Philips Galle, “Daniel Refuses to Worship Bel”, 1565, after Maarten van Heemskerck

Philips Galle (Philippus Gallaeus; Philippe Galle) (1537–1612)

“Daniel Refuses to Worship Bel”, 1565, the first plate from the series of 10 plates, “The story of Daniel, Bel and the Dragon” (New Hollstein 226–235) after the design by Maarten van Heemskerck (aka Martin Heemskerk; Maarten van Veen) (1498–1574)—a related drawing is in the collection of the Rijksmuseum—initially published in Antwerp by Hieronymus Cock (aka Jérome Cock) (c1517/18–1570) and later (as is the case with this impression) by Theodoor Galle (aka Theodor Galle; Dirck Galle) (1571–1633).

Engraving on fine laid paper trimmed along the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 20.6 x 25.2cm; (image borderline) 19.8 x 25cm.

Inscribed in plate along the lower edge: (left) “Martinus van heemskerck/ inuentor/ Theodorus Galle excudeba”; (centre) “Daniel Regi suo Cijro declara se simulachra manufacta non coler” (Daniel declared to his king Cyrus that he would not worship man-made images); (right) “^.1^.”.

New Hollstein 93 (Manfred Sellink & Marjolein Leesberg [comp.] 2001, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Philips Galle”, Rotterdam, Sound and Vision, cat. no. 93).

The Rijksmuseum offers the following description of this print: (transl.) “King Cyrus accuses Daniel of not honouring the god Bel. He asks his priests to prove that Bel does indeed eat the food that is laid out for him every night. In front of the throne, two jesters are playing on the ground. On the right are the priests, on the left is Daniel, who points to the temple of Bel.” (https://id.rijksmuseum.nl/200384738).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_D-5-85 (inv. D,5.85).

Condition: a strong and well-printed (near faultless) impression trimmed along the platemark and laid upon a support of archival (millennium quality) washi paper providing wide margins. The sheet is in a near pristine condition for its considerable age with no tears, holes, folds, abrasions or stains.

Note that an earlier backing sheet supporting this impression (since replaced) had the collector’s stamp of the Veste Coburg (Castle of Coburg) collection.
Based on information about this stamp offered by the British Museum (see https://www.britishmuseum.org/collection/term/BIOG180134), I understand that this particular print was sold at the C G Boerner's auction of 10 May 1929.

I am selling this marvellously strong impression for the total cost of AU $343 (currently US $213.11/ EUR 204.78/ GBP 169.77 at the time of posting 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. Note that payment is in Australian dollars (AU $343) as this is my currency.

If you are interested in purchasing this remarkably fine 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

David Riquier, “Moine en Prière”, 1881, after Jean Joseph Weerts

David Riquier (Alfred Hector David-Riquier) (fl.857–1881)—born in Amiens and studied under Gaucherel, Cabanel and Crauck

“Moine en Prière” (Monk in Prayer), 1881, after a painting by Jean Joseph Weerts (aka Jean Joseph Weertz) (1847–1927), printed by François Liénard (fl.c.1860s–1880s) and published in Paris in 1881 in the art periodical, “L'Art”, vol. 29, folio 5, as plate 24 on page 356 (see IFF, vol. 6, p. 56 [https://gallica.bnf.fr/ark:/12148/bpt6k54891736/f68]).

Etching and drypoint with plate-tone on laid paper with full margins as published.

Size: (sheet) 43.6 x 29.6cm; (plate) 31.3 x 24.7cm; (image borderline) 27.9 x 22.1cm.

Lettered in plate below the image borderline: (left) “J.J.Weertz. pinx./ L'Art.”; (centre) “MOINE EN PRIÈRE”; (right) “David Riquier sc./ F.Liénard. Imp.Paris.”

The British Museum offers the following description of this print: “Praying monk, after Weerts, bust-length, turned to the right, hands clasped, with halo; published in 'L'Art'” (https://www.britishmuseum.org/collection/object/P_1882-0211-181 [inv. 1882,0211.181]).

From my understanding, this print was exhibited in the Salon in 1881. Interestingly, there must have been a mix-up in the catalogue entry as a report about the exhibition in “L'Estampe” (29^th May, 1881) has the following interesting comment: (transl.) “…We look for the signature. There is none. We look at the number. ‘4646’ It refers you to six engravings by Jacques David. But we only have one in front of us, and a beautiful one, by Jove! A Monk in Prayer, after Wertz. You would think you were seeing an original work. It is astonishingly powerful. No matter, we would do well to change the number” (see  https://archive.org/details/lestampe1153unse/page/n32/mode/1up).

Somewhat shockingly, this mix-up had sad consequences, as David Riquier should have (and in a way, he did) receive an honourable mention in the Salon for this print but a typographical error in the catalogue proposed that the print was by Miss Eugénie Guérard, (a wood engraver) instead of David Riquier and (sigh) “It is consequently to Miss Eugénie Guérard that the diploma was awarded” (see “L'Estampe” [3^rd July, 1881] https://archive.org/details/lestampe1153unse/page/n52/mode/1up). 

Condition: a richly inked and near faultless impression with full margins as published and in a pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this masterwork of etching for AU $289 in total (currently US $180.10/ EUR 172.70/ GBP 143.16 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. Note that payment is in Australian dollars (AU $289) as this is my currency.

If you are interested in purchasing this simply superb etching in a pristine condition, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Karel Dujardin, “Two Horses”, 1652 (2nd copy)

Karel Dujardin (aka Carel Dujardin; Carel du Jardin; Karel du Jardin; Bokkebaart) (1626 –1678)

“Two Horses” (TIB title) (aka “Les Deux Chevaux”), 1652.

Etching on fine laid paper trimmed with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 18.1 x 15.5cm; (plate) 15.4 x 14cm; (image borderline) 15 x 13.5cm.

Inscribed within the image: (upper left) "K. D. I. fe"; (lower right corner) “4”.

State iii (of iii) with the addition of the plate number (“4”).

TIB 1.4 (Leonard J. Slatkes [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 1, New York, Abaris Books, p. 174, cat. no. 4-II); Hollstein 4.

The British Museum offers the following description of this print: “Two old horses, one lying on the ground and seen from the rear, the other standing on lower ground in three quarter view, a house amidst trees in right background” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-818 [inv. Sheepshanks.818]).

See also the descriptions of this print offered by the Metropolitan Museum of Art and the Rijksmuseum: https://www.metmuseum.org/art/collection/search/399291; https://id.rijksmuseum.nl/200127254.

Interestingly, Charles Meryon (1821–1868) executed a copy of this print in the reverse direction; see: https://www.britishmuseum.org/collection/object/P_1865-0114-121 (inv. 1865,0114.121).

Condition. A strong impression with small margins around the platemark and laid upon an archival support sheet of millennium quality washi paper providing wide margins. The sheet is in a good condition with no tears, holes, folds or significant stains—note that there may (or may not) be a minor abrasion in the sky above the horses.

I am selling this superb etching of horses—note how the artist is able to portray very convincingly with a minimal number of marks, not only the surface texture/hair of the horses, but also the intricacies of the horses’ musculature and the critical points where bones come close to the skin— for AU $292 in total (currently US $181.64/ EUR 174.24/ GBP 144.44 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. Note that payment is in Australian dollars (AU $292) as this is my currency.

If you are interested in purchasing this marvellous study of horses by one of the great draughtsmen of the 1600s—note that the 20^th century master, Walter Sickert, is cited as extolling Dujardin’s skill as a draughtsman  (see https://archive.artic.edu/b-encounters/artwork/23686)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jan Collaert II, “Hunting Quails and Rabbits”, c.1600, after Jan van der Straet

Jan Collaert II (aka Jan Collaert; Hans Collaert) (c.1561–c.1620)

“Hunting Quails and Rabbits”, c.1600, a rare first state impression of plate 69 (before numbering) from the series of 104 plates, “Venationes Ferarum, Avium, Piscium. Pugnae Bestiariorum: & mutuae Bestiarum”, after a drawing by Jan van der Straet (aka Joannes Stradanus; Ioannes Stradanus) (1523–1605) in the Nationalmuseum in Stockholm and a preliminary sketch in the National Design Museum in New York (inv. 1901-39-295v), with Latin text by Cornelis Kiliaan (c1529–1607), published by Philips Galle (aka Philippus Gallaeus; Philippe Galle) (1537–1612) in Antwerp.

Engraving on laid paper trimmed with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 20.6 x 28.3cm; (plate) 19.8 x 27.2cm; (image borderline) 18.1 x 27.1cm.

Inscribed on plate within the image borderline along lower edge: (left) “Ioan. Stradanus inuent.”; (left of centre) Ioan. Collaert Sculp.”; (right) “Phls Galle excud.”

Lettered in plate below the image borderline in two columns of two lines of Latin: (centre) “Nexa Coturnicibut Venator retia tendit./ Cum segetes messæ: Plaudo latrante, pætentem// Grex sese simul in campum velociter infert;/ Collectas Auceps deprendit casse volucres.” (The hunter stretches his nets for the quails./ When the harvest is reaped: I applaud, barking, lamenting// The flock quickly rushes into the field together;/ The birdcatcher catches the birds gathered.)

State i (of iii) before the addition of the number (“69”)

New Hollstein 521 (Johannes Stradanus) (Marjolein Leesberg [comp.] 2008, The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Johannes Stradanus, part. 3, Ouderkerk aan den Ijssel, Sound and Vision, p. 196; [illus. p. 229], cat. no. 521); New Hollstein 1523 (Collaert Dynasty) (Ann Diels & Marjolein Leesberg [comp.] 2005–06, The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: The Collaert Dynasty, vol. 8, Ouderkerk aan den Ijssel, Sound and Vision, cat. no. 1523).

The British Museum offers the following description of this print: “Plate 69, Quail and Rabbit Hunt; on a corn field with sheaves of corn, two men on horseback, coming from the right, are about to drag a net over a covey of quails; to the left, two men draw a net over a rabbit; on the horizon, to the left, a church is seen, while to the right, a farm building is seen” (https://www.britishmuseum.org/collection/object/P_1957-0413-77 [inv. 1957,0413.77]).

See also the Rijksmuseum’s description of this print: https://id.rijksmuseum.nl/200175668.

Condition: a strong and near faultless impression with small margins around the platemark. The sheet is in an excellent condition with no tears, holes, abrasions, losses or significant stains and is laid upon an archival support sheet of millennium quality washi paper providing wide margins.

I am selling this exceptionally rare lifetime impression from the first state—interestingly the New Hollstein mentions only two impressions of this print from the first state held in museum repositories (but I may have misunderstood the advice [see “Johannes Stradanus, part 3, p. 196, cat. no. 521, SI]— for AU $319 in total (currently US $198.43/ EUR 190.36/ GBP 157.69 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. Note that payment is in Australian dollars (AU $319) as this is my currency.

If you are interested in purchasing this exceptionally fine late Renaissance period engraving showing the hunting technique in the 16^th century for catching quail and rabbits, 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 de Sève, “Iris de Suze”, c.1772

Jacques de Sève (aka Jacques Henri Eustache de Sève) (fl.1742–1788)

“Iris de Suze” (aka Rouw iris, Iris Susiana, Iris Calcedonica, Mourning Iris), c.1772, hand-coloured engraving after the design by Jacques de Sève, plate 24 (the final plate) from the series, “Recueil de Vingt-Quatre Plantes et Fleurs”, published in Paris in 1772.

See descriptions of other plate from the same series offered by the Cleveland Museum of Art and Sotheby’s Auctions: https://www.clevelandart.org/art/1949.413 and  https://www.sothebys.com/en/auctions/ecatalogue/2017/magnificent-botanical-library-df-allen-n09659/lot.13.html.

Note that in the description of the publication offered by Sotheby’s Auctions explains the rarity of the book (and in turn the engraved plates): “A substantial portion of a very rare and little-known work that seems to have no presence in the auction records. OCLC's WorldCat cites a single location for the book, the Muséum national d'histoire naturelle, Paris” (op.cit.).

Engraving on fine laid paper (watermark “IV”) hand-coloured at the time of publication with small margins around the image borderline.

Size: (sheet) 37.4 x 23.2cm; (image borderline) 33.8 x 21.7cm.

Numbered and lettered in plate: (upper left corner) “24”; (lower left corner) “De Seve del.”; (lower centre) “Iris de Suze.”

Condition: a strong impression with excellent (near faultless) hand-colouring, trimmed with a small margin around the image borderline. There is significant staining on the lower-left side, otherwise the sheet is in a good condition for its age and size with no tears, holes, folds or abrasions.

I am selling this exceptionally rare engraving with hand-colouring as published, for AU $277 in total (currently US $172.26/ EUR 165.44/ GBP 137.52 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. Note that payment is in Australian dollars (AU $277) as this is my currency.

If you are interested in purchasing this remarkably fine engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.