In this technique a separate block with part of the scene is cut for each colour. The blocks are then printed one on top of the other. In the depiction of the white areas, the highlights, the paper also plays a role. Wood is cut away from the block so that no colour is printed on the paper at that point. Only the paper itself is seen. The colour combinations can vary from print to print.
Johan Barthold Jongkind (1819-1891), View of the beach close to Le Havre, 1862, watercolour, 200 x 351 mm
Johan Barthold Jongkind (1819-1891), The road from Salbins to La Côte-Saint-André, 1883, watercolour, 172 x 502 mm
Johan Barthold Jongkind (1819-1891), Landscape close to La Côte-Saint-André, 1884, watercolour, 168 x 495 mm
Domenico Beccafumi (1486-1551), Three prophets (?), pen and ink, 410 x 208 mm
Zacharias Dolendo (1561-ca. 1605) after Jacques de Gheyn II, Bust of Christ, ca. 1596, burin, diameter 150 mm
Some of the new acquisitions in
the year 2001:
Philips (de) Koninck (Amsterdam
drawing: The card players
in pen and brown ink with brown and
grey wash, monogrammed, 179 x 160 mm (inv. no. 2001-T.5)
Philips Koninck, son of a goldsmith, moved to Rotterdam around 1637 to study with
his elder brother Jacob Koninck (1614/15- after 1690). He returned to Amsterdam
in about 1641 but it is unclear whether he then actually joined Rembrandt's studio
as claimed by Arnold Houbraken. However, his early work certainly demonstrates
the influence of the famous painter. Philips Koninck is now primarily known for
his landscapes but he also produced portraits and genre pieces.
The drawing acquired by the Fondation Custodia may be described as just such a
genre piece. This type of drawing was not yet represented in the collection Frits
Lugt. Werner Sumowski has dated the drawing to the early 1660s. It is comparable
to similar drawings now in Hamburg, Leiden and St. Petersburg [Sumowski 1324,
1325, 1336]. The subject and the somewhat 'unrefined' style is typical of Koninck.
With rapid and angular pen strokes, the artist has created a rather jocular scene
showing three men playing cards in an inn. On the left we see two children at
play and a barrel, presumably of beer. Such scenes reflect the strong influence
of Adriaen Brouwer (1605/06-1638).
Anonymous artist (Dutch, latter half of the
Portrait of René Descartes (1596-1650) brush
and brown ink with brown wash, over a sketch in black chalk, some highlighting
in white and partly incised with the stylus for transfer, 171x133 mm (inv. no.
For many years, the only indication of the existence of this drawing was to be
found in the handwritten inventory of the Delft collector Valerius Röver
(1686-1739), which lists a 'Portrait of Descartes, wash in bistre' by Rembrandt.
When this portrait came up for auction in mid-2001, a note on the verso allowed
its provenance to be traced to the Röver collection.
The drawing bears all the signs of a preparatory sketch for a print. A number
of lines have been incised with the stylus for transfer to an engraving plate,
while the ornamental border includes a cartouche (also incised) for an inscription.
There is indeed a print after this sketch included in an edition of a Dutch translation
of Descartes' Principia Pilosophiae of beginselen der wijsgebeerte (Amsterdam
1690). Unfortunately, the name of the designer of the print - certainly not Rembrandt
- is not mentionned.
Jean-François Sablet (Morges 1745-1819
drawing: Fishermen in an Italian landscape during a storm
in brush and black ink, grey wash and heightened with white body-colour
on blue-gray paper, signed, 410x540 mm (inv. no. 2001-T.25)
Jean-François Sablet moved to Rome in 1791, accompanied by his brother
Jacques. Two years later the events in their country prompted them to return to
Paris. Jean-François is best known for his portraits, including those of
prominent citizens of Nantes, the city which became his home in 1805.
This drawing is thought to date from Sablet's Italian period when he was very
much influenced by his brother's work. It is mounted on a page from a book, apparently
a ledger, showing the date 1793. There are rather few surviving examples of Sablet's
output during this period. The quality of the piece is exceptional compared to
most of the artist's other work.
This drawing forms a valuable addition to the collection of late eighteenth- and
nineteenth-century French landscape drawings which has been assembled by the Fondation
Custodia since the death of Frits Lugt. However, the drawing by Sablet has little
in common with later French landscapes, which seeks to offer a more faithful representation
of the atmosphere and the scenery observed by the artist. Here, Sablet tries to
produce a more theatrical effect, even using greenish paper to this end.
François (Saint) Bonvin (Parijs 1817-1887
Etching "Les instruments de l'eau-forte"
1861, 225 x 148 mm (inv. no. 2001-P.20)
François Bonvin is primarily known as a painter but during his career he
also made several excursions into the world of the etching. Among the (few) known
completed works is a series of six plates, printed by Auguste Delâtre in
1861 with the title Six eaux-fortes, dessinées et gravées par F.
Bonvin, peintre. They are of the same style and subject as the artist's paintings,
i.e. genre pieces and still-lifes. The title page acquired by the Fondation Custodia
represents the instruments used in the etching process: a sheet of paper, the
copper plate, bottles of acid, a funnel, the burin and a magnifying glass.
Bonvin produced this series of etchings at a time when this form of art became
extremely popular in France, following a period in which the recently invented
technique of lithography had been in favour. Bonvin allowed his series to be sold
by the publisher Alfred Cadart (1828-1875), whose studio was often the meeting
place for a number of prominent engravers including Antoine Vollon (1833-1900),
Théodule Ribot (1823-1891), Adolphe Appian (1818-1898) and Félix
Bracquemond (1833-1914). In 1862, Cadart founded the Société
des Acquafortistes to promote the art of etching. However, Bonvin was never
a member of this society. When his series was republished (with four additional
plates) in 1871, it appeared in a separate folio.
Henri Béraldi, Les graveurs
du XIXe siècle. Guide de l’amateur d’estampes modernes, vol. 2, Paris 1885,
p. 164, cat. no 2/1 or 3/1; Gabriel P. Weisberg, Bonvin, Paris 1979, no