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 

Arthur Mayeur, “L'enlèvement de Psyché”, 1871, after Pierre Paul Prud'hon

Arthur Mayeur (also known as Arthur-Jules Mayeur) (1871–1934)

“L'enlèvement de Psyché” (The Abduction of Psyche), 1871

Technical Details & Condition:

Etching and engraving with hand-colouring (possibly contemporaneous) on a full sheet of heavy cream wove paper with deckle edges on all sides. The design is based on Pierre-Paul Prud'hon’s (1758–1823) 1808 painting of the same composition, now in the collection of the Musée du Louvre, Paris (see: https://collections.louvre.fr/en/ark:/53355/cl010060092). The etching was printed and published by the Chalcographie du Louvre and bears the dry-stamp of the Chalcographie at lower centre.

This is a strong, well-printed impression featuring finely executed and subtle hand-colouring. The sheet shows a band of age-toning (possibly dust) at the top, a closed tear in the upper-left corner of the margin, and pencil notations on the lower corners. Otherwise, it is in good condition, free of holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet: 65.8 x 50.4 cm
• Platemark: 51.6 x 39.5 cm
• Image borderline: 43.5 x 34.5 cm

In-Plate Lettering (below the image borderline):

• Left: “P.-P. PRUD'HON PINX^T.”
• Centre: “L'ENLÈVEMENT DE PSYCHÉ / CHALCOGRAPHIE DU LOUVRE”
• Right: “A. MAYEUR SCULP^T.”

Reference:

• Musée du Louvre: https://collections.louvre.fr/ark:/53355/cl020531918  

Price & Shipping:

AU$280 (approx. US$201.40 / €170.46 / £148.29), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this exceptional hand-coloured etching (with engraving) depicting the mythological episode in which Psyche, the mortal wife of Cupid, is carried by Zephyrs to a hidden, enchanted valley—an important moment representing her secret refuge or trial—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless transaction.

Conrad Faber von Kreuznach, “Siege of Ambracia”, c. 1530–33

Conrad Faber von Kreuznach (aka Konrad Faber von Creuznach; [formerly] “Master of the Holzhausen Portraits”) (1495–1558)

“Siege of Ambracia” c. 1530–33

Note: The same woodcut image also appears in “Römische Historien” on page 153 (verso page CLII [152]), illustrating the “Siege of Tarentum.” It is common in this publication to use the same image to depict different episodes. For reference, see the earlier listing: https://www.printsandprinciples.com/2024/05/conrad-faber-von-kreuznach-siege-of.html?m=0.

Technical Details & Condition:

Woodcut on fine laid paper with letterpress text printed on both recto and verso. The woodcut appears on page CCCLXII (362) from the 1533 German edition of the Roman Historian, Livy’s (aka Titus Livius) (59/64 BC–17 AD) “Römische Historien” (Roman Histories). This edition was printed, edited, and published by Johannes Schoeffer (c. 1475–1531), translated from Latin by Bernhard Schöfferlin (c. 1436–1501) and Ivo Wittich (1456–1507), with contributions by Nicolaus Carbach (aka Nicolaum Carbachium) (1485–c. 1534) and Jakob Micyllus (aka Jacobum Micyllum) (1503–1558). An edition from 1538 is available for viewing on Archive.org: see https://archive.org/details/gri_33125011080492/page/n717/mode/2up.

The notation “Pp ij” below the text on the recto indicates the signature marks for the printer and book binder, signifying that this is the second leaf (“ij” or “ii”) in the quire labelled “Pp”.

The impression is strong and well-printed—most likely a lifetime impression, as evidenced by the quality of the line work and minimal signs of wear to the printing plate. Aside from a faint stain at the lower centre, the sheet is in excellent condition—free of tears, holes, folds, and significant stains.

Dimensions:

• Sheet: 30.5 x 19.6 cm
• Woodcut image borderline: 12.1 x 14.7 cm

Price & Shipping:

AU$298 (approx. US$212.54 / €180.24 / £156.66), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this superb Renaissance-era woodcut of extraordinary quality, 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