Gallery of prints for sale

Saturday, 23 October 2021

Edy Legrand’s drypoint, “Young Woman and Man”, 1929

Edy Legrand (aka Edouard Léon Louis Edy-Legrand; Edward Louis Warschawsky Leon) (1892–1970)

“Young Woman and Man”, 1929, published in Paris in 1929 by Éditions du Capital as illustration to Pierre Mac Orlan’s “Œuvres Poétiques Complètes.”

Drypoint on cream wove (Japon Impérial) paper.

Size: (sheet) 17.8 x 13.7 cm; (plate) 13 x 8.3 cm.

IFF 9 (Département des Estampes et de la Photographie 1965, “Inventaire du Fonds Français après 1800”, vol. 13, Paris, Bibliothèque Nationale, pp. 345, cat. no. 9 [https://gallica.bnf.fr/ark:/12148/bpt6k54892331/f357.item]).

Condition: a strong, well-printed and near faultless impression in pristine condition (i.e., there are no tears, holes, folds, abrasions, stains, foxing or signs of handling).

I am selling this remarkably expressive drypoint of what I believe—and I may be completely incorrect as my skills in reading faces is invariably wrong—is a spirited and strong-willed young lady of the 1920s—a “flapper”—with her 5 o'clock shadowed beaux, for AU$222 (currently US$165.78/EUR142.36/GBP120.48 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 superb drypoint where a viewer may feel reflexively interrogated, or at least visually arrested, by the portrayed figures’ enquiring gaze, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Friday, 22 October 2021

Jonas Umbach’s etching, “Assumption of the Virgin with the Apostles at the Grave”, c1660


Jonas Umbach (1624–93)

“Assumption of the Virgin with the Apostles at the Grave” (aka Mariä Himmelfahrt mit den Aposteln am Grabe), c1660.

Etching on fine laid paper trimmed around the platemark and backed with a support sheet.

Size: (support sheet) 25.9 x 20.1 cm; (sheet) 12.3 x 8.1 cm.

Haas 97; LeBlanc 88.

Condition: a richly inked and strong impression showing some wear to the printing plate, trimmed along 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, stains or foxing.

I am selling this extremely rare original etching by Jonas Umbach—note that this print is not in the online collection of the British Museum, Rijksmuseum or the Metropolitan Museum of Art—for AU$330 (currently US$246.43/EUR211.54/GBP179.10 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 remarkable 17th century print by an artist famed for his small etchings and for his skill in biting his printing plates only once in acid, 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 










Thursday, 21 October 2021

Alexandre Calame’s two lithographs, “L'Étude du Paysage: No. 113” and “No. 154”, 1850

Alexandre Calame (aka Alexandre Calam; Alexandre Calamy) (1810–1864)

L'Étude du Paysage: No. 113” and “L'Étude du Paysage: No. 154”, 1850, published and printed in a series of 272 lithographs, “L'Étude du Paysage”, by François Delarue (fl. 1850s–1860s) in Paris and also published in London by Moore, Mc Queen & Co (1816–1956), in the second of two volumes in “Collection de modèles élémentaires et gradués formant un cours complet autographié d'après nature” ([transl.] Collection of elementary and graduated models forming a complete autographed after nature course) in 1850 (see https://digi.ub.uni-heidelberg.de/diglit/calame1850).

Lithographs printed in black ink on heavy wove paper with full margins as published.

Size: (sheet) 26 x 34.9 cm.

Both sheets are signed in the stone by the artist and lettered with publication details: (upper left) “Autographié d'après nature.”; (lower left) “A Calame/ Paris, FRANÇOIS DELARUE, 18, rue J.J. Rousseau.”; (lower centre) “L'ÉTUDE DU PAYSAGE/ par A. Calame”; (lower right) “London, Moore, Mc. Queen & Co., 25 Berners St. Oxf. St.”

Plate 113 is lettered in the stone: (upper right) “No.113”; (lower right) “Imp. Fois Delarue, Paris”.

Plate 154 is lettered in the stone: (upper right) “No.154.”; (lower centre) “Imp. Fois Delarue, 8 rue Larrey, Paris”.

Condition: strong and well-printed impressions with full margins in pristine condition (i.e., there are no tears, holes, folds, abrasions, stains, foxing or signs of handling).

I am selling these very beautiful lithograph landscapes—presumably from around Savoie (the Auvergne-Rhône-Alpes region) or possibly the Swiss Alps—designed as drawing models for students to hone their technical skills, for AU$210 in total for the pair (currently US$156.95/EUR134.96/GBP113.80 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 pair of sensitively rendered scenes where even the shadows are luminous, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Unidentified Japanese painter’s ink drawing, “Jurojin Riding a Celestial Reindeer”, c1850


Unidentified Japanese painter (fl.c1850)

The dealer from whom I purchased this brush drawing advised me that the drawing was part of a collection dated on the original boards to around 1850. This particular brush drawing was initially three individual sheets that were lightly glued together. These sheets have now been laid onto washi paper for support, alignment and to unify the sheets as a whole. Sadly, in the process of laying the sheets onto the support paper, the two chop marks (printed in red) dissolved in the process of gluing and this loss has removed my chance to establish the name of the artist.

Jurojin Riding a Celestial Reindeer” (descriptive title only based on my reading of the subject), c1850, ink drawing on washi paper backed with a support sheet.

Jurojin (寿老人), Japanese Deity of Longevity, is one of the Seven Gods of Fortune (Shichifukujin [七福神]) whose usual mount is a deer. In this scene, however, Jurojin rides an ungulate with the split hooves of a reindeer. I may be wrong, but I assume that the dotted outline of this reindeer, beyond being mimetic strokes suggesting the texture of fur, adds an otherworldly dimension to the reindeer.

Size: (support sheet) 87.2 x 42 cm; (sheet) 65.3 x 30 cm.

Condition: the original glue stains joining the sheets are clearly visible—arguably enhancing rather than detracting from the beauty of the image—and the fine washi paper has the usual naturally occurring “debris”; otherwise, the drawing has no tears, holes, folds or foxing, and has been laid onto a support of archival (millennium quality) washi paper.

I am selling this large brush drawing from the mid-nineteenth century executed by the sensitive and controlled hand of a Japanese master, for the total cost of AU$338 (currently US$253.23/EUR217.43/GBP183.35 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 serenely beautiful ink brush drawing executed in a time when every piece of paper was valuable, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Wednesday, 20 October 2021

Jan Sadeler I’s engraving, “Saint Dorothea”, c1585, after Maarten de Vos

Jan Sadeler I (aka Johann Sadeler; Johannes Sadeler) (1550–1600)

“Saint Dorothea” (aka “Heilige Dorothea”; “Saint Dorothy” [TIB title]), c1585 (1584–1587), plate 9 from the series of eighteen engravings of female saints martyred for refusing to marry, “Spectulum Pudicitae” (aka “The Mirror of Modesty”), after  a lost drawing by Maarten de Vos (aka Marten de Vos; Maerten de Vos) (1532–1603), published by Jan Sadeler I. Note that Isabelle de Ramaix (2001) in TIB, vol. 70, Part 2 (Supplement) lists this series in the category of “Johan Sadeler I Fecit”, but advises that beyond “The Virgin of Sorrows” which is signed as “scalpsit” by Jan Sadeler I, “The others [in the series] may have been engraved by a member of his [Sadeler’s] family or by Jacob Kempeneer, his apprentice” (p.120, cat. no. [7001].312–.329).

Engraving on laid paper trimmed with a narrow margin around the platemark and backed with a support sheet.

Size: (sheet) 19.4 x 13.8 cm: (plate) 19 x 13.5 cm; (image borderline) 17.5 x 12.8 cm.

Inscribed in plate within the image borderline: (lower left corner) “Sadler excud./ M. de Vos figura.”

Lettered in two lines of Latin text below the image borderline: “DOROTHEA idolis quia Sacra offerre negabat,/ Offertur Summo victima grata Deo.”

State i (of i) Lifetime impression (based on the quality of the line showing no sign of wear to the printing plate).

TIB 7001. 328 (Isabelle de Ramaix 2001, “The Illustrated Bartsch”, vol. 70, Part 2 [Supplement], New York, Abaris Books, p. 135, cat. no. [7001].321); Hollstein 353 (Dieuwke de Hoop Scheffer [comp.] 1980, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Aegidius Sadeler to Raphael Sadeler II: text”, vol. 21, Amsterdam, Van Gendt & Co, cat. no. 350); Hollstein (Vos) 955 (Christiaan Schuckman [comp.] 1996, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Maarten de Vos: text”, vol. 44, Rotterdam, Sound and Vision Rijksprentenkabinet, p. 205, cat. no. 955); Edquist 96a (p. 156).

The British Museum offers the following description of this print:

“St Dorothea, seated with fruit on her lap, a sword beside her and holding the palm of martyrdom, with in the background a scene of her execution; after Maarten de Vos Engraving” (https://www.britishmuseum.org/collection/object/P_1871-0429-461).

See also the description offered by the Rijksmuseum:  http://hdl.handle.net/10934/RM0001.COLLECT.168526).

Condition: a strong and well-printed impression trimmed with a thread margin around the platemark and laid onto a support of archival (millennium quality) washi paper. Beyond a replenished hole in the lower right margin, the sheet is in a very good condition for its considerable age with no significant stains or foxing.

I am selling this superb impression of a sensitively executed and very beautiful engraving by one of the most famous of the Flemish old masters, for AU$370 (currently US$276.96/EUR237.93/GBP200.94 at the time of posting this print) 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 small masterwork of engraving showing the patron saint of brewers, brides, newlyweds, florists, midwives and gardeners (see https://en.wikipedia.org/wiki/Dorothea_of_Caesarea), 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