Eugène Gaujean, “Orphée”, 1877, after Gustave Moreau

Eugène Gaujean (1850–1900)

“Orphée”, 1877, etching after Gustave Moreau’s (1826–1898) painting, “Thracian Girl Carrying the Head of Orpheus on his Lyre”, 1865, in the Musée d’Orsay, Paris (see https://commons.wikimedia.org/wiki/File:Head_of_Orpheus.jpg). Proof impression before lettering with details showing Alfred Salmon (fl.1863–1894) as the printer and publication in Paris in the art periodical, “L'Art” (volume II, 1877).

Etching on heavy wove paper.

Size: (sheet) 32.8 x 22.4 cm; (platemark) 27.6 x 17.9 cm; (image borderline) 24.3 x 15.4 cm.

Inscribed in plate within the image borderline: (lower-left corner) “1865 Gustave Moreau”.

Lettered in plate below the image borderline: (left) “Gustave Moreau pinx./ L’Art.”; (centre) “ORPHÉE/ Musée du Luxembourg)”; (right) “Gaujean sc.”

Beraldi 3 (Henri Béraldi 1887, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: DORÉ–GAVARD”, vol. 6, Paris, Librairie L. Conquet, p. 244, cat. no. 3); IFF 5 (Jean Laren 1954, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 8, p. 452, cat. no. 5 [see https://gallica.bnf.fr/ark:/12148/bpt6k5489221t/f464).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1878-0511-361 (BM inv. no. 1878,0511.361).

Condition: a strong and faultless impression in a pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this visually stunning etching—a true feast of textures and the finest of details— for AU$239 (approximately US$155.23, EUR 136.21 or GBP 114.74), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this very beautiful etching showing a young woman on the shore of Lesbos carrying the severed head of Orpheus—the legendary poet and charmer of fierce beasts—on his lyre after meeting a grisly death “at the hands of Thracian Mænads” (see https://victorianweb.org/decadence/painting/moreau/10.html), 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

Virgil Solis, “The Death of Ahab”, 1560

Virgil Solis (1514–1562)

“The Death of Ahab” (TIB title), 1560 (and 1562 with the strapwork border as shown here), illustration to the Biblical passage regarding Micaiah prophesies against Ahab (I Kings 22: verse 34), from the series of 220 woodcuts in woodcut borders by Vigil Solis, published in 1562 by Sigmund Feierabend (1528–1590) in Frankfurt and printed by Johann Rasch (fl.1556–1562) and David Zöpfel (aka David Zephelius) (fl.c.1555–1563) as illustrations to “Biblische Figuren des Alten Testaments / Biblische Figuren des Neuwen Testaments”.

Woodcut printed from two plates with letterpress text verso, trimmed around the strapwork borderline and backed with a support sheet.

Size: (sheet) 12.1 x 15.9 cm.

TIB 19.1.64 (Jane S Peters [ed.] 1987, “The Illustrated Bartsch: German Masters of the Sixteenth Century”, vol. 19 [Part 1], p. 315 cat. no. 1.64).

Archive.org offers an online view of these prints in their context in the publication: https://archive.org/details/VirgilSolisBible1562/page/n73/mode/2up. Note that the title page to the edition showcased by Archive.org features the publication date, “MDLXII” (1562).

Regarding the publication in which this print features, the Curator of the British Museum advises: “The first edition was published in 1560. [This print with its strapwork frame features in] the second, enlarged edition, with 74 new images and woodcut borders from the 1561 Bible. The New Testament part is wrongly dated 1552 on the title-page” (https://www.britishmuseum.org/collection/object/P_1870-0625-191-411).

Condition: a strong and well-printed impression showing very few signs of wear to the printing plate, trimmed around the strapwork borderline and laid onto a support of archival (millennium quality) washi paper. Beyond the letterpress text verso softly shining through, the sheet is in an excellent condition with no tears, holes, folds or stains.

I am selling this superb lifetime impression (based on the quality of the lines showing no sign of wear to the printing plate) of a visually arresting woodcut showing the king of Israel being hit by an arrow between “sections of his armour”, for AU$239 (approximately US$155.23, EUR 136.21 or GBP 114.74), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this finely executed woodcut pictorially framed with a strapwork woodcut border, 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

Paulus Pontius, “Don Alvar Bazan”, 1630–1640, after Anthony van Dyck

Paulus Pontius (aka Paulus du Pont) (1603–1658)

“Don Alvar Bazan” (aka “Portret van de Commandant Don Álvaro de Bazán”; “Don Alvaro de Bazan Marquis of Santa Cruz”) —Spanish Admiral, Don Álvaro de Bazán y Benavides, II Marqués de Santa Cruz de Mudela, I Marqués de Viso (1571–1646), 1630–1640, from the series, “Icones Principum Virorum”, after Anthony van Dyck’s (aka Anthoni [Ridder] van Dijck; Anthony van Dijck; Antoon van Dijk; Anton van Dyck) (1599–1641) grisaille portrait now in the collection of the Duke of Buccleuch, Boughton House, Northamptonshire.

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

Size: (sheet) 23.3 x 17.3 cm; (image borderline) 21.9 x 16.9 cm.

Lettered in plate below the image borderline in three lines of Latin: “EXCELL.MVS D. DON. ALVAR. BAZAN ... / …/ … GVBERN.”; (left) “Paul. Pontius Sculp.”; (centre) “Ant. van Dyck pinxit”; (right) “Cum priuilegio”.

State iii (of v) before the addition of the initials of the publisher, Gillis Hendricx, in state iv.

Hollstein Dutch 54-3(5); New Hollstein Dutch 17-3(5); Mauquoy-Hendricx (van Dyck) 43-3(5); Van Someren 296.

The British Museum offers the following description of this print: “Portrait of Álváro de Bazán, Marqués de Santa Cruz, half-length in front of a fluted column, directed slightly to left, wearing armour and sash, and holding a baton in his left hand and resting his right on a visored helmet …” (https://www.britishmuseum.org/collection/object/P_1863-0509-833 [BM inv. no. 1863,0509.833]).

See also the description of this print offered by the Rijksmuseum: https://id.rijksmuseum.nl/200245490.

Condition: a strong and well-printed (near faultless) impression, trimmed along the plate mark and laid onto a support of archival (millennium quality) washi paper providing generously wide margins. Beyond a minor brown mark at upper left and another near the figure’s right eye, the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this superb engraving with its eye-catching feature of the Admiral’s baton portrayed extending beyond the picture plane, for AU$304 (approximately US$197.58, EUR 172.62 or GBP 145.75), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this very fine impression of a masterwork of engraving, 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 

Frank Baker, “Llanthony Abbey, Wales”, c1925

Frank Baker (1873-1941)—a Brighton based artist; see a selection of Baker’s watercolours showcased by Mutual Arts Auctions: https://www.mutualart.com/Artist/Frank-Baker/D4EFFD464FBDC81F/Artworks. I understand that the Noel Gregory Gallery in Buckinghamshire (South East England) held a retrospective exhibition of his work in the 1980s.

“Llanthony Abbey, Wales”, c1925, an unsigned watercolour, with a blind embossed stamp at lower right (not in Lugt), purchased from a folio of Baker’s watercolours.

Watercolour on heavy buff coloured paper.

Size: (uneven sheet) 28.5 x 39 cm.

Condition: the upper edge of the sheet is unevenly torn and the watercolour extends to the sides of the sheet on the left and lower edge. The lower left corner is abraded and there is a fold on the margin or the right side. Beyond scattered minor foxing and possibly age toning, the sheet is in a good condition with no tears, holes or significant stains.

This painting is a fine example of the traditional two-stage approach to watercolour in which an initial layer of grey (grisaille) washes establishes the fundamental tones of the landscape and a second layer of local colours are overlaid to give richness and depth. I am selling this rock-solid watercolour that (to my eyes) captures the air of contemplative calmness appropriate to the 900-year-old abbey ruins in the Vale of Ewyas shadowed by the Black Mountains, for AU$284 (approximately US$184.83, EUR 161.79 or GBP 136.21), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this beautiful watercolour, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Lucien Marcelin Gautier, “Les Chantiers du Pharo, à Marseille”, 1883 (2nd copy)

Lucien Marcelin Gautier (1850–1925)

“Les Chantiers du Pharo, à Marseille” (Pharo Construction Sites in Marseille), 1883, from the series of fifteen etchings, “Vues de Marseille” (Beraldi 17–31), printed by François Liénard (fl.c. 1860s–80s) and published in Paris in the art periodical, “L’Art”.

Etching on laid paper with partial watermark (Ingres d’Arches) and full margins as published.

Size: (sheet) 29.2 x 42.6 cm; (approx./soft platemark) 24.9? x 40? cm; (image borderline) 19.8 x 37.3 cm.

Lettered in plate below the image borderline: (left) “L’Art.”; (centre) “Lucien Gautier, del. et sculp./ LES CHANTIERS DU PHARO, À MARSEILLE.”; (right) “F. Liénard, Imp.”

Beraldi 28 (Henri Beraldi 1887, “Les graveurs du 19e siècle; guide de l'amateur d'estampes modernes”, vol. 6, Paris, L Conquet, p. 251, cat. no. 28).

Condition: a strong and well-printed impression in an excellent (near pristine) condition with no tears, holes, folds, abrasions or significant stains. There are remnants of mounting verso.

I am selling this magnificent and large etching showing ship-building in the port of Marseille in the quarter of the city known as Pharo—note the gleaming white limestone Phare de Sainte Marie lighthouse in the distance that had been opened only 28 years before Gautier made this etching, but is now inactive—for AU$293 (approximately US$189.41, EUR 166.37 or GBP 140.02), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this very revealing view of wooden ship construction in the late nineteenth century, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.