Wenceslaus Hollar, “Head of a Child”, 1646, after Aegidius Sadeler II

Wenceslaus Hollar (aka Wenzel Hollar; Václav Hollar) (1607–1677)

“Head of a Child”, 1646, after a drawing by Aegidius Sadeler II (aka Egidius Sadeler; Ægedius Sadeler; Gillis Sadeler) (c.1570–1629).

Etching on fine laid paper, trimmed along the platemark and backed with a support sheet.

Size: (sheet trimmed irregularly) 17 x 14 cm.

Inscribed in plate: (faintly at upper right) “WHollar fecit,/ 1646”; (lower left) “Egidius Sadeler delineauit.”

Pennington 1640 (Richard Pennington 1982, “A Descriptive Catalogue of the Etched Work of Wenceslaus Hollar 1607–1677”, Cambridge, Cambridge University Press, p. 279, cat. no. 1640); New Hollstein German (Hollar) 879 (Giulia Bartrum [ed.] 2009-, “The New Hollstein: German engravings, etchings and woodcuts 1400-1700: Wenceslaus Hollar”, vol. III, Ouderkerk aan den Ijssel, Sound and Vision, p. 164, cat. no. 879).

The British Museum offers the following description of this print: “Head of a child with curly hair, directed to front, looking to left, smiling; after Sadeler. 1646/ Etching” (https://www.britishmuseum.org/collection/object/P_Q-5-51).
See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.32601.

Condition: a strong and well-printed impression trimmed irregularly around the platemark. There are a few spots and surface marks, otherwise, the sheet is in a good condition for its considerable age and is laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this sensitively executed and very beautiful etching of a young child, for the total cost of AU$304 (currently US$195.07/EUR183.19/GBP156.81 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this superb study of a child’s head, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Carlo Cesio, “Mercury Bringing the Golden Apple to Paris”, 1656/7, after Annibale Carracci

Carlo Cesio (aka Carlo Cesi) (1622–1682)

“Mercury Bringing the Golden Apple to Paris” (aka “Mercure apportant à Paris la pomme d’or”; “Mercurius brengt Paris de gouden appel”), 1656/7, Plate 3 from the series of 45 plates, “The Farnese Gallery Panels”, after a fresco by Annibale Carracci (1560–1609) in the Palazzo Farnese in Rome, initially published in Rome with the privilege of Pope Alexander VII by François Collignon (aka Louis François Collignon) (c.1610–1687). This impression was published by Arnold van Westerhout (1651–1725) (as inscribed in the plate).

Etching on heavy buff-coloured laid paper.

Size: (sheet) 39.1 x 27.4 cm; (platemark) 35.3 x 24.5 cm.

Lettered in plate along the lower edge: (left) “Ann. Caracci Inu.”; (left of centre) “C. Cesius del. et Sculp. Romæ.”; (right of centre) “Arnoldo Van Westerhout formis Cum Privi8l […].”; (right) “3.”

State ii (of iii) with the addition of the address for Westerhout, but before the number 3 is erased in state iii.

TIB 4705.023 S2 (Paolo Bellini [ed.] 1987, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 47 [Commentary, Part 1], New York, Abaris Books, p. 81 cat. no. [4705] .023 [S2]).

The British Museum offers the following description of this print: “Plate 3: Mercury delivering the golden apple to Paris; Mercury seen flying over Paris, handing the golden apple over to him; the shepherd seen seated, holding a stick and with his hand open; a dog seen in the foreground to left; printed from an octagonal plate 1657/ Etching” (https://www.britishmuseum.org/collection/object/P_A-3-6).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.595245.

Condition: a well-printed impression in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this curious octagonal etching showing what I understand is the now extinct and formidable Molossian hound (aka Epirus mastiff) with an interesting fluffy curled tail echoing the curved end to the shepherd’s crook that Paris (for a reason that I don’t understand) is resting his right foot upon, for AU$301 in total (currently US$191.76/EUR180.56/GBP154.70 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing confidently executed etching with subtle messages of symbolism—note for example, the dead stump of a tree beside a living tree shown in the distance that may be a symbolic reference to the cycle of death and regeneration and the upside down shepherd’s crook that may be a symbolic biblical reference to the initial “J” and to Jesus Christ as the good shepherd (my apologies if my proposals are flawed)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy. 

Circle of Nicolaes Biestkens, “Charity & Justice”, c.1520–58

Unidentified printmaker from the circle of Nicolaes Biestkens (fl.1558–85)—a letterpress printer and publisher active around Emden and Amsterdam and famous for publishing the first Dutch edition of the Bible in 1558.

“Charity & Justice” (aka “CHAR:/ITAS”] [as lettered on the strapwork decorated pedestal supporting a mother comforting children]; “IVSTI/CIA I” [as lettered on pedestal supporting the personification of Justice]), c.1520–58, a double-sided leaf from a Dutch Book of Hours with woodcut borders and letterpress text. The Dutch text may be from Psalm 123 (forgive me if I am wrong), but this proposal is based solely on my deciphering of the following passage: “Wandt hy aenschouwet van zijnder heyligher hoocheyt, ende de Heere siet vanden hemel optcr aerden” ([Google transl.] “Let him look upon his own heavenly glory, and see the Lord come down from heaven”).

Regarding the attribution of the leaf to the time period between 1520 and 1558, the earlier date is based on information offered by the dealer from whom I originally purchased this leaf and the later date is based on stylistic similarities with the title page to the “Biestkens Bible” (aka “Biestkensbijbel”) (see title page: https://www.bijbelsdigitaal.nl/view/?bible=biest1560), published by Nicolaes Biestkens near Emden in 1558.

Woodcut border panels with black and red letterpress text printed recto and verso on laid paper.

Size: (sheet) 14.8 x 9.8 cm.

Condition: both recto and verso impressions are strong and well-printed showing minimal signs of wear to the printing plates. The sheet is in an excellent condition for its considerable age with no tears, holes, folds or significant stains.

I am selling this post-incunabulum double-sided woodcut and letterpress printed leaf from what is likely to be a small Dutch “Book of Hours” for AU$283 in total (currently US$182.65/EUR170.84/GBP146.37 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this rare leaf featuring a remarkably forlorn personification of Justice and a very beautiful representation of motherhood, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

John Lewis Brown, “Washington”, 1869

John Lewis Brown (1829–1890)

“Washington” (aka “George Washington à Cheval”), 1869, a proof-state lifetime impression before lettering for publication. This print was later published by Cadart et Luce (fl.1867–1870/1) in Paris (see the description of an impression of the lettered state held by the MET: https://www.metmuseum.org/art/collection/search/836133).

Etching with pale plate tone on fine laid paper (Japon volant) with generously wide margins.

Size: (sheet) 39.8 x 27.2 cm; (platemark) 15.9 x 11.9 cm; (image borderline) 13.2 x 10.5 cm

IFF 5 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque nationale de France, p. 460, cat. no. 5).

Condition: a strong and well-printed impression on tissue-thin washi paper with generously wide margins. There is a pencil inscription by a previous collector along the lower edge of the margin (“Washington par T. L. Brown”), otherwise, the sheet is in a pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this sensitively executed proof-state etching of the first President of the United States, George Washington (1732–1799), on horseback holding a tricorner hat in his right hand and with his left hand on his chest—possibly signalling his feeling of deep commitment to his beliefs and confident leadership—for AU$286 in total (currently US$183.63/EUR172.87/GBP174.61 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this exceptionally rare lifetime impression before the plate was later lettered for publication with its title and publisher details, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

David Young Cameron, “Lake of Menteith No. 2”, 1929

David Young Cameron (aka Sir David Young Cameron RA RSA RE) (1865–1945)—one of the leading practitioners of the Etching Revival

“Lake of Menteith No. 2”, 1929, published in Stirling in 1930 by Eneas Mackay (fl.c.1899–1940) as the frontispiece to Robert Bontine Cunninghame Graham’s (1852–1936) “The District of Menteith” in the “Edition de Luxe” of 250 signed impressions. I understand that the plate was cancelled after this edition.

Etching and drypoint with pale plate-tone on fine buff-coloured laid paper with Charles I watermark, signed in pencil by the artist.

Size: (sheet) 19.6 x 22.5 cm; (platemark) 11.2 x 17.4 cm.

Inscribed in plate at lower left corner: “DYC”.

State iii (of iii)

Rinder 482 (Frank Rinder 1912 [sup.1932], “D.Y. Cameron: An Illustrated Catalogue of His Etched Work”, Glasgow, Jackson, Wylie & Company, p. 302, cat. no. 482, state III [https://archive.org/details/dycameronillustr00rind/page/302/mode/2up]).

Frank Rinder (1932) offers the following poetic comment from Cunninghame Graham regarding the portrayed scene: “The Isle of Rest still seems to float upon the Lake.... The monks who built the long grey church sleep all forgotten, unconscious that they wove the spell that still enchants the Island and the Lake” (p. 302).

See also the description of this print offered by the National Galleries of Scotland: https://www.nationalgalleries.org/art-and-artists/148343/lake-menteith-no-ii.  

Condition: a strong and near faultless impression. Beyond pale spot glue marks verso the sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or signs of handling.

I am selling this small and exquisitely luminous etching—a print that I would describe as a true “printmaker’s print” as the subtlety of the craftsmanship and sense of aesthetic beauty is (to my eyes) superb—for AU556 in total (currently US$358.06/EUR336.97/GBP287.82 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this insightfully considered etching by key artist in the Etching Revival, 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