Gallery of prints for sale

Saturday, 3 June 2023

Adriaen Collaert’s engraving, “St Juliana of Nicomedia”, c1600


Adriaen Collaert (c1560–1618)

“St Juliana of Nicomedia” (aka “Saint Juliana”; “Heilige Juliana”), c1600 (c1590-c1610 [Rijksmuseum dates]), from the series of 25 plates (including title plate), “Femenile martelaressen en heiligen” (aka “Female Martyr Saints”; “Martyrologium Sanctarum Virginum”), published in Antwerp by Adriaen Collaert with two lines of Latin verse by Laurens Beyerlinck (aka Laurentio Beyerlinck) (1578–1627). This print shows an angel visiting Saint Juliana in the foreground and the saint’s martyrdom by beheading on orders of Emperor Diocletian in the distance.

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

Size: (sheet) 19.6 x 15.1 cm

Inscribed in plate within the image borderline: (on column capital) “S./ IVLIANA”; (on lower edge at centre) “Adrian Collaert excud.”

Lettered below the image borderline in two lines of Latin: (centre) “Alma fides Christi: quam tu super astra ferebas,/ Te super aftra eadem sustulit: alma fides.” (The soul of Christ's faith: which you carried above the stars, the same lifted you up above: the soul of faith.)

New Hollstein 815 (Ann Diels and Marjolein Leesberg [comp.] 2005/6, “The New Hollstein: Dutch and Flemish Etchings, Engravings, and Woodcuts 1450–1700: The Collaert Dynasty”, vol., 4, Ouderkerk aan den Ijssel, Sound and Vision, p. 48, cat. no. 815).

The Rijksmuseum offers a description of this print: http://hdl.handle.net/10934/RM0001.COLLECT.568113.

Condition: a strong and well-printed impression with thread margins around the outer image borderline and laid upon an archival support sheet of millennium quality washi paper providing wide margins. The sheet is in an excellent condition with a small touch of restoration along the upper edge of the right arch, otherwise, the sheet is in an excellent (near pristine) condition for its considerable age.

I am selling this jewel-like engraving in superb condition for AU$304 (currently US$203.19/EUR183.85/GBP161.84 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 very beautiful engraving with its exquisite border of flowers, 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 










Unidentified follower of Katsushika Hokusai’s woodblock diptych, “Solitary Faggot Bearer Crossing a Narrow Plank Bridge”, 1852


Unidentified follower of Katsushika Hokusai (1760–1849)

“Solitary Faggot Bearer Crossing a Narrow Plank Bridge” (descriptive title only), 1852 (Kaei 5 [嘉永]), three-colour woodblock diptych printed in black, grey and pink on fine laid paper with the two panels abutted to create a single image backed with a support sheet.

Size: (support sheet) 30 x 32.6 cm: (adjoined sheets) 18.2 x 22.3 cm; (image borderline of each panel) 16 x 10.3 cm.

I understand that the publication featuring this print is catalogued as no. 57067 in the Japanese “General Catalogue of National Books” (aka “Japanese Classical Books Catalogue of the Maximum Scale; “Kokusho Sōmokuroku (国書総目録)”, but I have not been successful in finding this publication using the online catalogue as a resource: https://web.archive.org/web/20051028015505/http://base4.nijl.ac.jp/~koten/. I would be VERY grateful for help as I have tried multiple times.

Condition: a strong and well-printed impression showing minimal signs of wear to the printing plates. There are restored wormholes in the upper margin and minor flattened creases, otherwise the sheet is in an excellent condition with no significant stains.

I am selling this delicately balanced composition—note for example, the insightful placement of the portrayed subjects and how the angle of the leaning tree on the left is matched by the angle of the bundle of faggots carried by what I assume is a woodcutter—for AU$187 in total (currently US$124.99/EUR113.09/GBP99.55 at the time of listing this double-panel woodblock 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 beautiful woodblock diptych, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.









Friday, 2 June 2023

Hans Weiditz II’s woodcut, “Torture and Execution”, c1520




Hans Weiditz II (aka The Petrarch Master; Petrarcameister; Meister des Trostspiegels) (c1500–c1536)

“Torture and Execution” (aka “Von Scraff der Vbelchaten” [letterpress text above the image]), c1520, woodcut published in Frankfurt in 1550 by Christian Egenolph (1502–1555) as an illustration to page 176 (CLXXVI) of Justin Gobler’s (1503/4–1567) “Der Rechten Spiegel Auß den beschribenen Geystlichem, Weltlichen, Natürlichem, vnd andern gebreuchlichen Rechten...“ (read this book online at https://play.google.com/store/books/details?id=PzpeAAAAcAAJ&rdid=book-PzpeAAAAcAAJ&rdot=1).

Woodcut with letterpress text (recto and verso) on a full sheet of laid paper as published.

Size: (sheet) 30 x 19 cm; (image borderline) 14.4 x 15.4 cm.

Letterpress text printed above the image borderline: (centre) “Von Scraff der Vbelchaen”.

Dodgson 78

Condition: a strong and well-printed early impression showing minimal wear to the printing plate. The sheet is in a near pristine condition for its considerable age with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this historically significant woodcut from the Renaissance showing what I assume to be a judicial panel and the accused in the foreground with various methods of torture and execution in the distance—viz. (from upper left to upper right) “broken by the wheel”; hanging by the neck; impaled with a stake; decapitation; “burning at the stake” —for AU$264 (currently US$176.46/EUR159.66/GBP140.54 at the time of listing 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 rare and important woodcut, 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, 1 June 2023

Engraving by an unidentified artist from the circle of Jan Saenredam, “Adam and Eve in the Garden of Eden”, c1660, after Saenredam and Bloemaert


Unidentified artist from the circle of Jan Saenredam (1565–1607)

“Adam and Eve in the Garden of Eden” (aka “Adam and Eve before the Tree of Knowledge”; “Adam et Eve se promenant dans le paradis terrestre”), c1660, a copy in reverse after Jan Saenredam’s engraving, after Abraham Bloemaert (1564–1651), plate 2 from the series of six engravings, “Story of Adam and Eve”, published by Marco Sadeler (aka Marcus Sadeler, Marc Sadeler) (fl.c1660s), with four lines of Latin by Theodorus Schrevelius (1572–1649).

Engraving on laid paper trimmed with a thread margin around the image borderline and text lines and backed with a support sheet.

Size: (sheet) 26.5 x 19.4 cm.

Inscribed on plate within the image borderline: (lower centre) “A. Bloemaert inv.”

Lettered on plate below the image borderline in two columns of two lines of Latin text: “Jusserat auricomo nemus omne gravescere foetu/ Rerum opifex, hominem silvas habitare beatas,// Et colere, et legem ruris servare fruendi/ Posse datum; rapta est per deuia prona voluntas.// TSchreve/ M: Sadler exc[u]” ([transl. Roethlisberger (1993), p. 121] “The creator of things had ordered the groves to be loaded with all sorts of golden fruit, man to live in delightful woods, cultivate them, and to be able to preserve the right to enjoy the condition of the rural life. The auspicious condition is revoked because of deviation”).

References to Jan Saenredam’s engraving: TIB 4(3).14 (225) (Walter L Strauss (ed.) 1980, “The Illustrated Bartsch: Netherlandish Artists”, vol. 4, New York, Abaris Books, p. 323, cat. no. 14); Roethlisberger 73 (Marcel G Roethlisberger 1993, “Abraham Bloemaert and His Sons: Paintings and Prints”, vol. 1, Ghent, Davaco, p. 121, cat. no. 73).

Condition: a strong and well-printed impression trimmed close to the image borderline and laid upon an archival support sheet of millennium quality washi paper.

I am selling this sensitively executed engraving exemplifying the Mannerist spirit of the time, for the total cost of AU$391 (currently US$261.34/EUR236.46/GBP208.16 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 marvellous 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









Wednesday, 31 May 2023

Jacopo Caraglio’s engraving, “Ariadne”, 1526, after Rosso Fiorentino


Jacopo Caraglio (aka Giovanni Jacopo Caraglio; Giacomo Caraglio) (c1500–1565)

“Ariadne” (aka “Ariadne with a Crown of Stars”), 1526, plate 18 from the series of twenty plates, “The Gods in Niches” (aka “Mythological Gods and Goddesses”; “Classical Gods”; “Goden in Nissen”), after Rosso Fiorentino (aka Giovanni Battista de' Rossi; Giovanni Battista di Jacopo di Guasparre) (1494–1540). Although this impression is somewhat light in tonal contrast—an attribute documented for first/second state impressions (see TIB, vol., 28 [Commentary], p. 117)—this is a lifetime impression before the plate was reworked with the addition of shading around the niche by Francesco Villamena (1564–1624) in the third state and before publication by Carlo Losi (fl.c1757−1805) in the fourth and final state.

Note that this engraving is deceptively close to the copy of it made by Jacob Binck (aka Jacob Bink) (1494/1500–1569) in 1530; see http://hdl.handle.net/10934/RM0001.COLLECT.90632; TIB 16(8).43(274) (Robert A Koch [ed.] 1980, “The Illustrated Bartsch: Early German Masters; Jacob Bink, Georg Pencz, Heinrich Aldegrever”, vol., 16, New York, Abaris Books, p. 43, cat. no. 43). One of the differences is in the shape of the shadow cast by the figure’s bent leg and the variation in the phrasing (pressure) of the borderline in the same area. The Budapest Museum of Fine Arts holds a later copy of Caraglio’s engraving after the plate was revised by Francesco Villamena; see: https://www.mfab.hu/artworks/ariadne-plate-18-from-the-series-of-the-gods-in-niches/.

Madeline Cirillo Archer (1995), in the commentary volume to “The Illustrated Bartsch”, vol., 28 (New York, Abaris Books), offers the following marvellous insights into the series (“The Gods in Niches”) of which this engraving is a part: “…while using niches as settings, [the portrayed figures] make no attempt to imitate sculpture. In plasticity, activities, poses, and environment, the figures are emphatically pictorial in their conception and execution. […] in most of the compositions, the general effect is of forms either bursting out of the niche, or of balancing on the edge, their upper bodies possess a spatial ambiguity with the niche behind. The variety of textures and pictorial use of chiaroscuro increase the sense that these are not sculpture, but living forms” (pp. 116–17).

Engraving on laid paper, trimmed along the platemark on the top and sides and within the borderline on the lower edge with loss of the line of text (“.MORTALIS.BACCHO.PLACVI.QVE.ARIADNA.MARITO.” [The mortal Bacchus pleased Ariadne as her husband]), backed with a support sheet.

Size: (sheet) 21 x 11.2 cm.

Numbered in plate: (lower right corner) “18”.

State i/ii (of iv). Note that TIB (1995) advises: “Technically, [this print and all the other plates except for “Saturn”] in the series are not second states, since they do not record changes to the plates. […] Plates are very worn” (p. 117). This first/second state impression is before the significant revisions made in the Villamena edition of the third state.

TIB 2802.041(Robert A Koch [ed.] 1980, “The Illustrated Bartsch: Italian Masters of the Sixteenth Century”, vol., 28 Commentary, New York, Abaris Books, pp. 159–60, cat. no. [2802].041).

Condition: a delicate impression with soiling, trimmed along the platemark on the top and sides and within the borderline on the lower edge with loss of the line of text. The sheet has been laid upon an archival support sheet of millennium quality washi paper providing wide margins.

I am selling this exceptionally rare early/lifetime impression that was interestingly pulled from the press eight years before Michelangelo commenced work on his “Last Judgement” in the Sistine Chapel—a remarkable history of folk have held this print (and left their marks!)—for the total cost of AU$387 (currently US$258.67/EUR234.05/GBP206.03 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 Renaissance period female nude, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.