Adamsz.
Bolswert (aka Boëtius Adamsz. Bolswerd) (1580–1633)
“Farmhouses”, 1614, plate 5 from the series of 20 plates, “Landscapes
with Farmhouses”, after a drawing by Abraham
Bloemaert (aka Abraham Bloemaart) (1564–1651) held in the
École des Beaux-Arts, Paris. (See the complete series in the British Museum
nos. D,7.112-129 and D,7.162)
Etching with engraving on fine laid paper trimmed outside the
image borderline with thread margins
Size: (sheet) 15.1 x 24.4 cm
Numbered on plate within the image borderline to the right of shading at the left corner: “5” (almost completely erased).
Roethlisberger 1993 234 (Marcel Roethlisberger & Marten Jan
Bok 1993, “Abraham Bloemaert and his sons: Paintings and prints”, 2 vols, Ghent,
cat. no. 234, pp. 196–7); Hollstein 342
The British Museum offers the following description of this print:
“Plate 5: Farmhouses. Landscape with a man seen from behind in
central foreground and carrying two buckets, a house with thatched roof beyond,
some large jugs lying around; after Abraham Bloemaert.”
See also the description of the print at the Rijksmuseum: http://hdl.handle.net/10934/RM0001.collect.84304
Condition: crisp, well-printed, museum-quality impression in
pristine/faultless condition (i.e. there are no tears, holes, folds, abrasions,
stains or foxing), trimmed outside the image borderline with thread margins.
I am selling this superb impression of an exceptionally rare print,
for the total cost of AU$287 (currently US$224.80/EUR186.29/GBP165.72 at the
time of posting this listing) including postage and handling to anywhere in the
world.
If you are interested in purchasing this marvellously expressive
mannerist landscape revealing a vision of landscape forms so soft that they
seem shaped like clay, 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
This image of farmhouses is far from an everyday way of looking at
them. They are what I wish to describe as “special.”
I can envisage that a viewer could see this print by Bolswert as simply
a well-executed copy of his former master’s—Abraham Bloemaert’s—drawing. From
my way of looking at the linework, however, this is not the case. Bolswert’s
lines have a uniquely personal, signature-like, quality to them. In short, this
print is not a line-for-line copy of the original drawing based on close
observation, but rather it is a translation of what Bolswert saw in Bloemaert’s
drawing by the sense of touch. In short, Bolswert has reshaped this rural scene
like a blind person might model the form of how each featured subject “feels”
like in terms of tactile (haptic) sensory experience.
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