Update: a temporary halt to my postings

My cook has wisely decided that we haven't been away on a trip for ages (at least three weeks) and has booked us on a six week trip starting in Casablanca (we should be there tomorrow or close after). From there we go to Ljubljana (Slovenia), put our toes into Croatia for a few days, and then fly off to Russia to see the main galleries. If I were asked technical questions about our travels, I have to admit that I leave all that to Isabelle who actually knows EVERYTHING. My job is to pack my hand luggage and to ensure that I have a book to read and headphones so that I can zombie out.

If you are interested in what we see on our trip I'll be posting travel pics on my Instagram gallery (username: @printsandprinciples): https://www.instagram.com/printsandprinciples/

Antonius Wierix's engraving, “Samson destroying the temple of the Philistines”, 1585

Antonius Wierix II (1555/59–1604)

“Samson destroying the temple of the Philistines” (aka “Simson vernielt de zuilen van de temple” [Samson destroys the pillars of the temple]), 1585, from the series, “The History of Samson” (aka “Thesaurus sacrarum historiarum veteris testamenti, elegantissimis imaginabus expressum excellentissimorum in hac arte virorum opera: nunc primum in lucem editus”) after Maarten de Vos (aka Marten de Vos; Maerten de Vos) (1532–1603), published by Gerard de Jode (aka Geeraert de Jode; Gheerde de Jode; Girard de Jode; Gerardo de Jode; Gheraerde de Jode) (1516/17–1591) in Antwerp.

Engraving on fine laid paper trimmed close to the plate-mark and backed with a support sheet.

Size: (sheet) 21.3 x 29 cm.

Lettered in Latin on plate below the image borderline: “Princibibus Samson ... manu. Judicum.16. Cap. 7”.

State ii (of iii) before the correction of state iii to the first word of the Latin text from “Princibibus” to “Principibus” and the addition of the verse numbers (“25.v.”) at lower right.

Mauquoy-Hendrickx 1978 30 (Marie Mauquoy-Hendrickx 1978, “Les Estampes des Wierix ... catalogue raisonné”, vol. 1., Brussels, Bibliotheque Royale, p. 4, cat.no. 30, illus. p. 2); Alvin 1866 96; Mielke 18; Hollstein Dutch 40-2(3) (Wierix Family); Hollstein Dutch 97-2(3) (Maarten de Vos).

The British Museum offers the following description of this print (note that the BM’s copy is hand coloured):

“To right, a blinded Samson, standing while grasping two pillars of a temple and pulling it down; some Philistine men and women, seen falling, some dead under the rubble; an army escaping seen behind, to left.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1623146&partId=1&searchText=Antonius+Wierix+samson&page=1)

See also the description offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.collect.530329

Condition: richly inked, superb (near faultless) lifetime impression showing no sign of wear to the plate, trimmed near to the plate mark and backed with an archival support of (millennium quality) washi paper. The sheet is in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing).

I am selling this exceptionally rare engraving in museum quality condition for the total cost of AU$364 (currently US$254.15/EUR226.25/GBP203.01 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 stunning masterpiece of early engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print is reserved pending confirmation of its purchase

Erasmus Quellinus' etching, “Samson Fighting the Lion”, c1655, after Rubens

Erasmus Quellinus (II) (1607–1678)

“Samson Fighting the Lion”, c1655 (1635–75), after Peter Paul Rubens (aka Petrus Paulus Rubenius) (1577–1640), published by Rombout van de Velde (fl.1645) in Antwerp.

Etching on fine laid paper trimmed along the image borderline (with loss of the text line beneath the image) and backed with two support sheets.

Size: (sheet) 11.4 x 13.6 cm.

State i (of iii) before the addition of the artist’s initials at the lower left corner (see BM No. S.5325).

Hollstein Dutch 1-3; Corpus Rubenianum III 27 (copy 2); Schneevoogt 1873 6.40.

The British Museum offers the following description of this print:

“Samson fighting the lion; with his bare hands, Samson forces open the mouth of the struggling lion; after Peter Paul Rubens”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1628505&partId=1&searchText=Erasmus+Quellinus+&page=1)

Condition: richly inked, superb lifetime impression showing no sign of wear to the plate (compare this impression to the somewhat worn impressions held by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.341531 & http://hdl.handle.net/10934/RM0001.COLLECT.341530), trimmed to the image borderline and backed with support sheets (viz. a sheet approximating a narrow margin around the image borderline and an archival support of [millennium quality] washi paper). The sheet is in excellent condition but there is a restored nick on the lower edge at left-of-centre and a pale mark behind the lion.

I am selling this exceptionally rare etching in museum quality condition for the total cost of AU$379 (currently US$264.63/EUR235.57/GBP211.38 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 small but graphically arresting print after Ruben’s design and executed by a possible pupil of Rubens, 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

“Noli me tangere”, c1650, after Luca Ciamberlano's engraving after Federico Barocci's painting

Unidentified engraver from the school of Luca Ciamberlano (fl.1599–1641)

“Noli me tangere” (Christ appearing to Mary Magdalene as a gardener after the Resurrection and requesting her not to touch him), c1650, in reverse after Luca Ciamberlano’s engraving after Federico Barocci’s (c1535–1612) painting, now preserved in Bywell Hall after is damage. The text lines that are lost below the image borderline advise that this engraving was published by Pierre Mariette (1634–1716) in Paris (see the description of the same print with the intact text at Gonnelli auctions: https://www.gonnelli.it/it/asta-0018/noli-me-tangere-da-federico-barocci-.asp). Note: my date of attribution for this print is based on understanding that Pierre Mariette (the publisher) was active at the inscribed address, “rue S. Jacques à l'Espérance”, in 1657.

Engraving on fine laid paper trimmed around the image borderline and backed with a support sheet.

Size: (sheet) 39.2 x 29.8 cm.

Condition: excellent impression—a lifetime impression based on the crisp lines showing no sign of wear to the printing plate—with closed tears and holes that are virtually invisible and laid onto a support of archival (millennium quality) washi paper. Beyond the tears and losses, the sheet is in a very good condition for its considerable age (i.e. there are no folds, abrasions, stains or foxing).

I am selling this large and visually arresting engraving—simply magnificent in my opinion—for the total cost of AU$400 (currently US$279.29/EUR248.62/GBP223.09 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 luminous print sparkling with tonal contrasts from the 1600s, 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

Abraham Genoels' etching, “Boat drawn by Four Men”, 1660–1690

Abraham Genoels (aka Archimedes; Abraham II Genoels; A. G. Genoel) 91640–1723)

“Boat drawn by Four Men” (Le bateau tire à mont), 1660–1690, from a series of six etchings, “River Landscapes”, published by Adam François van der Meulen (aka Adam Frans van der Meulen; Adam François Vandermeulen) (1632– 1690) in Paris with royal privilege from Louis XIV (King of France).

Etching on laid paper trimmed with a small margin and backed with a support sheet.

Size: (sheet) 23.1 x 29.6 cm; (plate) 22 x 28.4 cm; (image borderline) 20.9 x 27.6 cm.

Inscribed on plate with the artist’s monogram within the image borderline: (lower left corner) "AG".

Lettered on plate below the image borderline: (left) "A. Genoels, fe."; (right) "V. Meulen, ex. Cum priuilegio Regis."

State iii (of iv) with the publisher’s details.

TIB 5(4).60(362) (Walter L Strauss [ed.] 1979, “The Illustrated Bartsch: Netherlandish Artists”, vol. 5, New York, Abaris Books, p. 349, cat. no. 60 [362]); Bartsch IV.362.60.III; Regnault-Delalande 1817 149.60; Weigel 1843 211.60.III;  Hollstein 60.III.

The British Museum offers the following description of this print:

“Landscape with a river in the centre, four men towing a boat loaded with goods at right, rocks to the left, a town and mountains in the background”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3079083&partId=1&searchText=Abraham+Genoels+&page=2)

See also the description offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.116339

Condition: richly inked faultless impression, with a small margin laid onto a support of archival (millennium quality) washi paper. The sheet is in excellent condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, stains or foxing).

I am selling this masterpiece of 17^th century landscape etching that is—to my eyes—radiant with light for the total cost of AU$302 (currently US$212.05/EUR188.15/GBP168.80 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 strong etching showing no sign of hesitation in its execution or pictorial ambiguity in what is portrayed, 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

Giovanni Battista Piranesi's etching, “Dark Prison with a Courtyard for the Torture of Criminals …”, c1750

Giovanni Battista Piranesi (1720–1778)

“Dark Prison with a Courtyard for the Torture of Criminals …” (Carcere oscura con Antenna pel suplizio dè malfatori …), c1750, from the series, Prima Parte di Architettura, e Prospettive” (Part One of Architecture and Perspectives), lifetime impression possibly from the first edition (based on the “Prima Parte” watermark and the crisp line showing no sign of wear to the plate).

Etching with drypoint and engraving printed from two plates (viz. image plate and text plate) on laid paper with the Venetian “Prima Parte” watermark (see Wilton-Ely, no. 49, p. 1165)—employed for the first edition (3rd to 5^th issues)—trimmed along the plate-mark and backed with a support sheet

Size: (sheet) 39.3 x 24.1 cm; (upper image plate) 37 x 24.2 cm; (image borderline) 36.4 x 23.7 cm; (text plate) 2.2 x 23.9 cm.

Numbered on plate above and below the image borderline: (upper right and lower right) “2”.

Lettered on plate below the image borderline: (left) “Gio. Batta. Piranesi Arch.to inven ed incise in Roma”; (centre) “Carcere oscura con Antenna pel suplizio dè malfatori. Sonvi da lungi le Scale, che / conducono al piano e vi si vedono pure all'intorno altre chiuse carceri.”

(Dark jail with Courtyard for torture of criminals. From a long distance you can see the Stairs, which lead to the floor and you can also see other closed prisons around it.)

Wilton-Ely 24.5 (John Wilton-Ely 1994, “Giovanni Battista Piranesi: The complete etchings” (2 vols), vol. 1, San Francisco, Alan Wofsy Fine Arts, p. 24, cat. no. 5); Focillon 4; Hind 79.2.

See also the description of this print at the Metropolitan Museum of Art:

https://www.metmuseum.org/art/collection/search/365474

Condition: faultless impression trimmed along the plate-mark and laid on a support of archival (millennium quality) washi paper. The upper left and lower right corners are clipped and restored otherwise the sheet is in very good condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing).

There is little need to point out the historical significance of this famous etching that has led to a succession of artists’ interpretations—see for example the watercolours of Turner and Girtin of this print! … and even my own drawings and sculpture reproduced in “The Piranesi Effect” (2015). I am selling this major etching for the total cost of AU$769 (currently US$539.99/EUR478.43/GBP429.35 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 important and exceptionally rare lifetime impression, 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