Anthony van Dyck with Lucas Vorsterman, “Christ Crowned with Thorns”, c. 1630

Anthony van Dyck (1599–1641) in collaboration with Lucas Vorsterman I (also known as Lucas Aemilius Vorsterman) (1595–1675)

“Christ Crowned with Thorns” (also known as “The Mocking of Christ” or “The Reed Offered to Christ”), circa 1630

Artistic & Technical Collaboration:

The etching component was completed by the hand of Anthony van Dyck—as inscribed in the plate, “Anton. van Dyck invenit et fecit aqua forti”—and the plate was completed in engraving by Lucas Vorsterman. Notably, the technique of finishing an etching with burin (the engraving tool) was innovative at the time. Carl Depauw and Ger Luiten (1999) cite John Evelyn describing it as “a new invention linked to the name of Lucas Vorsterman.” 

Depauw & Luiten also suggest that Vorsterman re-etched the plate to create a spatter-like, speckled effect, transforming van Dyck’s parallel lines into detailed cross-hatching and expertly rendering textures, such as the shining Roman helmet.

Technical Details & Condition:

Etching with engraving on laid paper, with narrow margins around the image border, retaining the verses below the image. This impression is from State VI (of VII) with the note of privilege (“Cum Privilegio”) erased, but before the addition of publication details for Jacques Philippe Le Bas (1707–1783) of Paris. 

The impression is strong, crisp, and evenly inked. The sheet is in excellent condition for its age, with only minor age-toning and traces of glue on the verso; otherwise, it remains free of tears, holes, folds, or significant stains.

Dimensions:

• Sheet: 26.5 x 21.5 cm
• Image borderline: 24.4 x 21 cm

In-Plate lettering (below the image in two columns of two lines of Latin and publication details):

• Left: “Ecce stat innocuus spinis redemitus acutis, / Æmula sunt cuius bella labella rosis: / Anton. van Dyck inuenit et fecit aqua forti.”
• Right: “Et vero Iudæe illudis arundine Regi, / Impie sed nescis te mala quanta manent.”

(Translation): “Behold, he stands innocent, redeemed by sharp thorns, whose beautiful lips are envied by roses. And truly, O Jew, you mock the King with a reed, O impious, you do not know how many evils await you. Anthony van Dyck invented and made this with etching.”

References:

• Mauquoy-Hendricx (van Dyck) A-6 (Marie Mauquoy-Hendrickx, “L'Iconographie d'Antoine van Dyck: Catalog Raisonné”, 1991, Brussels, Royal Library Albert I, p. 116, cat. no. A-VI)
• New Hollstein Dutch 519
• Carl Depauw & Ger Luiten, “Anthony van Dyck as a Printmaker”, 1999, New York, Rizzoli, pp. 234–39, cat. no. 31
• British Museum: Museum number 1931,0413.11 — https://www.britishmuseum.org/collection/object/P_1931-0413-11
• Rijksmuseum: Object number RP-P-1953-709 — https://id.rijksmuseum.nl/200127450

Price & Shipping:

AU$1058 (approximately US$757.99 / €654.14 / £560.05, subject to daily exchange rates). Price includes worldwide express shipping. Please note that destination import duties and local taxes remain the sole responsibility of the buyer.

If you’re interested in acquiring this superb original etching—an iconic image of Christ’s suffering, with the “supernatural glow” from his halo contrasted against the textured face of the tormentor—please contact me at oz_jim@printsandprinciples.com. I’ll gladly provide a secure PayPal invoice for a seamless transaction.

Jean François Millet, “La Bouillie”, 1861 (2nd copy)

Jean François Millet (1814–1875)

“La Bouillie” (also known as “The Porridge”; “Gruel”; “Woman Feeding Her Child”), 1861

Technical Details & Condition:

Etching with pale plate tone on cream laid paper, with wide margins.

This is a State III (out of VI, Melot), with the artist’s name and date added, but before the publication details for Gazette des Beaux Arts and Auguste Delâtre as the printer.

The impression is richly inked, crisp, and faultless. The sheet is in pristine condition—completely free of tears, holes, folds, abrasions, handling marks, or stains (aside from the faint binding glue trace on the verso).

Production insights:

This etching was executed with the assistance of Félix-Joseph-Auguste Bracquemond (1833–1914). It is an impression before lettering intended for publication in the French periodical Gazette des Beaux Arts (September 1861). The scene depicts Millet’s daughter (Madame Heymann) cooling a spoonful of porridge by blowing on it as she feeds her child.

Michel Melot (1978) recounts Philippe Burty’s (1830–1890) account from June 10, 1861, regarding Bracquemond’s role in creating this plate: “The copper plate was really quite eaten. It was bitten well the first time. The ground was coated again and it was bitten once more. Finally, Millet insisted on himself putting two touches of pure acid on the heads of the woman and her child. The instant the brush touched them, Bracquemond quickly splashed drops of water on them. We went to Delâtre’s. A worker ran off proofs for us. At the third, Millet used the drypoint to close up a large highlight on the woman’s neck, added a few lines on the shadow of the bonnet, and a few points on the wrist holding the infant. We had nineteen in all printed, of which two were retouched. Bracquemond is going to add the signature. Only three have the sketch at the bottom, with the printer adjusting them as he pleases. I myself burnished them on the plate.” (Melot, p. 290).

Dimensions:

• Sheet: 26.5 x 21 cm
• Platemark: 18.7 x 16 cm
• Image borderline: 15.2 x 13 cm

In-Plate lettering (by Bracquemond):

• Below image, at left: “J.F. Millet 1861.”

References:

• Melot M 17 S3 (Michel Melot, “Graphic Art of the Pre-Impressionists”, 1978, New York, Harry N. Abrams, pp. 289–90, cat. no. M 17)
• Delteil 17 S3 (“Le Peintre-Graveur Illustré (XIXe et XXe siècles”)
• British Museum: Museum number 1865,0114.86 — https://www.britishmuseum.org/collection/object/P_1865-0114-86
• Rijksmuseum: Object number RP-P-1950-807 — https://id.rijksmuseum.nl/200130837
• Christie’s Auctions (20 Jun 2000) describe a later state of this print:  https://www.christies.com/en/lot/lot-1825725

Price & Shipping:

AU$900 (approximately US$644.79 / €556.46 / £476.30, subject to daily exchange rates). Price includes worldwide express shipping. Please note that destination import duties and local taxes remain the sole responsibility of the buyer.

If you’re interested in acquiring this stunningly beautiful etching—a truly iconic image of motherhood—by one of the most famous of the French artists of the nineteenth century, please contact me at oz_jim@printsandprinciples.com. I’ll gladly provide a secure PayPal invoice for a seamless transaction.

Jules Armand Hanriot, “Les Orientales, XIX: Sara la Baigneuse”, 1880, after Charles Voillemot

Jules Armand Hanriot (1853–1930)

“Les Orientales, XIX: Sara la Baigneuse” (The Orientals, XIX: Sara the Bather), 1880

Technical Details & Condition:

Etching printed in a cool black ink with plate tone on wove paper.

This print is from the set of seven plates published in 1880 in the French art periodical “L’Artiste”. The composition is after the design by the French Salon painter and draughtsman, Charles Voillemot (also known as André Charles Voillemot) (1823–1893). The subject depicted illustrates Poem XIX, “Sara la baigneuse” (Sara the Bather), from Victor Hugo’s seminal 1829 poetry collection, “Les Orientales.”

Hugo's Les Orientales was highly influential in launching the Orientalist movement in French art, transposing classical themes into a dreamy, exoticised view of the East. The specific poem describes a young woman, Sara, idly swinging on a hammock (or swing) over a cool fountain pool while contemplating her reflection. Hugo's vivid, rhythmic verses inspired countless 19th-century masters—including Hector Berlioz (who set it to music) and visual artists like Henri Fantin-Latour and, as is the case here, Charles Voillemot’s design interpreted by Hanriot.

The sheet is in excellent condition—completely free of tears, holes, folds, abrasions, or significant stains. There is only faint, negligible toning in the lower right margin, well away from the image border.

Dimensions:

• Sheet: 25.2 x 15.4 cm
• Platemark: 18 x 11.9 cm
• Image borderline: 16.2 x 10.2 cm

In-Plate lettering:

• Lower left corner: “J. Hanriot d’ap[rès] Voillemot” (J. Hanriot after Voillemot)

References:

• IFF 10 (Jean Adhémar, et al., “Inventaire du Fonds Français après 1800: GUILLAUME–HUMBERT”, vol. 10, 1958, Paris, Bibliothèque Nationale de France, p. 114, cat. no. 10) — Available via Bibliothèque Nationale de France (Gallica): https://gallica.bnf.fr/ark:/12148/bpt6k5489209c/f126.item  
• Les Musées de la Ville de Paris (Maison de Victor Hugo): Inventory Number 2017.0.3072— https://www.parismuseescollections.paris.fr/fr/maison-de-victor-hugo/oeuvres/les-orientales-xix-sara-la-baigneuse-6#infos-principales

Price & Shipping:

AU$236 (approximately US$169.85 / €145.80 / £125.05, subject to daily exchange rates). Price includes worldwide express shipping. Please note that destination import duties and local taxes remain the sole responsibility of the buyer.

If you’re interested in acquiring this inventive depiction of “indolent beauty” (belle d'indolence) praised in Hugo’s text into this dreamy jewel of an etching, please contact me at oz_jim@printsandprinciples.com. I’ll gladly provide a secure PayPal invoice for a seamless transaction.

Nicolò Nelli, “Saint Mark”, c. 1570–75, after Aldegrever and Pencz

Nicolò Nelli (active 1552–1579)

“Saint Mark”, circa 1570–1575 (Post-Tridentine period)

Dating Note:

The textual layout and vernacular liturgical structure of this leaf align perfectly with the standardised scriptural reforms established after 1570. This identification indicates that the leaf was produced during Nelli’s mature Venetian workshop period. Interestingly, the elegant Roman lapidary display font used for the header text on the verso was the industry standard in leading publishing workshops of Venice during the 1570s.

Technical Details & Condition:

Engraving on fine handmade Renaissance laid paper, trimmed with a small margin around the platemark with letterpress Italian text verso. The engraving was created after the 1539 print by Heinrich Aldegrever (1502–1561), from the series “The Four Evangelists”—see a copy of Aldegrever’s print in the MET collection: Object Number 60.650.2 (https://www.metmuseum.org/art/collection/search/428374). Aldegrever’s work, in turn, was based on a design by Georg Pencz (circa 1500–1550). 

This leaf was published in Venice by Nicolò Nelli to illustrate a post-Tridentine Epistole e Vangeli (Epistles and Gospels in the vernacular), used for Sunday homilies. The verso heading indicates a liturgical reading: “DOMENICA SECONDA DELL' AVVENTO / EPISTOLA DI SAN PAOLO APOSTOLO A' ROMANI. Cap. 15”—the Second Sunday of Advent, Epistle of Saint Paul to the Romans, Chapter 15.

This is a strong, crisp lifetime impression, showing no signs of wear to the printing plate. The sheet exhibits minor, uniform age-toning appropriate for a 16th-century leaf but remains in remarkable condition—completely free of tears, holes, folds, abrasions, foxing, or significant staining.

Dimensions:

• Sheet: 17.5 x 13 cm
• Platemark: 16.8 x 12.4 cm

In-Plate lettering:

• Lower left corner: “N N for.” (Nicolò Nelli formis)

Price & Shipping:

AU$370 (approximately US$265.94 / €228.10 / £195.68, subject to daily exchange rates). Price includes worldwide express shipping. Please note that destination import duties and local taxes remain the sole responsibility of the buyer.

If you’re interested in acquiring this exceptionally rare engraving depicting Saint Mark—the Evangelist writing his Gospel while seated on a cloud and accompanied by his lion attribute—please contact me at oz_jim@printsandprinciples.com. I’ll gladly provide a secure PayPal invoice for a seamless transaction.

This print has been sold