in 1619, by Hendrik Aertssens (II) (aka Henderick Aertsens; Henricus Aertsius) (1586–1658), in Antwerp. Note: the Rijksmuseum believes (transl.) “that the prints of the 1619 edition were also printed in 1612 or slightly before” (see inv. nos. RP-P-BI-2301 & RP-P-BI-2311).

“Sylva Anachoretica Ægypti et Palæstinæ” in which these prints feature may be viewed online and downloaded free-of-charge at archive.org; see the following URL links for the context of each of these prints: https://archive.org/details/Bloemaert1619SylvaAnachoretica/page/n93/mode/2up;

https://archive.org/details/Bloemaert1619SylvaAnachoretica/page/n113/mode/2up.  

Engravings on laid paper trimmed (with replenished losses) around the platemark and backed with separate support sheets.

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“Sancta Marcella”

Size: (sheet) 14.4 x 9.4 cm; (image borderline) 13.2 x 8.9 cm.

Inscribed on plate within the image borderline: (lower right corner) “Bols. fecit”.

Lettered on plate below the image borderline: (centre with replenished losses) “Sancta Marcella.”

Hollstein Dutch 133 (F.W.H. Hollstein 1950, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Boekhorst – Brueghel,” vol. 3, Amsterdam, Menno Hertzberger,, p. 63, cat. no. 133); Roethlisberger 203 (Marcel George Roethlisberger 1993, “Abraham Bloemaert and His Sons: Paintings and Prints,” Doornspijk, Davaco, pp. 171–175, 182, cat. no. 203).

The Rijksmuseum offers a description of this print: http://hdl.handle.net/10934/RM0001.collect.83968.

Condition: good impression, but in a poor condition with replenished losses to the lower and right edges, trimmed around the plate mark and laid onto a support sheet of archival (millennium quality) washi paper.

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“Sancta Sylvia”

Size: (sheet) 14.3 x 9 cm: (image borderline) 13 x 8.6 cm.

Lettered on plate below the image borderline: (left) “24.”; (centre) “Sancta Syluia.”

Note: there is additional text at lower right, “Mar […]”, but this is possibly text from another print incorrectly added during the restoration process.

Hollstein Dutch 143; Roethlisberger 213

The Rijksmuseum offers a description of this print:

http://hdl.handle.net/10934/RM0001.collect.84001.

Condition: good impression, but in a restored condition with replenished losses to the lower margin (see note above regarding possibly inappropriately added text), trimmed around the plate mark and laid onto a support sheet of archival (millennium quality) washi paper.

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I am selling this pair of engravings of hermitesses for the total cost of AU$238 for the pair (currently US$175.08/EUR147.09/GBP131.29 at the time of this listing) 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 restored pair of beautifully executed engravings from the early 1600s, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Nicolas Guérard I’s engraving, “Après la Guerre la Paix,” 1700

Nicolas Guérard I (c1648–1719)

“Après la Guerre la Paix” (aka “Almanach de Vilage”), 1700 (dating based on Duplessis’ catalogue, but note that the publisher was not at the inscribed address until 1715), showing a roulette with a globe at centre, surrounded by female personifications of Peace, Abundance (Abundantia), Pride (Superbia), War, Poverty and Humility, published (and engraved) by Nicolas Guérard in Paris.

Engraving on laid paper trimmed along the platemark and backed with a support sheet.

Size: (sheet) 28.2 x 18.8 cm.

Lettered on the framing edge: (upper edge) “APRES LA GUERRE LA PAIX”; (right edge) “APRES L'ADVERSITÉ LA PROSPERITÉ”; (lower edge) “APRES LA PAIX LA GUERRE”; (left edge) “APRES LA PROSPERITÉ L'ADVERSITÉ”.

Inscribed within and below the framing edge are lines of French text beginning at the upper centre: “Pour vivre en paix et sans tristesse/ L'Homme fut mis au plus beau des Jardins/ Ainsi la paix fut la premier hotesse/ D'Adam le premier des humains/ Mais it pecha se trop crédule père/ Et son peche causa ses maux et nos miseres." ([Google transl.] To live in peace and without sadness/ Man was put in the most beautiful of Gardens/ Thus peace was the first hostess/ Of Adam the first of humans/ But he sinned too credulous father/ And his sin caused his ills our miseries.)

Publication details and title inscribed along the lower framing edge: “á Paris Chez Nicolas Guerard Graveur, rue (ALMANACH DE VILAGE) Saint Jacque proche S.t Yve, à la Reine du Clergé.”

Documentary information about this print is offered by the National Library of France, Prints and Photography Department (BnF Gallica): https://gallica.bnf.fr/ark:/12148/btv1b8407504m.item

Hennin/Duplessis 6634 (M. Georges Duplessis 1882, “Inventaire de la collection d'estampes relatives à l'histoire de France léguée en 1863 à la Bibliothèque nationale par M. Michel Hennin,” vol. 2, Paris, H. Champion, p. 370, cat. no. 6634); IFF 50.

Condition: richly inked and well-printed impression trimmed along the platemark and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this spectacular engraving showing a wheel of fortune representing a calendar of change taking a community from war to peace and back again as well as from prosperity to adversity and back again overseen by personifications of Peace, Abundance Pride, War, Poverty and Humility, for the total cost of AU$271 (currently US$199.68/EUR167.67/GBP149.54 at the time of this listing) 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 fascinating insight into an 18^th century perception of cyclical changes to fortune and misfortune, 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

Maxime Lalanne’s etching, “Vue Prise Du Louvre,” 1882

Maxime Lalanne (aka François Antoine Maxime Lahanne) (1827–1886)

“Vue Prise Du Louvre” (aka “Vue de Paris”), 1882, first state impression before titling in the second state and publication in “Portfolio” (1883) (vol. 14, p. 32) and in PG Hamerton’s “Paris in Old and Present Times” (Seeley: London 1885) (opp. p. 12).

Etching on heavy cream wove paper, backed with a support sheet.

Size: (unevenly shaped sheet) 26.5 x 36.9 cm; (plate) 18.8 x 29 cm; (image borderline) 17 x 27.8 cm.

Inscribed on the plate within the image borderline: (lower left corner) “vue prise du Louvre/ Maxime Lalanne”; (lower right) “Paris 1882"

(Note: in 1924 a photogravure of this print was published with the artist’s name, title and “Plate 38” lettered below the image borderline.)

State i (of iii) before the addition of the etched title.

Villet 146 (Jeffrey M. Villet 2010, “The Complete Prints of Maxime Lalanne: Catalogue Raisonné, Lithographs and Etchings,” 3^rd ed., Washington, art@home fine prints, n.p. cat. no 146); Beraldi 125; Bibliothèque Nationale 87.

Condition: richly inked and well-printed impression, laid onto a support sheet of archival (millennium quality) washi paper. There is faint age-toning surrounding the platemark where the print must have once been window-mounted and a few dot and minor stains (e.g. in the upper right corner of the margins and in the margin near the lower right corner of the plate mark, otherwise the sheet is in very good condition (e.g. there are no tears, holes, folds, abrasions or foxing).

Note that this is the second impression of this print that I have listed. The previous copy has been sold. When I read what I wrote in the earlier post (now deleted) I found this comment that I made that may still be interesting regarding Lalanne’s health when he executed this etching:

“… by 1882 Lalanne was suffering from osteomalacia and was only able to see through his left eye. In short, his vision was monocular (as if looking through a camera rather than binoculars) with the outcome that he could only see focal planes rather than focal points.” Now that I look at this print, I think I still agree with my early proposition. Perhaps I should also add another thought that I wrote in the previous listing: this print reveals a singular vision of landscape where all components are of equal and supportive importance. For example, the clouds in this scene are drawn to be an integral part of the scene in the sense of being neither irrelevant nor too arresting to the eye—a feat that is much harder to achieve than one may imagine!

I am selling this major print by Lalanne— Henre Beraldi (1889) in “Les Graveurs du XIX ème Siècle”, vol. IX, proposes that this etching is one of LaLanne’s nine principal plates—and a historically significant image of Paris in the late 19^th century, for the total cost of AU$278 (currently US$204.88/EUR172.02/GBP153.48 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this sweeping view of Paris executed by one of the most famous draughtsmen/etchers of the 19^th century, 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

Bernard Picart’s etching, “Psyché,” c1700, after Giulio Romano

Bernard Picart (1673–1733)

“Psyché,” c1724–1733, plate 9 from the series, “Impostures Innocentes” (aka “Impostures innocentes, ou, Recueil d'estampes d'apres divers peintres illustres: tels que Rafael, Le Guide, Carlo Maratti, Le Poussin, Rembrandt, &c. gravées à leur imitation, & selon le gout particulier de chacun d'eux, & accompagnées d'un discours sur les préjugés de certains curieux touchant la gravure”), after a drawing by Giulio Romano (aka Giulio Giannuzzi; Giulio Pippi) (1499–1546). This impression is possibly from the 1734 edition published by Picart’s widow (Chez la veuve de Bernard Picart) in Amsterdam (see https://archive.org/details/gri_33125012243180/page/n61/mode/2up).

Etching on laid paper backed with a support sheet.

Size: (sheet) 14 x 22.2 cm; (plate) 10.9 x 18.1 cm.

Numbered and lettered on the plate: (upper right corner) “9”; (lower edge centre) “Psyché/ Gravé par B. Picart, d’aprés le dessein de Jule Romain du Cabinet de Mr. Vilenbroek.”

The British Museum offers the following description of this print:

“Plate 9: Psyche seated and holding an urn, and below two dragons and an eagle, arched design, after Giulio Romano. c.1724/33”

(https://www.britishmuseum.org/collection/object/P_1861-1109-751).

Condition: well-printed/faultless impression with a small margin (approx. 1 cm) in an excellent condition (i.e. there are no tears, holes, folds, abrasions or significant stains), laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this sensitive and freely inscribed translation of Giulio Romano’s drawing into an etching—for AU$181 (currently US$132.49/EUR111.28/GBP99.66 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 gorgeous etching capturing a layered history of subtle changes of thought through the drawing process (pentimenti), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Edwin Landseer’s etching, “The Eagle,” 1825

 

Edwin Landseer (aka [Sir] Edwin Henry Landseer) (1802–1873)

“The Eagle” (aka “The Eagle and Dead Red Deer” [Algernon Graves’ title [1874/1900]), 1825, plate 16 from the folio/series “Etchings by Edwin Landseer,” published by E. Gambart & Co (Ernest Gambart [1814–1902]) in London in 1848.

Etching on heavy wove paper with wide margins (as published), blind stamped by the publisher and backed with a support sheet.

Size: (sheet) 34.5 x 50.9 cm; (plate) 17.5 x 29 cm.

Numbered and lettered on plate: (upper right corner) “No. 16”; (lower left corner) “London Published.22^nd, March 1848; by E.Gambart & Co, 25 Berners Street, Oxford Str[ee]t”; (within the hatched strokes of the image at lower left) “EL/ 1825”; (lower right corner) “The Eagle”.

Graves 93 (Algernon Graves 1874/1900, “Catalogue of an exhibition of the engraved works of the late Sir Edwin Landseer, comprising several private etchings by Her Majesty the Queen, H.R.H. the Prince Consort, and by the Duchess of Bedford, now on view at Messrs. Henry Graves & Co.'s Galleries,”  London, Henry Graves & Co., p. 8, cat. no. 93; see https://archive.org/details/catalogueofexhib00grav/page/8/mode/2up).

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_1876-1014-337.

Condition: well-printed, strong impression with the publisher’s (Gambart) blind stamp in the lower margin, laid onto a support sheet of archival (millennium quality) washi paper. There is a closed tear in the upper margin and several marks (e.g. a 1 cm horizontal line/mark in the upper margin), otherwise the sheet is in a good condition with no holes, folds, losses, abrasions, significant stains or foxing.

I am selling this rare etching executed by the hand of one of the most famous of the English animaliers—especially well remembered for his lion sculptures at the base of Nelson's Column in Trafalgar Square—for AU$320 (currently US$232.10/EUR196.52/GBP175.94 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 genuine Landseer etching (as opposed to the large number of prints after Landseer’s designs), 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