Luigi Kasimir's etching (with aquatint), “Salzburg”, 1909

Luigi Kasimir (1881–1962)

“Salzburg”, 1909, published in 1923 for the deluxe edition (150 copies) of “Das Buch von der schönen Stadt Salzburg” (The book of the beautiful city Salzburg) in Vienna, Leipzig by Heller & Cie, in which this print was included “in an enclosed portfolio” (see https://www.zvab.com/servlet/BookDetailsPL?bi=22863284991&searchurl=an%3Dkasimir%26hl%3Don%26sortby%3D20%26tn%3Dsalzburg&cm_sp=snippet-_-srp1-_-image30).

Etching and aquatint printed in sepia coloured ink on fine ivory wove paper.

Size: (sheet) 30.4 x 20.9 cm; (plate) 15.6 x 11.5 cm.

Inscribed on plate: (lower left) “Salzburg … [the next word is difficult for me to decipher but it may be “Charfreitag” (Good Friday)] / 1909.”

Signed in pencil below the platemark: “Luigi Kasimir”

Condition: richly inked and near faultless impression with generous margins laid upon an archival support sheet of millennium quality washi paper. The sheet is in excellent condition (i.e. there are no holes, folds, abrasions, stains or foxing, but there is a small closed tear on the left margin edge).

I am selling this sensitively executed etching featuring the distant domes of the Salzburg Cathedral peeping above a screen of buildings—to my eyes an image that is full of light and space—for AU$300 in total (currently US$206.46/EUR186.39/GBP165.07 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, but graphically dazzling, pencil-signed etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Elioth Gruner's drypoint, “The Pines”, 1919

Elioth Gruner (1882–1939)

“The Pines”, 1919

Drypoint printed with brown ink and plate tone on ivory wove paper in an edition of 27 impressions, signed in pencil by the artist with the edition number and title.

Size: (sheet) 30.1 x 25.6 cm; (plate) 16.9 x 13.8 cm.

Inscribed in pencil below the plate mark: (left) “No. 27” (Note: the “7” reveals an overwritten amendment to the number “6” originally inscribed); (centre) “The Pines”; (right) “E Gruner”.

See the description of this print offered by the Art Gallery of New South Wales (Sydney):

https://www.artgallery.nsw.gov.au/collection/works/266.1990/

In this description, Anne Ryan (2007) offers the following insights about Gruner’s prints:

“Elioth Gruner produced only a few prints, all drypoints, possibly inspired by the work of his friend Norman Lindsay, or by a small etching sent to him by Hans Heysen. Gruner liked the feathery, romantic quality of line made using the drypoint method, as well as the directness with which it can be made on a plate, which suited his practice of working en plein air. He would occasionally print a plate using different quantities and wiping of ink, to create a different effects of light in the printed images.”

(Anne Ryan [2007], “Australian Etchings and Engravings 1880s–1930s from the Gallery's Collection”, Sydney, AGNSW)

Condition: richly inked, sensitively wiped and well-printed impression with generous margins laid upon an archival support sheet of millennium quality washi paper. The sheet is in a very good condition with a few restored pin holes and tiny fractures (virtually invisible), but there are no tears, folds, significant stains beyond a few dots at the outer edge and there is pale age toning.

I am selling this darkly glowing and exceptionally rare drypoint for AU$1650 in total (currently US$1135.50/EUR1025.13/GBP907.89 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 masterpiece of Australian printmaking capturing Gruner’s love for contre-jour compositions (i.e. scenes where the light source is directly behind the subject), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Madeleine Horthemels' engraving (with etching), “St Philip Baptising the Eunuch of Queen Candace”, c1730

Madeleine Horthemels (aka Louise Madeleine Horthemels; Louise Magdeleine Cochin; Magdalena Horthemels) (1686–1767)

“St Philip Baptising the Eunuch of Queen Candace” (aka “The Baptism of the Eunuch”; “St Philip Baptising the Ethiopian Eunuch”), c1730, after the painting (in reverse) by Nicolas Bertin (1668–1736), published with royal privilege by Charles Nicolas Cochin père (1688–1754) in Paris.

Note that Jacob Balthasar Lidel (fl.1750–60) also made an engraving in c1760 of Betin’s painting, but Lidel’s engraving has additional features at the top and sides (see cat. no. 85: https://artinfo.pl/wyniki-aukcji/grafika-dawna-aukcja-charytatywna-ze-zbiorow-tomasza-i-janiny-maczugow?page=2

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

Size: (sheet) 38.5 x 28 cm; (image borderline) 33.9 x 26.9 cm.

Inscribed below the image borderline: (left) “Peint par Bertin”; (centre, two columns of text featuring in the left column a Latin quatrain with a French translation in the right column) “Ait Eunuchus ad Philippum: Ecce aqua, quid prohibet me baptisa-/ vi? Dixit autem Philippus: Si credis ex toto corde, licet. Et respondens/ ait: Credo, Filium Dei esse Jesum Chrislum. Et descenderunt uterque/ Philippus & Eunuchus, et baptisavit eum. Act. C. VIII. vs. 36.// …/ …/ …/ …/ … Act. Ch. VIII vs 36./ L’Un des Tableaus de la Nef de l’Eglise de l’abaȉe Roȉale de St. Germain des Prex./ AParis chez Cochin graveur du Roi rue St. Jacque[s] vis à vis les Mathurins à St Charles Avec Privilege du Roi.”; (right) “Gravé par Madeleine Cochin.”

(Quatrain translated with adjustments—my apologies if I have been too free with the translation) “The eunuch said to Philip: ‘Here is water, what prevents me from being baptised?’ And Philip said, ‘If you believe with all your heart [that you may be baptised]’. And in response the eunuch said, ‘I believe that the Son of God is Jesus Christ’. They both went down to the water and Philip baptised him. Act. Ch. 8. Vs. 36.”

Nagler 2 (Hortemels) (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris, 1930).

Orléans Museum of Fine Arts offers a description of this print: https://webmuseo.com/ws/mbao/app/collection/record/652

Condition: richly inked and well-printed early impression showing no sign of wear to the printing plate. The sheet is trimmed with a small margin around the image borderline and is laid upon an archival support sheet of millennium quality washi paper. The sheet is in a good condition (i.e. there are no holes, folds, abrasions, significant stains or foxing but there is a restored loss of the tip of the lower left corner).

I am selling this very beautiful engraving, featuring a seminal biblical event for the Ethiopian Catholic Church of St Philip in the act of baptising the Ethiopian eunuch of Queen Candace by pouring water from a shell onto the eunuch’s head—I initially believed that Queen Candace was shown in the background seated in a camel driven chariot until I made a close examination of her face and found an inconvenient moustache—for AU$180 in total (currently US$123.75/EUR111.49/GBP99.43 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 visually arresting engraving exemplifying the theatricality of the Baroque period, 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

Nicolaas de Bruyn's engraving, “Julius Caesar”, 1594

Nicolaas de Bruyn (aka Nicolaas de Bruin; Nicolaes de Bruyn) (1571–1656)

“Julius Caesar”, 1594, plate 3 from the series of nine engravings, “Ornament Designs with Portraits of Kings and Heroes”, originally published by Ahasuerus van Londerseel (aka Assuerus Londerssel) (1572–1635) in Antwerp. (Note that this impression has Van Londerseel’s publication details partly erased.)

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

Size: (sheet) 12.4 x 9.2 cm; (image borderline) 11.7 x 9.1 cm.

Inscribed on plate: (within the cartouche) “Julius caesar”; (below the image borderline) “3 Nicola de Br fe … [partly erased “Assuwerus van Londerseel”] excudit.”

State ii (of iii) with the publisher’s name burnished but before the number “3” is repositioned to the lower right (see the Rijksmuseum’s copy of state i [http://hdl.handle.net/10934/RM0001.collect.89015] and state iii [http://hdl.handle.net/10934/RM0001.collect.89017]).   

Hollstein Dutch 157–2; Berlin 1939 237.1 (P Jessen 1939, “Katalog der Ornamentstichsammlung der Staatlichen Kunstbibliothek Berlin”, Berlin); New Hollstein (Dutch & Flemish) 265.I (Nicolaes de Bruyn); Orn Cat I 33–2 (Irene Margaretha de Groot 1988, “Ornamentprenten in het Rijksprentenkabinet”, Amsterdam, Rijksprentenkabinet, Rijksmuseum Staatsuitgeverij, p. 33, cat. no. 33.2).

The British Museum offers the following description of this print:

“Roundel containing the portrait of the Roman Emperor Julius Ceasar [sic] surrounded by decorative elements, including two monkeys holding flags and swords and above two winged cherubs blowing into horns.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1457498&partId=1&searchText=NICOLAES+DE+BRUYN&page=1)

See also the description of this print offered by the Rijksmuseum:

(transl.) “Portrait of Julius Caesar as a general of antiquity in a medallion within a rectangular frame with ornaments in the form of monkeys, fantasy creatures and butterflies”.

(http://hdl.handle.net/10934/RM0001.collect.89016)

Condition: richly inked early impression with stains and restorations of the corners, trimmed along the platemark and laid upon an archival support sheet of millennium quality washi paper.

I am selling this gorgeous jewel of an engraving glowing with strong contrasts for AU$340 in total (currently US$234.01/EUR212.16/GBP189.90 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 very fine engraving with a fascinating range of animals and insects worthy of close examination—see the two beautifully drawn mice that are only slightly larger than grape seeds and trumpet blowing zephyrs sporting the best hair ponytails ever created—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

(Publisher) Gerard de Jode's engraving, “First Vision of Ezra: the Son of God Crowns the Crowd”, 1585

Unidentified engraver from the school of the southern Netherlands

(Publisher) Gerard de Jode (aka Geeraert de Jode; Gheerde de Jode; Girard de Jode; Gerardo de Jode; Gheraerde de Jode) (1516/17–1591)

“First Vision of Ezra: the Son of God Crowns the Crowd”, 1585, plate 1 from the series of four engravings, “Visions of Ezra” (aka “Van Esdras and Nehemias”), after Maarten de Vos (aka Marten de Vos; Maerten de Vos) (1532–1603), published by Gerard de Jode in 1585 as an illustration to “Thesaurus sacrarum historiaru[m] veteris (et novi) testame[n]ti, elega[n]tissimis imaginibus expressu[m] excelle[n]tissimoru[m] in hac arte viroru[m] opera: nu[n]c primu[m] in luce[m] editus” ([Google transl.] "Treasure of sacred stories old and new, elegant expressed finest pictures of her art works now for the first time to light"), in Amsterdam.

Engraving on fine laid paper backed with a support sheet.

Size: (sheet) 25.2 x 33.3 cm; (plate) 20.4 x 29.8 cm; (image borderline) 19.4 x 29.4 cm.

Inscribed on plate within the image borderline: (lower left) “G. d. Jode Excu.”; (on book held by Ezra) “M. d. vos / inuentor”; (lower centre) “1”.

Lettered on plate in Latin below the image borderline: “Turbam in monte deum laudantium cernit Esdras, coronisar in capite et palmis in manibus, decorari. 4. Esd. Cap.2.”

State i (of ii) Lifetime impression published in 1585 before the additional number ("I") inscribed on the lower right and the publication details for Claes Jansz. Visscher (II) signifying the second state published in 1643 (see the second state impression held by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.554333)

Hollstein Dutch 162–1 (2) (Dieuwke de Hoop Scheffer [ed.] 1996, [Hollstein’s] “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700: Maarten de Vos [text]”, vol. 44, Rotterdam, Sound & Vision Rijksprentenkabinet, pp. 44-45, cat. no. 162); Mielke 33 (H Mielke 1975, “Antwerpener graphic in the second half of the 16th century. The Thesaurus Veteris Testamenti of Gerard de Jode [1585] and his Artists”, Zeitschrift fur Kunstgeschichte 38, p. 80, cat. no. 33).

The Rijksmuseum offers the following description of this print:

(transl.) “Ezra sits in the foreground on the right and is pointed to a vision by an angel. Ezra sees the Son of God on Mount Zion, who crowns the people and hands out their palm branches. Below the performance a reference in Latin to the apocryphal Bible text in 4 Ezra 2.”

(http://hdl.handle.net/10934/RM0001.COLLECT.384754)

See also the description of this print offered by the British Museum:

“To left, Ezra, seated, with an open book on his lap, turning towards the archangel Uriel; behind, a vision of God the Father crowning figures, seen holding palm leaves”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1631577&partId=1&people=5408&peoA=5408-1-7&page=1)

The Metropolitan Museum of Art also offers a description of this print:

https://www.metmuseum.org/art/collection/search/651791

Condition: richly inked, crisp, near faultless, museum-quality impression with margins in excellent condition (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing), laid upon an archival support sheet of millennium quality washi paper.

I am selling this exceptionally rare lifetime impression glowing with strong contrasts for AU$320 in total (currently US$219.77/EUR199.61/GBP177.92 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 superb engraving exemplifying the period style of Mannerism, 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