Eugène Delâtre's drypoint, “Landscape with a row of trees”, c1920

Eugène Delâtre (1864–1938)

“Landscape with a row of trees” (descriptive title only, with the “true” title inscribed indescipherablly in pencil at lower left edge), c1920 (date of attribution is based on a stylistically similar drypoint by Delâtre listed online at oldmasters.com: http://www.oldmasterprint.com/delatre1.htm), signed in pencil by the artist and numbered “7” in an edition of fifty.

Drypoint with light plate tone marking the image borderline on laid paper, pencil signed and numbered by the artist, and backed with a support sheet.

Size: (sheet) 28.3 x 37.7 cm; (plate) 23 x 25 cm; (image borderline) 21.6 x 23.7 cm

Inscribed with the artist’s signature on plate at lower right corner.

Inscribed with the artist’s signature in pencil below the image borderline at lower right.

Numbered in pencil below the image borderline at lower left: “7/50”

Inscribed in pencil along the lower edge with what is probably the title of the print.

Condition: richly inked impression with strong drypoint showing no sign of wear, signed in the plate and in pencil and numbered by the artist. The sheet is in excellent condition (i.e. there are no tears, folds, holes, abrasions, stains or foxing) and laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this magnificently executed drypoint, exemplifying how confident strokes laid freely with minimal detail can capture the effect of strong light, for AU$340 (currently US$248.14/EUR218.61/GBP191.09 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this intimately/sensually observed landscape by one of the major French printmakers at the close of the 19th century, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Eugène Delâtre's etching, “Rue des Saules”, c1880–90

Eugène Delâtre (1864–1938)

“Rue des Saules”, c1880–90

Etching on cream laid paper, pencil signed by the artist, backed with a support sheet.

Size: (sheet) 20.8 x 15.1 cm; (plate) 12.5 x 8.5 cm

Inscribed on the plate at lower left corner: “Rue des Saules”.

Signed in pencil at lower right below the platemark.

The Van Gogh Museum (Amsterdam) offers a brief description of this print:

https://www.vangoghmuseum.nl/en/prints/collection/p0945S1998?v=1

Condition: crisp, near faultless impression in museum quality/excellent condition, signed by the artist. The sheet is laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this poetically charged etching of a street view in Montmartre (Paris) by one of the key artists in the revival of colour etching at the close of the 19^th century for AU$214 (currently US$155.79/EUR137.42/GBP119.73 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing delicately subtle rendering of a Parisienne cobble-stone street, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

 

Nicolas Buon's engraving, “Lot and the destruction of Sodom”, 1615

Nicolas Buon (fl.1600-1624)

“Lot and the destruction of Sodom”, 1615, probably after Léonard Gaultier (c1561–1635), published by Nicolas Buon with royal privilege.

Engraving on fine laid paper backed on a support sheet.

Size: (sheet) 8.9 x 8.9 cm; (image borderline) 8.5 x 8.5 cm

Lettered on plate within the image borderlint around the circular design, "OMNIA MEA MECVM PORTO", with the artist’s monogram below.

Nagler 1858-79 IV.2320 (G K Nagler 1858, “Die Monogrammisten”, 5 vols, Munich).

The British Museum offers the following description of this print:

“Heavily ornamented print with a circular scene of Lot and the destruction of Sodom”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1458490&partId=1&searchText=Nicolas+Buon&page=1)

Condition: crisp, faultless impression in museum quality/excellent condition apart from mellow age toning. The sheet is trimmed with narrow margins around the image borderline and laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this simiply magnificent engraving in superb condition showing no sign of wear to the priniting plate—suggesting that it is a lifetime impression—for AU$178 (currently US$12.03/EUR113.61/GBP99.29 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing intricate jewel of an engraving, 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

Hans Holbein the Younger’s metalcut, “Printer's Mark of Johann Froben”, 1523

Hans Holbein the Younger (1497–1543)

“Printer's Mark of Johann Froben”, 1523, plate cut by Jacob Faber (c1500–1550), published by Johann Froben (aka Johannes Froben; Johannes Frobenius) (c1460–1527) in Basel.

Note that there are other impressions with printer’s letterpress text below the image; for example, the Detroit Institute of Arts has an impression with the text, “APVD INCLYTAM/ BASILEAM/ AN. M. D. XXIII.” (see: https://www.dia.org/art/collection/object/printers-mark-johan-froben-48229) and the British Museum has a copy lettered “ANNO M.D.XXVII” (see https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1598688&partId=1&searchText=Hans+Holbein+the+Younger+Froben&page=1)

Note also that Urs Graf (c1485–1527/28) executed a very similar block: see BM NO. 1900,1019.123 and that  Master CV (fl. c1523–1524) made a woodblock copy of this print.

Metalcut and letterpress on laid paper with watermark and wide margins (verso blank)..

Size: (sheet) 21 x 14.9 cm

Letterpress text: (centre) “FRO […] BEN”Hollstein 56 (Printer's mark)

The British Museum offers the following description of this print:

“Printer's mark of Johann Froben; with two hands holding a staff around which two crowned serpents are coiled; a bird to left perched on top of the staff … Metalcut and letterpress”

(BM No. 1900,1019.123 [see URL above])

Condition: good impression, slightly dull in contrast, in excellent condition (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing) with wide margins and no printed text verso.

I am selling this rare metalcut (i.e. a print pulled from the very early relief printing process of employing a plate cut from metal rather than wood) executed in Michelangelo’s lifetime for AU$202 (currently US$145.66/EUR129.05/GBP112.47 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this Renaissance period print using the rare metalcut process, 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

Circle of Marcantonio Raimond's engraving, “St Matthew”, 1518-1520, after Agostino Veneziano

Unidentified artist from the circle of Marcantonio Raimondi (1470/1482–1527/1534)

“St Matthew”, 1518-1520, from the series of four plates, “The Evangelists”, copy in reverse after Agostino Veneziano (aka Agostino dei Musi) (fl.1509–36), after Giulio Romano (1499-1546).

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

Size: (sheet) 24.8 x 17.9 cm

Inscribed on plate: (lower left on cloud) “A.V.”; (on banderole held by an angel at right) “in principio erat verbon/ er vebon apud deu”.

State ii (of ii) with the addition of the artist’s monogram (“A.V.”)

TIB 26 (14). 04A-I (Walter L Strauss, ed. 1979, “The Illustrated Bartsch”, vol. 26, p. 126); Bartsch 95-copie, 2 (2).

The British Museum offers the following description of this print;

“St Matthew seated on a cloud taking a[n] ink pot and quill held by an angel; after Giulio Romano”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1535150&partId=1&searchText=Veneziano+Matthew&page=1)

See also the description of this print at the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.collect.157206

Condition: crisp impression in excellent condition apart from a light stain on the lower right cloud. The sheet is trimmed at the image borderline and laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this Renaissance period engraved copy in reverse of Agostino Veneziano’s engraving (after Giulio Romano) for AU$345 (currently US$248.31/EUR220.87/GBP192.44 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this visually arresting engraving, 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

Jean Pierre Norblin de la Gourdaine’s etching, “Young Boy, Facing Right”, 1777

Jean Pierre Norblin de la Gourdaine (aka Jean Pierre Norblin de la Gordaine) (1745–1830)

“Young Boy, Facing Right”, 1777

Etching on ivory Japanese (wove) paper with small margins and backed with a support sheet.

Size: (sheet) 6.2 x 3.4 cm; (plate) 5.3 x 2.6 cm

Signed and dated on plate (partially erased or worn off).

State v

Hillemacher 1848 79.V (Frédéric Hillemacher 1848, “Catalogue des estampes qui composent l'oeuvre de J. P. Norblin”, Paris; Cologne 1989, cat. no. 98;

The British Museum offers the following description of this print:

“Standing boy, turned to right, wearing hat and wrapped in cloak in rags; on white ground; fifth state, with head facing front. 1777.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1533917&partId=1&people=113103&peoA=113103-2-60&page=1)

See also the description of this print at the Minneapolis Institute of Art and the Rijksmuseum: https://collections.artsmia.org/art/105174/young-boy-facing-right-jean-pierre-norblin-de-la-gourdaine;  http://hdl.handle.net/10934/RM0001.collect.158712

Condition: a richly inked and well-printed impression with small margins (approximately 4 mms) laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in near pristine condition (i.e. there are no tears, holes, folds, abrasions stains, foxing, or signs of use).

I am selling this seemingly simple and freely inscribed etching of a young rural boy wearing a high hat and a peasant’s tabard by one of the most important artists of the Enlightenment in Poland for AU$256 (currently US$184.50/EUR163.77/GBP243.37 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 small masterwork from the 1700s following in the tradition of Rembrandt, 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

Jan de Bisschop’s set of three etchings after Michelangelo’s sculpture, "Bacchus with Satyr”, c1670

Jan de Bisschop (aka Johannes Episcopius) (1628–1671)

(left) “Plate 53: Bacchus with Satyr”, c1669–71

(centre) “Plate 52: Bacchus with Satyr”, c1669–71

(right) “Plate 4 Bacchus with Satyr”, c1669–71

Three etchings from the series of 157 plates, “Signorum Veterum Icones” published in two volumes by Nicolaas Visscher II (1649–1702) in 1672. The subject of this set of etchings is Michelangelo’s (1475–1564) sculpture, “Bacchus with Satyr”, which the Curator of the British Museum advises was “executed in Rome perhaps between 1496 and 1497 by Michelangelo, [and] is now in the Museo Nazionale, Bargello in Florence” (BM No. 1901,1022.2531.54). Plate 52 (centre image) is based on an intermediary drawing by Cornelis van Poelenburch (1594/5–1667) (as inscribed on the plate).

Etchings on fine laid paper backed with a support sheet. Plate 53 is trimmed along the platemark. Plate 52 has small margins. Plate 54 is trimmed with a thread margin at the top, along the platemark at bottom and with small margins on the sides.

Sheet size: (Plate 53) 21.5 x 10 cm (this is also the dimensions of the plate); (Plate 52) 23.4 x 10.3 cm; (Plate 54) 21.8 cm.

Each print is inscribed on plate with the relevant plate number at upper right corner and with the artist’s monogram at lower right: ''JE f.'' (Nagler III.2254). Plate 52 is inscribed: "Poelenburch d."

Hollstein 6 (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam); Van Gelder 1985 I.138.52-54 (Jan Van Gelder & Ingrid Jost 1985, “Jan de Bisschop and his Icones & Paradigmata”, 2, Doornspijk, Davaco).

See also descriptions of these prints at the British Museum:

Plate 53: https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3376175&partId=1&people=132153&peoA=132153-2-60&page=3

Plate 52:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3376169&partId=1&people=132153&peoA=132153-2-60&page=3

Plate 54:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3376174&partId=1&people=132153&peoA=132153-2-60&page=3

Condition: crisp, well-inked and well-printed early impressions (based on the lack of wear to the plates) backed with a support sheet of archival (millennium quality) washi paper. There are minor signs of handling (i.e. there are a few marks/spots).

I am selling this intriguing set of three etchings showing three views of Michelangelo’s famous sculpture of Bacchus (with a restored right arm) holding up a winecup with a small satyr munching on grapes behind his left leg, for AU$510 in total for the set (currently US$368.63/EUR324.98/GBP284.22 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 these marvellous studies of three different viewpoints of Michelangelo’s slightly tipsy God of wine, 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

My understanding of Bisschop’s intention for these multiple viewpoints of Michelangelo’s sculpture—and for all the 157 plates in the series “Signorum Veterum Icones” of which these three etchings are a part—is that this set of prints would serve as artistic study pieces designed for students to copy. Bisschop’s choice of this particular sculpture as a study piece is probably because it marched what was a common notion about beauty at the time: beauty could be perceived in antique artworks of Greece and Rome. Interestingly, Bisschop may not have been aware that this sculpture was by Michelangelo—mindful that the etchings are based on drawings by intermediary draughtsmen and were not inscribed on the plate in front of the original sculpture—as the Curator of the British Museum explains (in reference to “Addres to the Spectator”): “… [Bisschop] did not know what or where it was, but he might also have included it as a work equivalent to the antique” (BM No. 1901,1022.2531.54).