Christoffel Jegher's woodcut, “Constantinus nobis Caesar”, c1645, after Hubert Goltzius

Christoffel Jegher (1596–1652/3)

“Constantinus nobis Caesar” (aka “Medallion with a portrait of Emperor Constantinus I”), c1645, after Hubert Goltzius (1526–1583), plate LX (60) from the series of 144 plates, "Icones imperatorum Romanorum", printed and published by Balthasar Moretus II (1615–1674) in Antwerp, p. 121.

Note: this publication may be viewed online or downloaded free-of-charge from archive.org:

https://archive.org/details/bub_gb_3zFOVWglsWIC/page/n139

For a detailed description of the evolution of this publication see the Curator of the British Museum’s account: https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3075466&partId=1&searchText=Goltzius+Herakles&view=list&page=1

Woodcut print from two blocks in black and ochre (with letterpress text verso) trimmed to the image borderline and backed with a support sheet.

Size: (sheet trimmed to the round image borderline) 17 cm (dia.)

Lettered on plate following the round image borderline: "CONSTANTIVS. NOB. CAES."

The British Museum offers the following description of this print:

“Portrait of Constantinus I, head in profile to the right, bearded, wearing laurel crown; illustration LX to Hubert Goltzius's 'Icones Imperatorum Romanorum' (Antwerp: 1645)”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3750529&partId=1&searchText=Balthasar+Moretus+(II)&page=1)

Condition: Superb, strong impression, trimmed to the circumference of the plate mark in excellent/museum-quality condition (i.e. there are no tears, folds, holes, abrasions, stains or foxing) with printed text verso. The sheet is backed with a support sheet of archival (millennium quality) washi paper.

I am selling this exceptionally well-preserved (museum quality) and rare chiaroscuro woodcut print for the total cost of AU$210 (currently US$151.93/EUR133.45/GBP119.97at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this exceptionally fine example of a woodcut printed from two blocks, 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

Martin Elias Ridinger’s etching, “Hunter in the Winter”, 1745–60

Martin Elias Ridinger (1730–1780)

“Venator hieme obdurans et rigidus” (transl. “Hunter and a harsh winter hardens”) (aka “Der im Winter ausdaurende verwegne Jäger”; “Hunter in the winter with killed stag and bear”), 1745–60, from the series of four oval plates, “Die vier Jahreszeiten des Jaegers” (transl. “Four seasons of Hunters”), after Martin Ridinger’s father, Johann Elias Ridinger (1698–1767), published by Johann Elias Ridinger in Augsburg.

Note: although this print is a part of the series of four oval plates focused on the seasons, Thienemann (1856) advises that it is a part of a larger series of twenty-five plates and a title plate (p. 34).

Etching on laid paper with small margins backed with a support sheet.

Size: (sheet) 39.4 x 30cm; (plate [BM measurements]) 37.8 x 27.8 cm; (image borderline) 33 x 26.3 cm.

Lettered on plate below the image borderline with German and Latin titles and with four lines of verse in each language.

Inscribed on plate below the lettered text: (left) “Joh. El. Ridinger inv. del. et exc. Aug. Vind.”; (right) “Mart. El. Ridinger sculps.”

Thienemann 1856 112 (4) (Georg Aug. Thienemann 1856, “Leben und Wirken des ... Thiermalers und Kupferstechers Johann Elias Ridinger ….”, Rudolph Weigel, Leipzig, pp. 33–4).

(Note: this catalogue may be viewed online or downloaded free-of-charge at archive.org: https://archive.org/details/lebenundwirkende00thie/page/32

The British Museum offers the following description of this print:

“A hunter seated in front of his make-shift tent in a forest, surrounded by his dogs; at left various killed animals, including a bear and a lynx; from a series of four oval illustrations of the seasons on hatched ground. Etching”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1599890&partId=1&searchText=Martin+Elias+Ridinger+&page=1)

Condition: crisp and richly inked early impression in excellent condition for its age (i.e. there are no tears, holes, folds, abrasions or stains—beyond light age-toning at the edges of the margins—or foxing). The sheet has small margins and is backed with a support sheet of archival (millennium quality) washi paper.

I am selling this graphically strong etching showing the Spartan life and rewards of an 18^th century hunter in winter, for the total cost of AU$270 (currently US$194.69/EUR171.82/GBP155.31 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this exceptionally fine masterwork of etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jacques Callot's etching, “The Nailing to the Cross”, c1619

Jacques Callot (1592–1635) (as inscribed on plate)

also attributed (by Mariette) to Israel Silvestre (aka Israel Sylvestre) (1621–1691)

“The Nailing to the Cross” (NGA title), c1619–24, from the series of seven plates, “La Grande Passion”.

Note: the curator of the British Museum offers the following insights about the series, “La Grande Passion”, in which this print features:

“The compositions were probably designed in Florence and engraved over several years, from 1619 to 1624, with the likely help of his workshop on some of the plates.

The set was meant to include more than just seven plates: there are 13 preparatory drawings, plus the Last Supper, which has been engraved but for which no sketch has been found.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1560019&partId=1&searchText=1861%2c0713.40&page=1)

Etching with engraving on fine laid paper trimmed at the image borderline and backed on a support sheet.

Size: (sheet trimmed with thread margins around the image borderline) 10.2 x 22.1 cm

Inscribed on plate at lower right corner: “Callot In”

I am unable to determine the state of this print beyond being a lifetime impression (based on the crisp quality of the line showing no sign of wear to the plate), because the text lines of the first state and the plate number “7” of the second state have been trimmed off. Nevertheless, the retention of the horizontal lines in the sky at the upper right corner suggest that this impression is from the first state as these lines are not strong in the second state (based on comparision with the second state impression held by the BM [see No. 1872,1012.3456]).

Meaume 1860 17 (Édouard Meaume 1860, “Recherches sur la vie et les ouvrages de Jacques Callot”, Paris); Lieure 1927 287 (Jules Lieure 1924–7, “Jacques Callot, catalogue de son oeuvre gravé', Editions de la Gazette des Beaux-Arts, Paris).

The British Museum offers the following description of this print:

“Crucifixion: two men nailing Christ on the cross and three others digging a hole for the cross; many figures attending the scene …”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1560116&partId=1&searchText=callot+crucifixion&page=1)

See also the description of this print at the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.40072

Condition: richly inked and well-printed early impression, trimmed with thread margins around the image borderline and backed with a support sheet of archival (millennium quality) washi paper. The sheet has numerous restored losses that are virtually invisible.

I am selling this visually arresting view of the crucifixion hallmarked with Callot’s interest in panaoramically long formats and executed with his famous etching needle that he developed called the “échoppe” allowing him to make swelling lines, for AU$310 (currently US$223.20/EUR196.08/GBP176.92 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 strong impression of a very rare print, 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

Nicolo Billy’s engraving, “Statue of Bacchus in a landscape with devotional offerings”, c1762

Nicolo Billy (aka Nicolaus Billy) (fl.1762–early 1800s)

“Statue of Bacchus in a landscape with devotional offerings” (descriptive title only), c 1762, after the design by Giovanni Elia Morghen (1721–1789), after an ancient Roman fresco excavated at Herculaneum, plate 28 (“Tavola XXVIII”) illustration to “Le pitture antiche d'Ercolano e contorni incise con qualche spiegazione”, 1762, vol. 3, Regia Stamperia, Naples, p. 191.

Note: this publication may be viewed online or download free-of-charge at archive.org:

https://archive.org/details/A216168/page/n213  

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Somewhat surprising regarding Nicolo Billy’s skill showcased in this amazing engraving, the famous 18^th century commentator on culture (viz. dress, sports, pastimes and habits) and biographer of early engravers—as well as being an engraver himself—Joseph Strutt (1749–1802) in “A Biographical Dictionary” (1785) offers the following shocking personal critical assessment:

“His works [Nicolo Billy’s] are … by no means excellent. He appears to me [Strutt] to have chiefly executed his plates with the graver, in a stiff style, without much taste.” (p. 93).

Heavens to Betsy! Strutt clearly didn’t see this sensitively executed engraving!

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Etching and engraving on laid paper with margins and backed with a support sheet.

Size: (sheet) 42.4 x 31.3 cm; (plate) 34.8 x 25.2 cm; (outer image borderline) 33.1 x 24.5 cm

Inscribed on plate above the image borderline: (right) “Pag.191.”

Lettered on plate below the image borderline: (left) “Gio: Morg: Reg: dis.”; (centre) “due Palmi Napoletani / e due Palmi Romani”; (right) “Nico: Billy: Reg Sculp”.

Condition: richly inked, crisp and early impression (based on the guide lines for the lettered text being still evident), backed on support sheet of archival (millennium quality) washi paper. The sheet is in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing) but there are light pencil notations in the margins at the upper right corner and there are faded ink written notes by an old hand below the image borderline.

I am selling this exquisitely delicate engraving (with etching) reproducing an ancient Roman fresco buried for centuries following the eruption of Mount Vesuvius, for AU$162 (currently US$116.87/EUR102.20/GBP91.79 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 acquiring this extraordinary engraving with surreal imagery executed at the time when the great Piranesi was etching his very different prints of Roman ruins and antiquities, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Francis Seymour Haden’s etchings, “The Two Asses” and “Dundrum River”, 1863

Francis Seymour Haden (1818–1910)

Two plates created from the division of a single composition

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(LEFT) “The Two Asses”, 1863, published in “Fine Arts Quarterly Review” (1867), printed by Frederick Goulding for the firm Day and Son.

Etching on heavy cream wove paper with wide margins (as published).

Size: (sheet) 26.9 x 17.6 cm; (plate) 15.3 x 8.6 cm

State ii (of ii) with the inscription added:

“This plate is a part of the square one wh [which?] follows it. Both were drawn under the mordant and afterwards cut. The balance wd [would?] have been better preserved if the division had not been made, and if this white space had been filled in with strong work as intended. S.H.”

Schneiderman 1983 46.A.II; Harrington 1910 50.II

See the British Museum’s description of this print:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1565092&partId=1&searchText=haden+asses&page=1

Condition: richly inked and faultless impression in pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of use) with wide margins as published.

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(RIGHT) “Dundrum River, 1863, published in “Etchings for the Art Union of London by The Etching Club” (1872)

Etching on heavy white wove paper with wide margins.

Size: (sheet) 24 x 21.4 cm; (plate) 15.2 x 14 cm

State iv (of iv) with the inscriptions: (upper left corner) “Seymour Haden”; (lower centre) “A river’s bank”.

Note this state still partly reveals the burnished inscription from the first state at upper left corner: ”Done under the acid without additional work”

Schneiderman 1983 46.B.IV; Harrington 1910 49.II

See the British Museum’s description of this print:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1565105&partId=1&searchText=haden+Dundrum&page=1

Condition: richly inked and faultless impression in near pristine condition.

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I am selling this pair of related etchings in remarkably fine condition for AU$420 in total (currently US$302.53/EUR265.71/GBP237.48 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 these etchings by one of the important luminaries of British printmaking, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

These print have been sold