Gallery of prints for sale

Wednesday 21 February 2024

Thomas Robert Way’s lithograph, “Arrangement in Grey and Black: Portrait of the Artist's Mother”, 1892, after Whistler

Thomas Robert Way (1861–1913)

“Arrangement in Grey and Black: Portrait of the Artist's Mother” (aka “Portrait of My Mother”), 1892, original lithograph drawn on stone and printed by Thomas Robert Way after James McNeill Whistler’s (1834–1903) famous painting executed in 1871 and now in the Musée d'Orsay (inv. RF 699). This lithograph was published in New York by The Century Co., in Joseph and Elizabeth Robins Pennell’s “Lithography & Lithographers: Some Chapters in the History of the Art” (1898), facing page 131.

Lithograph printed in black ink on pale cream wove paper.

Size: (sheet) 34.2 x 25.5 cm; (image borderline) 15 x 16.8 cm.

The British Museum offers the following description of this print: “Whistler's Mother (Arrangement in Grey and Black, No1); portrait of Anna Matilda Whistler, whole-length sitting in chair in profile to the left, in dark dress, white mobcap, hands in lap, feet on stool, curtain behind on the left with mark of dragonfly; after Whistler. Lithograph” (https://www.britishmuseum.org/collection/object/P_1913-0714-24).

Condition: a strong and near faultless impression with generous margins. Beyond a tear on the margin edge at upper left and a few marks, the sheet in an excellent condition with no holes, folds, abrasions or significant stains.

I am selling this famous hand-drawn and printed lithograph of Whistler’s even more famous painting of his mother, Anna Matilda Whistler (1804–1881), for AU$256 (currently US$167.68/EUR154.89/GBP132.70 at the time of posting 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 important lithograph of an iconic painting in the history of art, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Albrecht Altdorfer’s woodcut, “St Christopher Seated on the Bank” (2nd impression), c.1517

Albrecht Altdorfer (1482/5–1538)

“St Christopher Seated on the Bank” (TIB title) (aka. “S. Christophe Assis sur le Rivage”; “St Christopher Stooping to Raise the Christ Child”; “Saint Christopher Seated with the Infant Christ”), c.1517 (c.1515–c.1520). According to the reputable dealer from whom I purchased this woodcut, the impression is from the Baron Hans Albrecht von Derschau edition printed between 1808 and 1816. My understanding of the Derschau editions, however, is that the editions were printed on a greyish paper (see https://www.britishmuseum.org/collection/term/BIOG178440), whereas this impression is on a pale cream paper. Note that further impressions were taken from the original block now in the Kupferstichkabinett (Berlin) in 1922 and in 1963.

Woodcut on wove (Japanese?) paper trimmed around the image outline with a narrow margin. Note that the lower borderline has been “completed”/filled in by a previous collector.

Size: (sheet) 12.6 x 9.8 cm; (image borderline) 12.4 x 9.5 cm.

Signed in the block with the artist’s monogram: (upper centre on tree trunk) “[monogram with ligature initials] AA”.

TIB 14(6).54(79) (Robert A Koch 1980, “The Illustrated Bartsch: Early German Masters; Albercht Altdorfer; Monogrammists”, vol. 14, New York, Abaris Books, p. 160, cat. no. 54 [79]); New Hollstein w.57 (Ursula Mielke [comp.] 1997, “The New Hollstein German Engravings, Etchings and Woodcuts 1400-1700: Albrecht and Erhard Altdorfer”, Rotterdam, Sound and Vision Interactive, p.130[?], cat. no. w.57).

See also the description of this print offered by the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/429686.

The Curator of the British Museum offers the following insights about this print: “The moment from the legend of St Christopher that Altdorfer has chosen to depict is highly unusual. Normally St Christopher is shown carrying the Christ Child on his shoulders but here they are shown before they cross the river. The Child steps on to a stone, about to climb on to Christopher's back. Choosing an unusual moment of a well-known narrative is typical of Altdorfer.
From M. P. McDonald, Ferdinand Columbus: Renaissance Collector, British Museum, London, 2005” (https://www.britishmuseum.org/collection/object/P_1895-0122-362).

Condition: a very strong impression trimmed with a narrow margin around the image borderline. There are previous collectors’ pencil notations (verso), otherwise the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains. Note, however, that a previous collector has filled in with ink breaks in the lower borderline.

I am selling this magnificent late impression of a Renaissance period woodcut by one of the founders of landscape painting, Albrecht Altdorfer, for AU$368 (currently US$241.41/EUR223.35/GBP191.36 at the time of posting 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 amazing woodcut—note Altdorfer’s sensitive rendering of the background trees (mindful that around the time of executing this print Altdorfer was to create the first prints focused entirely on landscape features without reference to a narrative involving figures)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the second impression of the marvellous woodcut that I have listed (the previous impression has been sold).

This print has been sold










Tuesday 20 February 2024

Louis Ruet’s etching, “An Artist Showing his Work”, c.1891, after Meissonier

Louis Ruet (1861–1951) 

“An Artist Showing his Work” (aka “The Print Collector”; “Twee Mannen Bekijken Prenten”; “Two Men Look at Pictures”), c.1891 (based on the proposed date of publication), a pencil-signed artist’s proof printed on parchment with a remarque featuring an image from Abraham Bosse’s (c.1604–1676) 1645 series, “Différentes Manières de Dessiner et Peindre” (Different Ways to Draw and Paint), printed in Paris by Charles Wittmann (1876–1953) and possibly published on page 193 in the journal, “Die Gartenlaube” (The Garden Arbor), in 1891 (see https://commons.wikimedia.org/wiki/File:Die_Gartenlaube_%281891%29_193.jpg), after Jean-Louis Ernest Meissonier’s (1815–1891) painting, “An Artist Showing his Work” (c.1850) in the Wallace Collection (see https://artuk.org/discover/artworks/an-artist-showing-his-work-209339). \

The Wallace Collection (Art UK) offers the following insights about this painting: “Exhibited at the Paris Salon of 1850–1851. The figures wear mid-eighteenth century costume, though several of the pictures on the back wall are by Meissonier himself (including a self-portrait above the visitor’s head), and the setting was identified by a contemporary as the artist’s Paris studio on the quai Bourbon” (op.cit.).

Note that the Rijksmuseum holds a very similar plate (with additional cross-hatching giving tone to the floor and other subtle variations) attributed to Jules Jacquet (1841–1913); see http://hdl.handle.net/10934/RM0001.COLLECT.627611.

Etching on parchment, proof before lettering for publication with remarque at lower centre, signed in pencil.

Size: (sheet) 30.5 x 21 cm; (plate) 20.7 x 15.7 cm; (image borderline) 14.7 x 11.1 cm.

Inscribed in plate within the image borderline: (upper left corner) “CHARLES WITTMANN/ 35 Rue Pourne […]”

Signed in pencil at right of remarque.

Condition: a strong and well-printed impression with generous margins in a very good condition with no tears, holes, folds (but there is unevenness intrinsic to the parchment), abrasions or significant stains (but, again, there is colour unevenness that is largely intrinsic to the parchment).

I am selling this exceptionally fine, pencil-signed and rare impression printed on parchment with a remarque before lettering for publication, for the total cost of AU$233 (currently US$152.73/EUR141.26/GBP120.98 at the time of posting 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 ultra-fine artist’s proof of the upmost rarity, 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 19 February 2024

Charles Waltner’s etching with drypoint, “Christ Triumphant over Sin and Death”, 1870–79, after Rubens

Charles Waltner (aka Charles Albert Waltner) (1846–1925)

“Christ Triumphant over Sin and Death” (aka “Le Christ Triomphe du Péché et de la Mort”; “The Glorification of the Eucharist”), 1870–79, after Peter Paul Rubens’ (aka Petrus Paulus Rubenius) (1577–1640) painting, “The Glorification of the Eucharist”, c.1630–32, printed in Paris by Alfred Salmon (aka Adolphe Ardail; Salmon & Ardail; Alfred Fortuné Salmon) (fl.1863–1894) and published in the art periodical, “L'Art”.

Etching with drypoint on fine laid paper and wide margins.

Size: (sheet) 43.1 x 28.5 cm; (plate) 29.5 x 19.5 cm; (image borderline) 26.2 x 17.4 cm.

Inscribed in plate within the image borderline along the lower edge: (left) “Ru[b]e[n]s pxit”; (right) “Walt[n]er d […]”.

Lettered in plate below the image borderline: (left) “P. P. Rubens pinx./ L'Art.”; (centre) “LE CHRIST TRIOMPHE DU PÉCHÉ ET DE LA MORT/ (Cabinet de S. M. Leopold II, Roi des Belges.)”; (right) “Ch Waltner sc/ Imp. A. Salmon”.

Beraldi 28 (Henri Beraldi 1892, “Les Graveurs du XIXe Siècle: Cherrier–Dien”, vol. 12, Paris, Librairie L. Conquet, p. 261, cat. no. 28 [“Reproductions d'après les maîtres anciens”]).

The British Museum offers the following description of this print: “Christ Triumphant over Sin and Death; Christ holding a standard and a chalice, trampling a snake coiled around a globe, and a skeleton; four men surround him; God and angels above; within arch; published in 'L'Art'” (https://www.britishmuseum.org/collection/object/P_1880-0214-161).

See also the description of this print offered by the Philadelphia Museum of Art: https://philamuseum.org/collection/object/157729.

Condition: a strong and well-printed impression with wide margins in a near pristine condition with no tears, holes, folds, abrasions or significant stains.

I am selling this magnificent impression by one of the major reproductive etchers of the nineteenth century, for the total cost of AU$209 (currently US$136.43/EUR126.70/GBP108.40 at the time of posting 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 fluidly executed etching after Ruben’s oil sketch for what the MET explains is a design for “an altarpiece ensemble in the church of the Calced Carmelites in Antwerp” featuring “columns and upper corners of the panel …[offering] the patron a choice of architectural motifs” (see https://www.metmuseum.org/art/collection/search/437527), 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










Saturday 10 February 2024

William Bicknell’s etching, “Library of Congress, Washington, D.C.”, c.1912

William Bicknell (aka William Harry Warren Bicknell; William Henry Warren Bicknell) (1860-1947)

“Library of Congress, Washington, D.C.”, c.1912, a proof-state impression, hand-signed in pencil, showing a view from the upper gallery of the public reading room under the dome of the ceiling.

Etching with drypoint on wove paper (Normandy Vellum?) trimmed with a small margin around the image borderline, pencil-signed and signed in the plate at lower right.

Size: (sheet) 32.6 x 24.8 cm; (image borderline) 31.2 x 21.8 cm.

Inscribed in plate within the image borderline: (lower right edge) “W H W Bicknell SC”.

Signed in pencil by the artist below the image borderline at right.

Condition: a rich and near faultless impression with small margins in an excellent condition with no tears, holes, folds, stains or foxing.

I am selling this exceptionally rare, pencil-signed etching, showing a grand vision of the Library of Congress from the upper level of the rotunda with light streaming into the building, for AU$334 (currently US$217.97/EUR202.06/GBP172.62 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 seldom seen etching on the art market, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed another etching by William Bicknell that is currently still available, “Portrait of an Elderly Woman Praying at a Table”, 1914, after Nicolaes Maes (https://www.printsandprinciples.com/2021/12/william-harry-warren-bicknells-etching.html).

This print has been sold