Jean Baptiste Huet, two panels of dog studies, 1995/96

Jean Baptiste Huet (1745–1811)

(Upper image) “Two Head Studies of Dogs Facing Left” and (lower image) “Two Head Studies of Dogs Facing Right” (descriptive titles only), 1795/96. Both panels are sections cut from the larger plate, plate 3, from the series of thirty-eight plates, “Oeuvres de J. B. Huet” (aka “Cahiers d'Études”), published in the first volume. See descriptions of both panels offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1860-0211-222 and https://www.britishmuseum.org/collection/object/P_1860-0211-221.

Etchings on laid paper trimmed with margins around the image borderline and backed on the same support sheet.

Size: (sheets) 8.7 x 15.7 cm; (image borderlines) 7.6 x 14.6 cm

Inscribed in plate at upper left in the upper image and upper right in the lower image (with minor differences): “J. B. hüet l'an 4”.

Condition: both panels are strong impressions but the upper panel has flattened printer’s creases and chipping along the lower edge. Both panels are laid onto the same sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this pair of etchings extracted from a larger composite image by a previous collector for the total cost of AU$220 (currently US$146.95/EUR133.41/GBP112.69 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. Note that payment is in Australian dollars (AU$220) as this is my currency.

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

Leopold Flameng, “Portrait of Jean-Baptiste Greuze”, 1862, after Greuze

Léopold Flameng (aka Léopold Joseph Flameng) (1831–1911)

“Portrait of Jean-Baptiste Greuze” (aka “J. B. Greuze (Peint par Lui-Mème)”—after a self-portrait (c.1760) of the painter and draughtsman, Jean Baptiste Greuze (1725-1805), previously in the collection of M. Lacaze (as inscribed in the plate) and now in the Louvre collection (see https://collections.louvre.fr/en/ark:/53355/cl010059521), 1862, printed by Drouard (as lettered in the plate or possibly a typographical error for the printery, Imprimerie Drouart [fl.1824–1861)]?), published in Paris in the art periodical, “La Gazette des Beaux-Arts” in 1862 (2^nd vol.), page 402.

Etching on chine collé on wove paper trimmed with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 22.4 x 16.7 cm; (plate) 17.5 x 13.3 cm; (image borderline) 12.2 x 9.4 cm.

Lettered in plate below the image borderline: (left) “LEOPOLD FLAMENG AQUA F. ET DEL./ Gazette des Beaux-Arts”; (centre) “J. B. GREUZE/ PEINT PAR LUI-MÈME”; (RIGHT) “IMP DROUARD/ Cabinet de M. Lacaze”.

Hippert & Linnig 159 (T Hippert & J Linnig 1879, “Le peintre-graveur hollandais et belge du 19me siècle”, vol. 1, Brussels, p. 300, cat. no. 159); Beraldi 342 (Henri Béraldi 1887, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: DORÉ–GAVARD”, vol. VI, Paris, Librairie L. Conquet, p. 127, cat. no. 342).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.110321.

Condition: a strong and well-printed (near faultless) impression laid onto a sheet of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent (near pristine) condition with no tears, holes, folds, abrasions or significant stains.

I am selling this superbly executed—to my eyes, a true masterwork—translation of Greuze’s self-portrait in an exquisitely fine web of crossed hatched lines, for the total cost of AU$239 (currently US$159.14/EUR144/GBP121.45 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. Note that payment is in Australian dollars (AU$239) as this is my currency.

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

Adolf van der Laan, “Arcadian landscape with Shepherds and Two Women”, c.1721, after Glauber

Adolf van der Laan (aka Adriaen van der Laan; Andries van der Laan) (c.1690–1742)

“Arcadian landscape with Shepherds and Two Women”, c.1721, possibly from the series of forty plates, “Italian and German landscapes” (Hollstein German 70–109), after Jan Glauber (aka Johannes Glauber; Joannes Glauber; [nickname] Polidoro or Polydor) (1646-1726), published in Amsterdam by Leonard Schenk (aka Leon Schenk; Leonard Schenck) (fl.1720–1746) in various books of prints between 1710 and 1747.

The Philadelphia Museum of Art describes this print bound in a book of thirty-six plates:  https://philamuseum.org/collection/object/23315. Note that the Rijksmuseum holds a title plate to a published series with thirty plates (see http://hdl.handle.net/10934/RM0001.COLLECT.134564) and advises that another “state of this [title plate] print is included in a forty-part series with representations of Italian and German landscapes, after Johannes Glauber” (ibid.).

Etching on laid paper with wide margins.

Size: (sheet) 35.9 x 45.5 cm; (plate) 24.3 x 36.7 cm; (image borderline) 23.5 x 36 cm.

Hollstein German 70–109 (possibly) (Robert Zijlma [comp.] 1975, “German Engravings, Etchings and Woodcuts, ca. 1400–1700: Georg (Jörg) to after Johann Andreas Graf”, vol. 10, Amsterdam, Van Gendt & Co, pp. 127–130, cat. nos. 70–109).

The Rijksmuseum offers the following description of this print: (Transl.) “Arcadian river landscape with shepherds and two women with [laundry?], on the right a decorative vase on a pedestal. The print is possibly part of a 40-part series of prints with representations of Italian and German landscapes” (http://hdl.handle.net/10934/RM0001.COLLECT.134590).

Condition: a strong and well-printed impression with wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains (but there are minor marks in the margins).

I am selling this large and finely executed etching exemplifying the classical spirit with a strong stylistic leaning to Nicolas Poussin’s (1594–1665) landscapes—mindful that Jan Glauber who designed this plate executed the series, “Six Landscapes after Poussin” (TIB 7.20–7.25])—for a total cost of AU$316 (currently US$210.68/EUR190.73/GBP160.82 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. Note that payment is in Australian dollars (AU$316) as this is my currency.

If you are interested in purchasing this curiously engaging landscape etching underpinned by a narrative of symbolism waiting to be read—note for example (and please be mindful that the following points of interest in the composition are where my eyes paused and may have no symbolic significance at all): a shepherd seated on an ancient monument topped by a huge urn (possibly a sarcophagus which could be a reminder that death is inevitable); two washerwomen engrossed in conversation while walking along a path watched by the shepherd resting on a potential vanitas symbol; two figures on the right of the monument/sarcophagus with one wading in a stream (an activity possibly symbolising spiritual nourishment) while a seated companion watches—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Pieter van Laer, “Horse Drinking”, c.1630

Pieter van Laer (aka Pieter Bodding van Laer; Pieter Bodding; Pieter van Laar; Peter de Laer; Bentnaam; Bamboots; Bamboccio [nickname meaning “clumsy doll”]; Bamboche) (1599–1642?)

“Horse Drinking” (aka “Le Cheval Buvant”; “Drinkend Paard”), c.1630 (1620–1642), plate 2 from a series of six numbered etchings (Hollstein 9–14), “Horses” (aka “Paarden”).

Etching on laid paper, trimmed irregularly around the platemark with thread margins and backed with a support sheet.

Size: (irregular sheet) 8.6 x 10.2 cm.

Lettered in plate: (upper left) “P.D.L. fe. 2”.

State ii (of ii) with the corners of the plate rounded.

TIB 1.10 (Leonard J Slatkes [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, New York, Abaris Books, p. 9, cat. no. 10); Hollstein 10 (F W H Hollstein 1953, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: L'Admiral – Lucas van Leyden”, vol. 10, Amsterdam, Menno Hertzberger, p. 6, cat .no. 10).

The British Museum offers the following description of this print: “Plate 2: A horse drinking from a fountain, standing in profile to right and drinking from the stone basin at right as a male figure looks on; second state with rounded plate-corners; from a series of six etchings” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-492).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.134776.

Condition: a strong impression that is possibly a lifetime/early impression (based on the quality of line showing no sign of wear to the printing plate), trimmed around to the platemark and laid onto a sheet of archival (millennium quality) washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this remarkably bold etching capturing the intense light falling on the scene with a freshness and breath that was “critical for the development of realism in seventeenth-century Dutch etching” (see Clifford S Ackley’s 1981, “Printmaking in the Age of Rembrandt”, exh. cat. Museum of Fine Arts Boston, p. 122), for the total cost of AU$274 (currently US$183.24/EUR165.28/GBP139.47 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. Note that payment is in Australian dollars (AU$274) as this is my currency.

If you are interested in purchasing this seemingly simple but historically significant etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Étienne Delaune, “Abraham's Feast”, c.1560

Étienne Delaune (aka Stephanus) (c.1518–1583)

“Abraham's Feast” (aka “Abraham donnant un repas pour solenniser le jour ou fut sevré son fils Isaac.” [R-D title]; “Abraham Giving a Banquet on the Day Isaac is Weaned”), c.1560 (1550–1572), plate 23 from the series of 36 engravings, “The Genesis” (aka “Histoire de la Genèse”).

Interestingly, the Curator of the British Museum advises: “Panels set into a Limoges enamel casket made around 1600 […] were based on this print and others from this series” (BM inv. no. 1834,0804.77) (see https://www.britishmuseum.org/collection/object/H_WB-51).

Engraving on laid paper with narrow margins backed with a support sheet providing wide margins.

Size: (sheet) 8.9 x 11.3 cm; (platemark) 7.9 x 10.7 cm; (image borderline) 6.9 x 10.5 cm.

Lettered in plate within the image borderline: (left) “.CVM. PRI. REGIS.”; (left of centre) “STEPHANVS. F.”

Lettered in plate below the image borderline: (centre) “GENES 21/ ABLACTATO ISAAC, CONVIVI ABRAHAM, VIDETO[que]/ SARRA FILIVM ABRAHE LASCIVIENTEM.” (transl. with apologies for any errors: “Genesis 21: After Isaac was weaned, I saw Abraham, and I saw Sarah leaving Abraham’s son”).

Robert-Dumesnil 46 (A.P.F. Robert-Dumesnil 1865, “Le peintre-graveur français, ou catalogue raisonné des estampes gravées par les peintres et les dessinateurs de l'école française: ouvrage faisant suite au peintre-graveur de Bartsch”, vol. 9, Paris, Bouchard -Huzard, p. 31, cat. no. 46 [see https://archive.org/details/bnf-bpt6k65575421/page/n51/mode/2up]).

The British Museum offers the following description of this print: “Plate 23: Abraham giving a banquet on the day Isaac is weaned; the banquet is held in a room on the right; on the left a servant pours the content of a jug into a pan and stirs” (https://www.britishmuseum.org/collection/object/P_1834-0804-77).

Condition: a strong impression trimmed with a small margin around to the platemark and laid onto a sheet of archival (millennium quality) washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions or stains.

I am selling this superb engraving that is very likely to be a lifetime impression (based on the quality of line showing no sign of wear to the printing plate) and in a marvellously preserved condition, for the total cost of AU$298 (currently US$198.83/EUR179.30/GBP151.42 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. Note that payment is in Australian dollars (AU$298) as this is my currency.

If you are interested in purchasing this sensitively rendered tiny 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