Frédéric Jacque’s etching, “La Veillée à Barbizon”, 1880

Frédéric Jacque (1859-1931)

“La Veillée à Barbizon” (The evening activities [vigil] at Barbizon), 1880, printed by G Malthe (fl.1850–1900) and published in 1891 in an edition of 550 impressions by A Ferroud and Benezit-Constant in Paris, and Harry C Dickens in London as plate 8 (of 17) to “Le livre D’Or de J.-F. Millet par un Ancien Ami”.

Note: someday soon I may be able to offer an intact copy of this publication as my records show that I have a copy bound in leather and numbered 403 in the edition of 550 with a handwritten note (untranslated). At present, however, the book is hiding somewhere on my bookshelves waiting to be discovered.

Etching with dot roulette and plate tone on watermarked cream (Hollande teinté) laid paper.

Size: (sheet) 32.6 x 22.9 cm; (plate) 20.7 x 15.4 cm; (image borderline) 19 x 14.2 cm.

Lettered on plate below the image borderline: (left) “F. Jacque, inv. & sc.”; (centre) “LA VEILLÉE À BARBIZON”; (right) “G. Malthe, imp.”

Condition: a richly inked, faultless impression in near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this Rembrandtesque masterwork of etching by Charles Jaque’s son, showing a rural house at night illuminated by the light from a window and by a lamp carried by a woman and her child about to ascend an exterior staircase, for a total cost of AU$203 (currently US$157.24/EUR130.92/GBP113.29 at the time of this listing) 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 poetically beautiful etching executed at the height of the Etching Revival period—note the artist’s clear joy in portraying features of the scene that are in almost complete darkness—and at a time when artists were increasingly becoming fascinated by the effects of light, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Rodolphe Piguet’s drypoint, “A Woman with a Child Carrying a Large Parcel on a Wet Street”, c1885

Rodolphe Piguet (aka Rodolphe Piquet) (1840-1915)

“A Woman with a Child Carrying a Large Parcel on a Wet Street” (descriptive title only), c1885, signed on the plate by the artist.

Drypoint on cream laid paper trimmed along the platemark and backed with a support sheet.

Size: (sheet) 10.2 x 12.8 cm.

Inscribed on plate: (lower right of centre) “R Piguet”.

Condition: a richly inked and well-printed impression, trimmed along the platemark and laid onto a support of fibred washi paper laid onto an additional sheet of archival (millennium quality) washi paper. The sheet is in a good condition with no tears, holes, folds, abrasions, significant stains or foxing, but there is a slight dustiness to the surface.

I am selling this small but exceptionally beautiful drypoint by an artist known for the technical brilliance of his drypoint prints for a total cost of AU$198 (currently US$153.38/EUR127.19/GBP109.84 at the time of this listing) 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 tiny drypoint masterwork capturing not only the icy chill of being out on the street in inclement weather, but also the awkwardness of the young girl shown in the foreground as she “battles” with a large parcel that partly obscures her view and the height of Belle Époque fashion shown by the grand hat and fur worn by her very attractive mother, 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 Kip’s double-sided sheet of engravings illustrating Genesis, 1688, after G Freman

Jan Kip (aka Johannes Kip: John Kip) (1652/3–1722)

Double-sided sheet of engravings: “Plate 1: The Creation of ye World, or the six days worke” and “Plate 2: The Creation of Adam”, 1688, after the design by G Freman (aka G Freeman) (fl.1688–1690), published in London by Richard Blome (1635–c1705) and printed by Samuel Roycroft (fl.1665–1690) in John Coughern’s translation of Nicolas Fonatine’s (1625–1709) “The History of the Old Testament” (1688-1690) (see https://www.britishmuseum.org/collection/object/P_1931-0826-2-17).

Engravings on laid paper trimmed unevenly with narrow margins.

Size: (sheet) 33.7 x 21.3 cm; (plate 1 outer image borderline) 32.5 x 19 cm; (plate 2 outer image borderline) 32.8 x 19.7 cm.

Plate 1

Inscribed on plate: (in sky at upper centre) “Fiat Lux” (transl. “Let there be light”); (within the image borderline along lower edge) “G. Freman delin: […] J Kip. Sculp:”; (below the image borderline) “(1) The Creation of ye World, or the six days worke. [ …] Genesis 1.”

Plate 2

Inscribed on plate: (banderole the royal coat of arms at centre held by two putti) “To her Sacred […] Majesty Mary/ by the Grace of God […] Queen of England/ Scotland, France […] and Ireland […]/ This Plate in all […] humility is humbly/ dedicated by yo […]. Ma.tys / most obedient/ Subject Richard Blome.”; (within the image borderline along lower edge) “G. Freman delin: […] J Kip. Sculp”; (below the image borderline) “2) […] The Creation of Adam. [ …] Genesis 1.”

Condition: strong impressions on both sides of the sheet showing no sign of wear to the printing plates, trimmed slightly unevenly around the platemarks of both engravings with small margins around the image borderlines. The sheet is in excellent condition with no tears, folds, holes, abrasions, significant stains, foxing or signs of handling.

I am selling this superb double-sided sheet of two engravings that are the first plates for an illustrated account of the Old Testament, for AU$284 (currently US$218.92/EUR181.11/GBP157.24 at the time of this listing) 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 very rare sheet of engravings from the late 1600s, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This page of prints has been sold

Orazio Borgianni’s etching, “David Killing Goliath”, 1615

Orazio Borgianni (aka Orazio Borgiani) (c1578–1616)

“David Killing Goliath” (TIB title) (aka “David tue le géant Goliath”; “David Beheads Goliath”), 1615 (inscribed on plate), plate 42 from the series of 52 etchings after Raphael (1483–1520), “The Loggia Paintings” (TIB title) in the Vatican.

Etching on fine laid paper, trimmed around the plate mark with a thread margin and backed with a support sheet.

Size: (sheet) 16.5 x 19.5 cm.

Inscribed on plate within the image borderline: (lower-right corner) “1615 / [ligature monogram of artist]”

Numbered on plate: (lower-left corner) “42”.

State i (of i)

TIB 38 (17).42(319) (Walter L Strauss [ed.] 1979, “The Illustrated Bartsch”, vol. 38, New York, Abaris Books, p. 401, cat. no. 42 [319]); Bartsch XVII.319.42 (Adam Bartsch 1803–21, “Le Peintre graveur”, vol. 17, p. 319, cat. no. 42).

The Rijksmuseum offers the following description of this print:

(transl.) “Goliath is on the ground. David stands over him and lifts Goliath's sword over his head, ready to decapitate him. On the left, the Philistines flee, while Saul's soldiers give chase”

(http://hdl.handle.net/10934/RM0001.COLLECT.85394).

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

https://www.britishmuseum.org/collection/object/P_1893-1018-19-38.

Condition: a strong impression showing a slight movement in the printing process trimmed around the platemark and laid onto an archival support sheet of millennium quality washi paper. The sheet has restoration to the lower left corner, otherwise it is in an excellent condition for its considerable age.

I am selling this superb etching executed in the last year of the artist’s life and based on the design of the legendary Raphael who had passed away only 95 years before this print was created, for AU$257 (currently US$199.37/EUR164.50/GBP143.10 at the time of this listing) 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 rare and very interesting Renaissance period print—note the artist’s somewhat crude attempt to create the illusion that the image is edged with a window-box frame by portraying light cast on it from the upper right—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

Franz Joachim Beich’s etching, “Two Fishermen on the Bank of a Stream”, c1712

Franz Joachim Beich (aka Joachim Franz Beich) (1665–1748)

“Two Fishermen on the Bank of a Stream”, c1712 (1700–1724), plate 4 from a series of six landscape etchings in the manner of Salvator Rosa (1615–1673), published in Augsburg by Jeremias Wolff (1663–1724).

Etching on laid paper trimmed with a narrow margin around the image borderline and backed with a support sheet.

Size: (sheet) 23.4 x 14.6 cm; (image borderline) 23.1 x 14.2 cm.

Inscribed on plate at lower right corner with ligature monogram within the image borderline: “FB fecit.”

State ii (of iv) note that the upper tip of the number “4” (signifying state iii) is not visible in this impression.

Nagler/Meyer 1 ii (Julius Meyer 1872–85, “Allgemeines Künstler-Lexicon” [2nd revised edition of Nagler's Artist Lexicon], vol. 3, p. 338, cat. no. 1); Andresen 1 ii (Andreas Andresen 1864–78, “Der Deutsche Peintre-Graveur ... von dem letzten Drittel des 16 Jahrhunderts bis zum Schluss des 18 Jahrhunderts”, Leipzig, cat. no. 1).

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_Sheepshanks-7285.
See also the description offered by the Rijksmuseum (not reproduced): http://hdl.handle.net/10934/RM0001.COLLECT.76521.

Condition: a richly inked and well-printed lifetime impression, trimmed with a narrow margin around the image borderline and laid upon a support sheet of archival (millennium quality) washi paper. There is a dot stain at the upper right otherwise the sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this remarkably romantic etching with its stylistic lean towards the Baroque Italianate landscapes of Salvator Rosa, for the total cost of AU$243 (currently US$190.36/EUR156.53/GBP136.56 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 marvellous landscape executed with great spirit, 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