Friday, 16 November 2018

Philips Galle's engraving, “Glaucus”, 1586


Philips Galle (aka Philippe Galle; Philippus Gallaeus) (1537–1612)

“Glaucus”, 1586, plate 4 from the series of seventeen plates—note that the BM advises that there are sixteen plates in the series (see the curator’s comment for BM no. 1942,0720.1.35), but this is incorrect based on the TIB catalogue of plates (see 5601.090:1 to 5601:090:17)“Semideorum Marinorum Amnicorumque Sigillariæ Imagines Perelegantes” (River and Sea Gods) (Hollstein 316-332 [Ph. Galle]), published by Philips Galle in Amsterdam.

Engraving on laid paper, trimmed with thread margins close to the image borderline and backed with a support sheet.
Size: (sheet) 16.8 x 10 cm
Lettered on plate below the image borderline: (left) "Phls Gall. Inuen/ et Scalp.”); (centre) "GLAVCVS."; (right) "4."
State i (of ii) Note that the attribution of this impression to the first state is based on the text line being the same as the first state impression held by the Rijksmuseum (RP-P-1898-A-19948).

TIB 1987 5601.090:4 (Arno Dolders & Walter Strauss [eds.] 1987, vol. 56, Supplement, p. 346); Hollstein 316-332 (Philips Galle); New Hollstein Dutch 416-1 (2)

The British Museum offers the following description of this print:
“One of thirty-eight engravings bound in an album which combines various (partial) series by de Passe and others, some after Maarten de Vos, as well as works executed and published by Philips Galle. The present engraving is one of a series of sixteen illustrations of sea and river gods by Galle (Hollstein 316-332 [Ph. Galle]). The nymph Scylla is portrayed at the moment Circe, jealous of Glaucus' love for her, transforms Scylla into a six-headed monster, here shown with canine heads. Later Scylla is transformed into a crop of rocks, as suggested by the rocky shore in the distance.”

See also the Rijksmuseum’s description of this print:

Condition: crisp and well-printed strong impression with the tip of Glaucus’ penis retouched to remove a previous collector’s spot of red ink, otherwise the sheet is in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains—beyond the retouched penis tip—or foxing). The sheet has been trimmed with thread margins around the image borderline and has been laid upon a support sheet of archival (millennium quality) washi paper.

I am selling this visually arresting image of Glaucus, the fisherman, who was made a sea-god, engraved by one of the most famous old master engravers of the sixteen century, for AU$232 (currently US$168.37/EUR148.61/GBP131.38 at the time of 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 marvellous print engraved only a couple of decades after Michelangelo put down his brushes after completing the “Last Judgement” in the Sistine Chapel, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.


This print is reserved pending confirmation of its purchase








Thursday, 15 November 2018

Eugène Delâtre's drypoint, “Landscape with a row of trees”, c1920


Eugène Delâtre (1864–1938)

“Landscape with a row of trees” (descriptive title only, with the “true” title inscribed indescipherablly in pencil at lower left edge), c1920 (date of attribution is based on a stylistically similar drypoint by Delâtre listed online at oldmasters.com: http://www.oldmasterprint.com/delatre1.htm), signed in pencil by the artist and numbered “7” in an edition of fifty.

Drypoint with light plate tone marking the image borderline on laid paper, pencil signed and numbered by the artist, and backed with a support sheet.
Size: (sheet) 28.3 x 37.7 cm; (plate) 23 x 25 cm; (image borderline) 21.6 x 23.7 cm
Inscribed with the artist’s signature on plate at lower right corner.
Inscribed with the artist’s signature in pencil below the image borderline at lower right.
Numbered in pencil below the image borderline at lower left: “7/50”
Inscribed in pencil along the lower edge with what is probably the title of the print.

Condition: richly inked impression with strong drypoint showing no sign of wear, signed in the plate and in pencil and numbered by the artist. The sheet is in excellent condition (i.e. there are no tears, folds, holes, abrasions, stains or foxing) and laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this magnificently executed drypoint, exemplifying how confident strokes laid freely with minimal detail can capture the effect of strong light, for AU$340 (currently US$248.14/EUR218.61/GBP191.09 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this intimately/sensually observed landscape by one of the major French printmakers at the close of the 19th century, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.







Eugène Delâtre's etching, “Rue des Saules”, c1880–90


Eugène Delâtre (1864–1938)

“Rue des Saules”, c1880–90

Etching on cream laid paper, pencil signed by the artist, backed with a support sheet.
Size: (sheet) 20.8 x 15.1 cm; (plate) 12.5 x 8.5 cm
Inscribed on the plate at lower left corner: “Rue des Saules”.
Signed in pencil at lower right below the platemark.

The Van Gogh Museum (Amsterdam) offers a brief description of this print:

Condition: crisp, near faultless impression in museum quality/excellent condition, signed by the artist. The sheet is laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this poetically charged etching of a street view in Montmartre (Paris) by one of the key artists in the revival of colour etching at the close of the 19th century for AU$214 (currently US$155.79/EUR137.42/GBP119.73 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing delicately subtle rendering of a Parisienne cobble-stone street, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.





 

Wednesday, 14 November 2018

Nicolas Buon's engraving, “Lot and the destruction of Sodom”, 1615


Nicolas Buon (fl.1600-1624)

“Lot and the destruction of Sodom”, 1615, probably after Léonard Gaultier (c1561–1635), published by Nicolas Buon with royal privilege.

Engraving on fine laid paper backed on a support sheet.
Size: (sheet) 8.9 x 8.9 cm; (image borderline) 8.5 x 8.5 cm
Lettered on plate within the image borderlint around the circular design, "OMNIA MEA MECVM PORTO", with the artist’s monogram below.

Nagler 1858-79 IV.2320 (G K Nagler 1858, “Die Monogrammisten”, 5 vols, Munich).

The British Museum offers the following description of this print:
“Heavily ornamented print with a circular scene of Lot and the destruction of Sodom”

Condition: crisp, faultless impression in museum quality/excellent condition apart from mellow age toning. The sheet is trimmed with narrow margins around the image borderline and laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this simiply magnificent engraving in superb condition showing no sign of wear to the priniting plate—suggesting that it is a lifetime impression—for AU$178 (currently US$12.03/EUR113.61/GBP99.29 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing intricate jewel of an 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







Hans Holbein the Younger’s metalcut, “Printer's Mark of Johann Froben”, 1523



Hans Holbein the Younger (1497–1543)

“Printer's Mark of Johann Froben”, 1523, plate cut by Jacob Faber (c1500–1550), published by Johann Froben (aka Johannes Froben; Johannes Frobenius) (c1460–1527) in Basel.

Note that there are other impressions with printer’s letterpress text below the image; for example, the Detroit Institute of Arts has an impression with the text, “APVD INCLYTAM/ BASILEAM/ AN. M. D. XXIII.” (see: https://www.dia.org/art/collection/object/printers-mark-johan-froben-48229) and the British Museum has a copy lettered “ANNO M.D.XXVII” (see https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1598688&partId=1&searchText=Hans+Holbein+the+Younger+Froben&page=1)
Note also that Urs Graf (c1485–1527/28) executed a very similar block: see BM NO. 1900,1019.123 and that  Master CV (fl. c1523–1524) made a woodblock copy of this print.

Metalcut and letterpress on laid paper with watermark and wide margins (verso blank)..
Size: (sheet) 21 x 14.9 cm
Letterpress text: (centre) “FRO […] BEN”Hollstein 56 (Printer's mark)

The British Museum offers the following description of this print:
“Printer's mark of Johann Froben; with two hands holding a staff around which two crowned serpents are coiled; a bird to left perched on top of the staff … Metalcut and letterpress”
(BM No. 1900,1019.123 [see URL above])

Condition: good impression, slightly dull in contrast, in excellent condition (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing) with wide margins and no printed text verso.

I am selling this rare metalcut (i.e. a print pulled from the very early relief printing process of employing a plate cut from metal rather than wood) executed in Michelangelo’s lifetime for AU$202 (currently US$145.66/EUR129.05/GBP112.47 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this Renaissance period print using the rare metalcut process, 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






Tuesday, 13 November 2018

Circle of Marcantonio Raimond's engraving, “St Matthew”, 1518-1520, after Agostino Veneziano


Unidentified artist from the circle of Marcantonio Raimondi (1470/1482–1527/1534)
“St Matthew”, 1518-1520, from the series of four plates, “The Evangelists”, copy in reverse after Agostino Veneziano (aka Agostino dei Musi) (fl.1509–36), after Giulio Romano (1499-1546).

Engraving on fine laid paper trimmed along the image borderline and backed with a support sheet.
Size: (sheet) 24.8 x 17.9 cm
Inscribed on plate: (lower left on cloud) “A.V.”; (on banderole held by an angel at right) “in principio erat verbon/ er vebon apud deu”.
State ii (of ii) with the addition of the artist’s monogram (“A.V.”)

TIB 26 (14). 04A-I (Walter L Strauss, ed. 1979, “The Illustrated Bartsch”, vol. 26, p. 126); Bartsch 95-copie, 2 (2).

The British Museum offers the following description of this print;
“St Matthew seated on a cloud taking a[n] ink pot and quill held by an angel; after Giulio Romano”
See also the description of this print at the Rijksmuseum:

Condition: crisp impression in excellent condition apart from a light stain on the lower right cloud. The sheet is trimmed at the image borderline and laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this Renaissance period engraved copy in reverse of Agostino Veneziano’s engraving (after Giulio Romano) for AU$345 (currently US$248.31/EUR220.87/GBP192.44 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this visually arresting 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







Monday, 12 November 2018

Jean Pierre Norblin de la Gourdaine’s etching, “Young Boy, Facing Right”, 1777


Jean Pierre Norblin de la Gourdaine (aka Jean Pierre Norblin de la Gordaine) (1745–1830)

“Young Boy, Facing Right”, 1777
Etching on ivory Japanese (wove) paper with small margins and backed with a support sheet.
Size: (sheet) 6.2 x 3.4 cm; (plate) 5.3 x 2.6 cm
Signed and dated on plate (partially erased or worn off).
State v

Hillemacher 1848 79.V (Frédéric Hillemacher 1848, “Catalogue des estampes qui composent l'oeuvre de J. P. Norblin”, Paris; Cologne 1989, cat. no. 98;
The British Museum offers the following description of this print:
“Standing boy, turned to right, wearing hat and wrapped in cloak in rags; on white ground; fifth state, with head facing front. 1777.”

See also the description of this print at the Minneapolis Institute of Art and the Rijksmuseum: https://collections.artsmia.org/art/105174/young-boy-facing-right-jean-pierre-norblin-de-la-gourdaine;  http://hdl.handle.net/10934/RM0001.collect.158712

Condition: a richly inked and well-printed impression with small margins (approximately 4 mms) laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in near pristine condition (i.e. there are no tears, holes, folds, abrasions stains, foxing, or signs of use).

I am selling this seemingly simple and freely inscribed etching of a young rural boy wearing a high hat and a peasant’s tabard by one of the most important artists of the Enlightenment in Poland for AU$256 (currently US$184.50/EUR163.77/GBP243.37 at the time of posting this print) 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 small masterwork from the 1700s following in the tradition of Rembrandt, 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