After Raphaël by A. Legrande [le Grande]. Psyche Surprises Eros. "L'Amour Supris." Paris "chez Bance, ainé, rue St Denis." C1790-1800
Black and white stipple engraving of Psyche uncovering Eros by Augustin Legearde after Rapaël. Title and text in French It is attributed to Raphaël, but is more likely inspired by him and his famous frescoes of the Loggia di Psyche in the Villa Farnesina (1517-18) .
Psyche's beauty caused the jealousy and envy of Aphrodite In order to avenge herself, the goddess ordered Eros to inspire Psyche with a love for the most contemptible of all men: but Eros was so stricken with her beauty that he himself fell in love with her. He accordingly conveyed her to some charming place, where he, unseen and unknown, visited her every night, and left her as soon as the day began to dawn. Psyche might have continued to have enjoyed without interruption this state of happiness, if she had attended to the advice of her beloved, never to give way to her curiosity, or to inquire who he was. But her jealous sisters made her believe that in the darkness of night she was embracing some hideous monster, and accordingly once, while Amor was asleep, she approached him with a lamp, and, to her amazement, she beheld the most handsome and lovely of the gods. In her excitement of joy and fear, a drop of hot oil fell from her lamp upon his shoulder. This awoke Amor, who censured her for her mistrust, and escaped. Psyche's peace was now gone all at once, and after having attempted in vain to throw herself into a river, she wandered about from temple to temple, inquiring after her beloved, and at length came to the palace of Venus. There her real sufferings began, for Venus retained her, treated her as a slave, and inmposed upon her the hardest and most humiliating labours. Psyche would have perished under the weight of her sufferings, had not Amor, who still loved her in secret, invisibly comforted and assisted her in her labours. With his aid she at last succeeded in overcoming the jealousy and hatred of Venus; she became immortal, and was united with him for ever. Dark impression; light toning; scattered light spotting, most noticeable in blank margins.
407 by 470mm (16 by 18½ inches). €500
After Raphaël by A. Legrande [le Grande]. The Toilette of Psyche. "La Toilette de Psiché." Paris "chez Bance, ainé, rue St Denis." C1790-1800.
Black and white stipple engraving of the Toilette of Psyche by Augustin Legearde after Rapaël. Title and text in French The engraving shows Psyche with her attendents, It is attributed to Raphaël, but is more likely inspired by him and his famous frescoes of the Loggia di Psiche in the Villa Farnesina (1517-18) . Psyche's beauty caused the jealousy and envy of Aphrodite In order to avenge herself, the goddess ordered Eros to inspire Psyche with a love for the most contemptible of all men: but Eros was so stricken with her beauty that he himself fell in love with her. He accordingly conveyed her to some charming place, where he, unseen and unknown, visited her every night, and left her as soon as the day began to dawn. Dark impression; light toning; scattered light spotting.
405 by 473mm (16 by 18½ inches). €500
After Rembrandt, engraved by J McArdell Tobias with the Angel. "Tobias with the Angel." from the Original in the COLLECTION of Mr Reynolds. London J. McArdell 1742-1765
Black & white Mezzotint by James McArdell after Rembrandt; Laid down to later paper. Tobias with the Angel; Tobias sitting on riverbank with his dog beside him, the angel kneeling over him; both he and his dog gazing in terror at grotesque fish emerging from the Tigris at right; shepherds and figures crossing bridge in landscape beyond; Lettered with 'signature' as Rembrandt within image.
Tobias and the Angel is the title given to paintings and other artworks depicting a scene in which Tobias, son of Tobit, meets an angel without realising he is an angel (Book of Tobit, 5.5-6) and is then instructed by the angel what to do with a giant fish he catches (Book of Tobit, 6.2-9). Dark impression; trimmed to plate mark and laid down at some time to late [modern?] paper probably to preserve due to the following faults: creasing; upper right corner missing and replaced with later paper and pencil; 3 tears to upper margin [approx 20-30mm] ;long paper fault to sky.
British Museum No:1870,0625.582 [ proof before letters]; Goodwin 214.II; not in Chaloner Smith. 480 by 357mm (19 by 14 inches). €350
After Robert Smirke, engraved by James Godby. The Meeting of Isaac & Rebekah. "The Meeting of Isaac and Rebekah.// Recontre d'Isaac et de Rebecca." London John Murphy. 1801
Stipple engraving by James Godby after the painting by Robert Smrke of the meeting between Isaac and Rebekah. Modern hand colour.
The image shows Rebekah standing demurely in centre, covering her face with her veil as she is introduced to Isaac standing at right, servants surrounding and camels behind, camp in background at right.
Lettered below image with title in English and French and bible reference, production detail: "R. Smirke pinxit/ J. Murphy excudit/ James Godby sculpsit" [lacks publication line: "London, Published Octr. 1st. 1801 by John Murphy No. 19 Howland Street, Fitzroy Square"} Good impression; trimmed to plate mark , shaving off publication line; olded just right of centre [ from being bound?]; some spotting and offsetting to title; modern hand colour.
British Museum No:1953,0214.46 471 by 590mm (18½ by 23¼ inches). €250
After Schall by A. Legrande [le Grande]. Innocence Recognized. "L'innocence Reconnue." Paris "chez Depuille, Md. d'Estampes, Rue St Denis no 52 Section de Bon Conseil." C1790-1800
Black and white copper & stipple engraving of a scene from the legend of Genevieve of Brabant by Augustin Legearde after Schall. Title in French The image shows Genevieve of Brabant with her son discovered by her husband Siegfried whilst out hunting with a wounded deer at her feet.
The Genevieve tale first obtained wide popularity in L'Innocence reconnue, ou vie de Sainte Genevieve de Brabant(pr. 1638) by the Jesuit René de Cerisiers (1603–1662). The story is a typical example of the widespread tale of the chaste wife falsely accused and repudiated, generally on the word of a rejected suitor. Genevieve of Brabant was said to be the wife of the palatine Siegfried of Treves, and was falsely accused by the majordomo Golo. Sentenced to death, she was spared by the executioner and lived for six years with her son in a cave in the Ardennes nourished by a roe. Siegfried, who had meanwhile found out Golo's treachery, was chasing the roe when he discovered her hiding-place, and reinstated her in her former honour. Dark impression; light toning; trimmed to plate mark ; short tears to upper and lower margins, one longer ( approx 70mm )entering image at upper margin.
520 by 615mm (20½ by 24¼ inches). €450
After St Amand by Morange. Olympia rescued by Orland "Olympe Déliverée par Roland." Paris Bonnefoy c1770
Copper engraving by Morange after the drawing by St Amand illustrating Chanson XI of Roland Furieux.[Ariosto Orlando furioso]where Orlando/ Roland rescues Olympia from the Orca. The image shows a naked Olympia tied to a rock; [reminiscent of Perseus rescuing Andromeda]. Dark impression; light toning; light spotting mainly to blank margins; dampstain to left margin, far from image; 2 short tears to lower edge with old repairs to verso.
Thomas Gaehtgens, Jacques Lugand, Joseph-Marie Vien, Arthéna, 1988, p. XIII, notice w7050 422 by 318mm (16½ by 12½ inches). €250
After: Charles de Lafosse Pierre Etienne Moitte Preparations for the Hunt. "Préparatifs pour la chasse" Dresden: Georges Conrad Walther, 1740-1754
Black & white copper engraving of Diana- Artemis preparing for the hunt, from the Recueil d'estampes Gravées of aprez les tableaux et de la Galerie du Cabinet de SE Mr le comte de Bruhl ...[ Plate 32], engraved by Pierre Etienne Moitte after the painting by Charles de Lafosse. Insribed below the image the producers' names, title, verses on either site of Bruhl's coat of arms ('Que viens-tu faire ici... J'attrape souvent la plus fine'), and dimensions and provenance of original painting (collection of Comte de Bruhl).
The image shows Artemis-Diana and her nymphs resting in a landscape, one of the nymphs is helping the goddess to put on her sandals, while another pours the content of a small vase over her head According to the Homeric account and Hesiod (Theog. 918) Artemis was the daughter of Zeus and Leto She was the sister of Apollo, and born with him at the same time in the island of Delos. One of the great divinities of the Greeks. Her name is usually derived from artemês, uninjured, healthy, vigorous; according to which she would be the goddess who is herself inviolate and vigorous, and also grants strength and health to others. The representations of the Greek Artemis in works of art are different accordingly as she is represented either as a huntress, or as the goddess of the moon; yet in either case she appears as a youthful and vigorous divinity, as becomes the sister of Apollo. As the huntress, she is tall, nimble, and has small hips; her forehead is high, her eyes glancing freely about, and her hair tied up behind in such a manner, that some locks float down her neck; her breast is covered, and the legs up to the knees are naked, the rest being covered by the chlamys. Her attributes are the bow, quiver, and arrows, or a spear, stags, and dogs. As the goddess of the moon, she wears a long robe which reaches down to her feet, a veil covers her head, and above her forehead rises the crescent of the moon. In her hand she often appears holding a torch. Dark impression; centre fold; clean and bright; large paper; wide margins.
British Museum no:1850,0810.428 Le Blanc 43 380 by 497mm (15 by 19½ inches). €750
Alexis Hubert Jaillot. The Deserts of Egypt , Arabia & Syria with Cyprus. " Les Deserts d'Egypt, de Thebiade d'Arabie et de Sirie &c...."A Paris. "Chez E Michalet". 1693
Large double page copper engraved map of Cyprus, Egypt and Syria from Jaillot's "Atlas Nouveau"1698. Original old outline colour; verso blank. The map shows the Eastern Mediterranean, Cyprus as it lies off the coasts of Egypt, Arabia & Syria. The map is oriented North east with Cyprus at the top centre and the Red Sea also in the centre of the map Decorative title cartouche and scale. Evenly lightly toned; some minor spotting to margins; old ink number in top right corner of margin.
570 by 780mm (22½ by 30¾ inches). €1000
Alexis Hubert Jaillot. The Deserts of Egypt , Arabia & Syria with Cyprus. " Les Deserts d'Egypt, de Thebiade d'Arabie et de Sirie &c...."A Paris. "Chez E Michalet" 1693
Large double page copper engraved map of Cyprus, Egypt and Syria from Jaillot's "Atlas Nouveau"1698. Original full colour; verso blank. The map shows the Eastern Mediterranean, Cyprus as it lies off the coasts of Egypt, Arabia & Syria. The map is oriented North east with Cyprus at the top centre and the Red Sea also in the centre of the map Decorative title cartouche and scale. Evenly toned; some minor spotting mainly to margins but also within the Red Sea; old ink number in top right corner of margin.
570 by 780mm (22½ by 30¾ inches). €1200
Alexis Hubert Jaillot. Estats de L'Empire des Turqs en Europe... " Estats de L'Empire des Turqs en Europe subdivisés suivant l'estendue des Beglerbeglicz ou govenements..."A Paris. "Chez H Jaillot joignant les grandes Augustins, aux 2 globes" 1692
Large double page copper engraved map of Greece & the Balkan Peninsular, after Sanson, from Jaillot's "Atlas Nouveau"1698. Original outline colour; verso blank. The map is centred on the the Balkan Peninsular, Greece and the Archipelago, with Italy to the West and the coast of Asia minor to the East. Decorative title cartouche ornamented with images of the Ottoman rulers of the area. Evenly toned; crease to left of centre fold & also through right half of map; some light offsetting mostly to the blank area of the Black Sea; chipping.to lower edge of blank margin.
Zacherakis: 3121/2071 578 by 880mm (22¾ by 34¾ inches). €850