Circle of Luigi Chialiva, “The Little Goose Herder”, early 1900s

Unidentified printmaker from the circle of Luigi Chialiva (1842–1914)

Note that although Chialiva was an innovative artist (for example, I understand that he developed a fixative for pastels [see Mourey 1920, p. 12]), Chialiva is not known to have made etchings (please correct me if I am mistaken). Nevertheless, there are other artists from his circle that reproduced his paintings in etchings, such as Alberto Gilli (aka Alberto Maso Gilli) (1840–1894). Gilli’s manner of etching, however, although very skilful, does not exhibit the same confident looseness of drawing as shown in this print.

“The Little Goose Herder” (aka “Le Petit Gardeur d’Oies"), early 1900s, a proof-state impression before lettering with publication details, after a painting by Luigi Chialiva, executed in the final years of the artist's life (see a reproduction of this painting in an article about the artist by Gabriel Mourey [1920] in the art periodical, “Les Arts; Revue Mensuelle des Musées, Collections, Expositions: 1914–1916”, 1920, vol. 13, p.8 [https://archive.org/details/lesartsrevuemens191416pariuoft/page/n143/mode/2up]). 

Etching with plate tone on buff washi paper with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 32.8 x 24 cm; (plate) 31.7 x 22.8 cm; (image borderline) 28.9 x 21 cm.

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

This exceptionally beautiful etching, executed with confidence and insightful detail—note, for example, how the foreground goose has been wiped clean of plate tone to catch a viewer’s attention—is available for AU$283 (approx. US$183.51, EUR 157.83, or GBP 137.02). Global express shipping is included. Import duties, if any, are the buyer's responsibility.

This rare etching captures a young girl's gentle attentiveness to a gaggle of geese, only to be momentarily drawn to a meadow flower. If you'd like to own this evocative piece, please contact me at oz_jim@printsandprinciples.com for a PayPal invoice.

Nicolaes Berchem, “Pissing Ewe and a Sheep”, c.1650

Nicolaes Berchem (aka Nicolaes Pietersz. Berchem; Nicolaes Berchen; Niclas Berghem; Claes Berighem; Nicolaes Pietersz.Berrighem) (1624–1683)

“Pissing Ewe and a Sheep”, c.1650 (Rijksmuseum dates: 1646–1652), plate six from the series of eight plates, “Animalia” (aka “Animalia ad vivum delineata et aqua forti aeri impressa Studio et Arte Nicolai Berchemi”).

Etching on laid paper trimmed around the platemark with replenished chipped corners and backed with a support sheet.

Size: (sheet) 10.3 x 11.3 cm

State iii (of viii) Lifetime impression before the addition of the plate number of state iv, but with more refining marks around the stone (compare to the state ii impression held by the Rijksmuseum).

TIB 7.46 (Otto Naumann 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 7, New York, Abaris Books, p. 76, cat. no. 46; Bartsch 277.46; Weigel 301.46; Dutuit I.45.46.I; Hollstein Dutch 46; Biesboer P82 (Pieter Biesboer et al. [eds.] 2006, “Nicolaes Berchem: in het licht van Italië”, Haarlem, Frans Hals Museum Ludion, pp. 124–25, 155, cat. no. P82).

The Rijksmuseum and the British Museum offer descriptions of this print: https://id.rijksmuseum.nl/200127061; https://www.britishmuseum.org/collection/object/P_Sheepshanks-3968).

Condition: a strong and well-printed impression showing no sign of wear to the printing plate, trimmed around the platemark with replenished chipped corners and laid onto a sheet of archival (millennium quality) washi paper. Beyond the chipped corners, the sheet is in a good condition with no tears or significant stains.

I am selling this remarkably unapologetic view of an ewe passing water—mindful that there was considerable interest by artists in the Dutch Golden Age for showing earthy views of everyday life—for the total cost of AU$292 (approx. US$190.58, EUR 164.07, or GBP 142.33), express shipping is included globally. Import duties (if any) are the responsibility of the buyer.

If you are interested in purchasing this visually arresting etching revealing not only the artist’s deep understanding of sheep, but also his acute observation and skill in showing the varying densities and degrees of transparency in a stream of urine—note in particular the subtle representation of the ewe’s further away leg seen through the urine—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Two-colour woodcut leaf of choral music, c.1500–1525

Two-colour woodcut leaf of choral music, c.1500–1525

A two-colour double-sided woodcut leaf (recto page CXXXII [132]), of choral music in Latin from a Graduate Romanum (aka Gradual Roman—a liturgical book used in the Mass (liturgical service) of the Roman Catholic Church), c.1500–1525.

At centre on the recto side of this leaf features lines of Latin which help to clarify the context of the music: “Sequitur de Sanctis. In die Sancti Andree Introitus.” Broadly translated to read: “Here follows a sequence [of chants] about the saints beginning with Saint Andrew the Apostle.” Interestingly, the square diamond shapes of the musical notations printed in black, (indicating the pitch of each note), evolved from the natural angle of quill strokes in which the very first scores were inscribed.

Woodcut leaf printed recto and verso in two colours (red and black) on fine laid paper (with watermark) with full margins as published.

Size: 35.8 x 24.8 cm.

Condition: strong lifetime impressions showing no sign of wear to the printing blocks/plates. There are minor handling marks (especially at the lower left corner) as is appropriate to the age of the leaf and its use, otherwise, the sheet is in a good condition with no tears, holes, folds or significant stains.

This Renaissance period woodcut leaf of choral music is offered for AU$279 (approx. US$183.09, EUR 156.54, or GBP 136.15), express shipping is included globally. Import duties are the responsibility of the buyer.

If you are interested in purchasing this marvellous example of early music notation from c.1500–1525, 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

Albert Besnard, “Melancholy”, 1888

Albert Besnard (aka Paul Albert Besnard) (1849–1934)

“Melancholy” (aka “Etude ou Mélancolie”), 1888, published in Paris in the art periodical, “Gazette des Beaux-Arts”, in November 1906 under the title, “Etude ou Mélancolie”, between pages 438 and 439

Etching with soft-ground etching and roulette work printed in brown ink on fine laid paper.

Size: (sheet) 27.2 x 17.9 cm; (plate) 13 x 13.1 cm.

Inscribed with the artist’s monogram at lower left.

Delteil 81 (Loys Delteil 1906, “Louis Godefroy Albert Besnard”, vol. 30 of “Le Peintre-Graveur”, Paris, np, cat. no. 81); Coppier 68 (André-Charles Coppier 1920, “Les Eaux-Fortes de Besnard”, Paris, Berger-Levrault, p. 89 [illus.], p.110, cat. no. 81); IFF 31 (Jean Laren 1937, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 2, p. 341, cat. no. 31 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488531x/f350]).

See also the description of this print offered by the National Gallery of Art: https://www.nga.gov/artworks/83820-melancholy-melancolie.

André-Charles Coppier (1920) offers the following description and insights about this print: (transl.) “A woman, half-length, sits by the sea. Leaning on her knees, she holds a vast cape against her chest, its collar half-open to the offshore breeze, which flutters her blond hair. A sort of Phrygian cap tightly covers her, giving her silhouette a sculptural, simple, and robust stance, highlighting her imperious face. In the distance, a flock of seagulls plays in a stormy sky, schematically indicated. … The piece is in a single state, with an edition of 100 copies” (p. 53 [https://archive.org/details/leseauxfortesdeb00copp/page/52/mode/2up]).   

Condition: a strong and well-printed impression with added toning around the neck of the figure. The sheet is in a near pristine condition with no tears, holes, folds, abrasions or stains.

This exquisite etching, featuring a wistful young woman, evokes a profound sense of melancholy. Its textured surface beautifully complements the subject's pensive expression. Offered for AU$298 (approx. US$195.66, EUR 167.53, or GBP 145.17), express shipping is included globally. Import duties are the responsibility of the buyer.

If you are interested in purchasing this remarkable etching, 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

Gijsbert van Veen, “In Flagrante Delicto”, c.1607/12

Gijsbert van Veen (aka Gysbrecht van Veen; Gijsbert Vaenius; Gisbert Venius) (1558–1628), possibly designed in collaboration with his brother, Otto van Veen’s (aka Otho Venius; Octavio van Veen; Otho Vaenius) (1556–1629)—the teacher of Rubens

“In Flagrante Delicto” (“In Blazing Offence”, with the colloquial meaning: “caught red-handed in the act of sexual activity”) (aka “Animi Servitus” [Servant of the Soul]), c1607/12, published in Antwerp by Prostant apud Philippum Lisaert in 1612, as an illustration to page 29 in Otto van Veen’s “Quinti Horatii Flacci Emblemata, Imaginibus in Æs Incisis, Notisque, Illustrata” (The emblems of Quintus Horatius Flaccus, illustrated with images engraved on them, and noted) with accompanying lines from Horace’s (aka Quintus Horatius Flaccus) (65–8 BCE) “Odes”, Book III.

Engraving on fine laid paper with Latin letterpress text verso, trimmed around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 17.9 x 14.7 cm.

The following accompanying Latin verses by Horace on the facing page for this illustration may help to give the flavour of the writing (apologies for errors in translation): “Quid refert, uri virgis ferroque necari?” (What does it matter, being burned alive, or killed by a sword?)/ Auctoratus eas, an turpi clausus in arca,” (You are a slave, or shut up in a vile chest,)/ “Quo te demisit peccati conscia herilis,” (Where the master's sin-conscious servant has lowered you,)/ “Contractum genibus tangas caput?” (To touch your head with your knees [in the sense of a humiliating posture]) (p. 28).

Archive.org offers an online view of this print in its context in the publication: https://archive.org/details/quintihoratiifla00veen/page/28/mode/2up.

See also the images in the publication offered by Emblematica Online: http://emblematica.library.illinois.edu/detail/book/618513612/emblems.

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

This allegorical print, designed to ponder the agonizing choice between cruel punishment and degrading humiliation, is available for AU$237 (approx. US$155.99, EUR 133.42, or GBP 115.63). Express shipping is included worldwide. Import duties are the buyer's responsibility.

If you wish to acquire this dramatic depiction of a clandestine affair, please contact me at oz_jim@printsandprinciples.com. I will send you a PayPal invoice for your convenience. 

This print has been sold