Gilles Demarteau’s crayon-manner engraving, “Farmyard with ruined buildings and two children playing on bales of hay”, c1759

Gilles Demarteau (1722–1776)

“Farmyard with ruined buildings and two children playing on bales of hay” (descriptive title only), c1759, after a chalk drawing by François Boucher (1703–1770), published in Paris by Giles Demarteau and printed by P Aubert (fl.c.1755–1775).

Regarding the publication of this print, the Curator of the British Museum offers the following insights:

“Plate 1 in the catalogue published by Demarteau's nephew in 1788. The first impressions were printed in black and issued in 1759” (see BM inv. no. 1868,0612.339).

Crayon-manner engraving printed in sanguine coloured ink on laid paper, trimmed with a narrow margin around the image borderline (with loss of lettered publication details on lower edge) and backed with a support sheet.

Size: (sheet) 29.4 x 40.3 cm; (inner image borderline) 26.8 x 37.8 cm.

 Inscribed on plate along the lower margin: (left) “Boucher in. Del.”; (right) “Demarteau scul.”

De Leymarie 11 (Leopold de Leymarie 1896, “L'Oeuvre de Gilles Demarteau l'aine graveur du Roi”, Paris, Georges Rapilly, p. 19, cat. no. 11 [see https://archive.org/details/loeuvredegillesd00leym/page/18/mode/2up]); IFF 11 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes); Jean-Richard 597 (Jean-Richard Pierrette 1978, “L'Oeuvre Gravé de François Boucher dans la Collection Edmond de Rothschild”, Paris, Éditions des Musées Nationaux, cat. no. 597).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1868-0612-339.

Condition: strong impression trimmed with a narrow margin around the image borderline (with loss of lettered publication details on lower edge). Beyond a few marks in the sky area (e.g. the dot marks at upper left) and a closed tear on the upper margin edge, the sheet is in a good condition for its considerable age and is laid upon an archival support sheet of millennium quality washi paper.

I am selling this beautifully romantic crayon-manner stipple engraving after the Boucher’s design for the total cost of AU$243 (currently US$173.63/EUR147.31/GBP133.14 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 interesting example interpretative printmaking where a stipple roulette is employed to mimic the grainy texture of a chalk drawing, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Pietro Savorelli’s engraving, "Ezechias", c1800, after Michelangelo

Pietro Savorelli (c1765–1805)

"Ezechias" (aka “Hezekiah”), c1800, after the fresco lunette by Michelangelo (aka Michelangelo Buonarroti) (1475–1564) on the ceiling of the Sistine Chapel, from the series of eight engravings of the lunettes, initially published in Rome (c1800) by Pietro Paolo Montagnani (aka Pietro Paolo Montagnani-Mirabili) (fl.c.1800–1820?) and later numbered (“XI”) and published by the Calcografia Romana (1738–1870) as part of a long series showing details of the Sistine vault with Latin dedication to pope Pius VII. This impression is from the Montagnani edition.

Engraving on heavy wove paper trimmed along the platemark.

Size: (sheet) 40.3 x 53.6 cm; (image borderline) 35.4 x 49.5 cm.

Lettered on plate within the image: (upper left) “'MICHAEL ANGELVS/ BONAROTIVS/ PINXIT”; (upper right) “IN SIXTINO/ VATICANO/ SACELLO”; (lower centre) “EZECHIAS".

Lettered on plate below the image borderline: (centre) “PIO SEPTIMO PONT. OPT. MAX./ Venit Romae apud Montagnani-Mirabili ad Forum Paiquini”; (right) “Petrus Savorelli del. et sculp. Romae/ PETRVS PAVLVS MONTAGNANI-MIRABILI D.D.D.”

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_1873-1213-276.

Condition: richly inked and well-printed impression trimmed along the platemark. Beyond thinness at the upper left and right corners the sheet is in superb condition with no tears, holes, folds, abrasions, stains or foxing.

Note that I have previously listed another engraving, “Zorobabel”, by Pietro Savorelli from the same series and currently it is still available: https://www.printsandprinciples.com/2018/10/pietro-savorellis-engraving-zorobabel.html.

For those who may be unfamiliar with the portrayed subject, Ezechias or Hezekiah (c739–687 BC), he was a Judean king and the following extract from Wikipedia may be helpful:

“Hezekiah enacted sweeping religious reforms, including a strict mandate for the sole worship of Yahweh and a prohibition on venerating other deities within the Temple of Jerusalem” (https://en.wikipedia.org/wiki/Hezekiah).

I am selling this huge engraving in museum quality condition for AU$272 (currently US$194.09/EUR163.98/GBP148.88 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 masterwork of engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Stefano della Bella’s etching, “Young woman facing right wearing a feathered cap”, c1640

Stefano della Bella (1610–1664)

“Young woman facing right wearing a feathered cap” (descriptive title only) (aka “mid-bust of a young woman in profile wearing a hat topped with feathers”), c1640 (1620–1664), plate 15 from the series of 16 plates, “Livre pour Apprendre à Dessiner” (The Book for Learning to Draw), published by Israël Henriet (c1590–1661) in Paris.

Etching on fine laid paper trimmed slightly unevenly within the platemark.

Size: (sheet) 8.2 x 6 cm.

Inscribed on plate at lower right: “Israel excud.”

State i (of i)

De Vesme/Massar 306 (Alexandre de Vesme & Phyllis D. Massar, 1971, “Stefano della Bella. Catalogue Raisonné”, New York, Collectors Editions, [Text] p. 90, cat. no. 306, [Illust.] p. 80, cat. no. 306); Jombert (Della Bella) 146-15 (Charles Antoine Jombert 1772, “Essai d'un catalogue de l'oeuvre d'Etienne de la Belle, peintre et graveur florentin”, Paris, p. 152, cat. no. 146-15).

The British Museum and the Rijksmuseum offer descriptions of this print:

https://www.britishmuseum.org/collection/object/P_1871-0513-110;

http://hdl.handle.net/10934/RM0001.collect.76841.

Condition: an excellent, well-printed impression, trimmed slightly unevenly within the platemark in superb condition with no tears, holes, folds, abrasions or significant stains.

I am selling this delicately etched head of a young woman with the curling feathers adorning her hat exemplifying the Baroque period style of the time when the small print was executed, for AU$244 (currently US$173.79/EUR146.78/GBP133.41 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 this tiny but very beautiful etching by one of the most famous of the old master printmakers, 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

Gabriel/Nicolas/Adam Perelle’s circular etching, “Plate 8”, c1660

Gabriel Perelle (aka Gabriel Pairelle) (1604–1677)/Nicolas Perelle (1631–c1695)/Adam Perelle (1640–1695)

Note: all prints in the British Museum that are inscribed with the name, “Perelle,” are catalogued under the father’s name, “Gabriel Perelle” (https://www.britishmuseum.org/collection/term/BIOG41615).  The Rijksmuseum advises: (transl.) “Prints with the signature 'Perelle' can be made by father Gabriel as well as by sons” (see RP-P-OB-72.016).

“Plate 8: Circular landscape with large tree at left and distant buildings at right” (descriptive title only), c1660 (1620–1695), plate 8 from a series of large circular landscapes. The British Museum has plate 9 in the same series and advises that the series has not been identified (see https://www.britishmuseum.org/collection/object/P_1956-0517-16).

Etching on laid paper.

Size: (sheet) 28.5 x 21.3 cm; (plate) 19 x 19 cm; (image borderline dia.) 18.7 cm.

Inscribed on plate below the image borderline at lower right: “8./ Inuenté et graué par Perelle”.

Condition: a superb, richly inked and well-printed impression with small margins on the left and right sides and wide margins on the top and bottom of the sheet. The sheet is in near pristine condition with no tears, holes, folds, abrasions, stains, foxing of signs of handling.

I am selling this very beautiful round landscape etching framed in the composition by foreground trees with a distant view over rough terrain to a monastery-like building, for AU$256 (currently US$182.83/EUR154.05/GBP140.23 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 this light-filled and airy etching exemplifying the early conventions of landscape composition—note, for example, the use of repoussoir elements in the foreground (viz. the large trees and fallen branches on the ground and even the two travellers on the far left)—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 

Auguste Brouet’s etching and aquatint, “The Grace”, c1875, after Jean-Baptiste-Siméon Chardin

Auguste Brouet (1872–1941)

"The Grace" (aka “Saying Grace”; “The Prayer Before the Meal”; “Le Bénédicité”), c1875 (note that this is a tentative date based on the period when Brouet was making large reproductive etchings printed in colour—which this plate was later editioned), after Jean-Baptiste Siméon Chardin’s (1699–1779) famous painting(s) (c1740)—there are a few variants painted by Chardin (see https://en.wikipedia.org/wiki/Saying_Grace_(Chardin)). This is a trial-proof signed in pencil before lettering for publication—possibly in Munich by Bischoff & Höfle (fl. 1900–1909)—and its later printing in colour. According to the very interesting website, “Auguste Brouet - Le Journal”, there were trial proofs from Eugène Delâtre's stock (C. Collin, April 2007 catalog)”, but this impression does not bear the red mark of Eugène Delâtre (see http://rep.auguste-brouet.org/index.php?pages/LEs-eaux-fortes-en-couleur-de-reproduction).

Etching and aquatint, trial proof before lettering, printed in brown (umber) ink on laid paper, hand signed in pencil by the artist on lower right margin.

Size: (sheet) 55.7 x 48.8 cm; (plate) 51.9 x 42.7 cm; (image borderline) 48.5 x 40.5 cm.

Condition: strong impression (trial proof) with small margins in near faultless condition (i.e. there are no tears, holes, folds, abrasions, losses, stains, foxing or significant signs of handling) apart from pencil notations by a previous collector at the lower edge of the sheet (recto and verso).

I am selling this large and rare etching with aquatint—note that I have been unable to find this print in any of the major museums—after one of the most famous paintings by Chardin for AU$498 (currently US$355.66/EUR299.68/GBP272.79 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 this stunning museum-quality, pencil signed, artist’s proof before the later edition when the plate was printed in colour, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.