Armand Mathey-Doret, “Portrait of Elena Grimaldi Cattaneo”, after Anthony van Dyck

Armand Mathey-Doret (aka Armand-Emile Mathey-Doret) (1853–1931)

“Portrait of Elena Grimaldi Cattaneo”, 1909, after Anthony van Dyck’s (aka Anthoni [Ridder] van Dijck; Antoon van Dijk; Anton van Dyck; Anthony van Dijck) (1599–1641) painting, “Marchesa Elena Grimaldi Cattaneo”, 1623 (see https://www.nga.gov/collection/art-object-page.1231.html), a pencil signed proof-state impression of a vignette wiped section of a larger etching published in London by Paul & Dominic Colnaghi & Co (1760–) (see https://mercand.it/acquistiamo_stampa-armand-mathey-dipinto-van-dyck-ritratto-incisione-elena-grimaldi-cattaneo_3382).

Etching with vignette wiped plate tone on buff coloured wove paper, pencil signed by the artist.

Size: (sheet) 35.1 x 27.6 cm.

Inscribed in plate along the upper edge: “Copyright 1909 by Messrs P & D.. Colnaghi & Co, 13 & 14, Pall Mall East, London I. W. and M[…] Knoedler & Co. [935 … Avenue] New York”.

Pencil signed by Armand Mathey-Doret at lower right. Note that there is a soft pencil inscription verso.

Regarding the inscribed details for the two publishers along the upper edge of the plate, the following insights about the two companies is interesting and may help to explain why this etching was executed: “In 1907, in partnership with P. Colnaghi & Co., Knoedler acquired seven portraits of the Cattaneo family by Anthony van Dyck, of which three now form part of the Widener Collection at the National Gallery of Art in Washington D.C. In 1911, the firm sold Vermeer's Officer and Laughing Girl to Henry Clay Frick. By the early 20th century, the Knoedler Gallery had become one of the main suppliers of old master paintings in the United States and would continue to serve as a major conduit for the acquisition of masterworks” (Online Archive of California: https://oac.cdlib.org/findaid/ark:/13030/c8sq91rk/entire_text/).

Condition: a strong impression creatively wiped to create a vignette image. Beyond minor surface marks, the sheet is in a good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this pencil signed artist’s proof that the artist has creatively wiped in the printing process to create a vignette portrait taken from a larger plate after a portrait by Van Dyck, for AU$293 (equivalent to approximately US$187.46, EUR 164.89, or GBP 140.78 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$293).

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

Charles Courtry, “L'Ecureuse”, 1876, after Jean Siméon Chardin

Charles Courtry (aka Charles Jean Louis Courtry) (1846–1897)

“L'Ecureuse” (aka “The Scullery Maid”; “The Cookmaid”), 1876, after Jean Siméon Chardin’s (aka Jean-Baptiste-Siméon Chardin) (1699–1779) painting, “The Scullery Maid”, c.1738 (see https://www.nga.gov/collection/art-object-page.110960.html), printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “Gazette des Beaux-Arts” (1st March, 1876) between pages 430 and 431.

Etching on fine laid paper with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 20.5 x 16.2 cm; (plate, soft impression) 16.8 x 13.4 cm; (image borderline) 13.3 x 11 cm.

Lettered in plate below the image borderline: (left) “CHARDIN PINX./ Gazette des Beaux-Arts.”; (centre) “L'ECUREUSE.”; (right) “CH. COURTRY SCULP./ Imp. A. Salmon, Paris.”

IFF 72 (Jean Adhémar 1949, “Inventaire du Fonds Français après 1800: Cidoine–Daumier”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 5, p. 280, cat. no. 72 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488526m/f292.image]).

Condition: a strong and well-printed (near faultless) impression with a small margin around the platemark and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent (near pristine) condition with no tears, holes, folds, abrasions or stains.

I am selling this finely executed etching after Jean Siméon Chardin’s famous painting, for AU$207 (equivalent to approximately US$132.68, EUR 116.95, or GBP 99.81 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$207).

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

Robert Preston, “Seated Figure, Life Class, 7th May 1966”

Robert Preston (Dr Robert Preston) (born Yorkshire 1942–)

“Seated Figure, Life Class, 7^th May 1966”, 1966, charcoal on buff coloured paper, backed with a support card.

Size: (support card) 35.4 x 25.6 cm; (sheet) 24.7 x 20.4 cm.

Signature in charcoal at lower right: “Preston.”

Inscribed by the artist in pencil on the backing card below the drawing: (left) “7^th May 1966.”; (right) “Life Class.”

Preston’s training, as revealed in this early life class charcoal drawing of a seated female figure, is explained very well in Preston’s following interview with Anneke Silver (1989): “I had an odd combination of teachers and lecturers in my foundation year [at the Camberwell School of Arts and Crafts, London] especially. One of the most significant influences on my drawing activities was Euan Uglow, one of the post-war generation Euston Road painters and a student of Sir William Coldstream and Victor Pasmore. Uglow introduced me to measured drawing a la Euston Road School, a particularly objective way of looking at reality” (“Robert Preston: Inner Visions: Observation, Abstraction and Imagination, 1955–2021”, 2021 (exh. cat.), Townsville, Perc Tucker Regional Gallery, p. 9).

Condition: There are losses/chips to the right edge, otherwise the sheet is in a good condition for its age with no tears, holes, folds, abrasions or significant stains.

I am selling this small and very beautiful charcoal drawing showing the artist’s exceptional sensitivity in establishing the figure’s spatial position within the room, for AU$720 (equivalent to approximately US$457.83, EUR 403.81, or GBP 345 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$720).

If you are interested in purchasing this very rare early life class drawing by one of Australia’s master artists, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Comte de Caylus, “Holy Family with St. John the Baptist”, c.1720–28, after Girolamo Mazzola Bedoli

Anne Claude Philippe de Tubières, Comte de Caylus (aka Caylus; Anne Claude de Caylus; Anne Claude de Pestels; Anne Claude Philippe de Thubiéres; Anne Claude Philippe de Tubières) (1692–1765)

“Holy Family with St. John the Baptist”, c.1720–28, a later 19^th century impression(?) with the additional plate number, “124”, inscribed at upper left, after a drawing by Girolamo Mazzola Bedoli (aka Girolamo Bedoli) (c.1505–c.1570), plate 124 (as inscribed in plate, previously 120) from the series, “Recueil de Dessins Gravés du Comte de Caylus”.

Etching with plate tone printed in brown ink on heavy wove paper.

Size: (sheet) 27.1 x 35.1 cm; (plate) 21.5 x 28.4 cm; (image borderline) 19.8 x 26.9 cm.

Inscribed in plate: (upper left) “124”; (lower left) “Girolamo Mazzola In”; (lower centre) “Cab. du Roy.”; (upper right) “120”; (lower right) “Cx Sculp”.

IFF 356 (Marcel Roux 1940, “Inventaire du Fonds Français, Graveurs du XVIIIe Siècle: CATHELIN-COCHIN Père (Charles-Nicolas)”, vol. 4, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 111, cat. no. 356 [see https://gallica.bnf.fr/ark:/12148/bpt6k5489575d/f115.image.r=111]).

See also the description of this print offered by the Metropolitan Museum of Art (MET): https://www.metmuseum.org/art/collection/search/385185.

Condition: a richly inked and well-printed (near faultless) impression with substantial margins. The sheet is in a near pristine condition with no tears, holes, abrasions or significant stains.

I am selling this very strong etching showing the Virgin on the left and Joseph on the right watching the infant Jesus embracing the infant, St. John the Baptist, for AU$297 (equivalent to approximately US$190.03, EUR 166.86, or GBP 142.84 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$297).

If you are interested in purchasing this animated scene of the Holy Family exemplifying the Mannerist spirit of the time in which Girolamo Mazzola Bedoli (the designer of the image) worked, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

William Unger, “Adam and Eve”, 1874, after Palma Vecchio

William Unger (aka Wilhelm Unger) (1837–1932)

“Adam and Eve”, 1874, after a painting by Palma Vecchio (aka Jacopo d'Antonio Negretti; Jacopo Palma) (c.1480–1528), printed by Alfred Cadart (1828–1875) and published in Paris in the art periodical, “Gazette des Beaux-Arts”, 1^st October, 1874, as plate 3 between pages 354 and 355.

Etching and drypoint on fine laid paper.

Size: (sheet) 26.2 x 18.4 cm; (soft platemark) 23.6 x ? cm; (image borderline) 17.6 x 13.2 cm.

Numbered in plate above the image borderline: (right) “3.”

Lettered in plate below the image borderline: (left) “Palma-vecchio pinxit./ Gazette des Beaux-Arts.”; (centre) “ADAM ET EVE.”; (right) “W. Unger sculpsit./ Imp. A. Cadart,Paris.”

Condition: a strong and well-printed (near faultless) impression with margins possibly as published. The sheet is in a near pristine condition with no tears, holes, abrasions or significant stains.

I am selling this exquisite etching, for AU$243 (equivalent to approximately US$157.75, EUR 136.66, or GBP 117.64 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$243).

If you are interested in purchasing this magnificent etching rendered with the most sensitive of modelling, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.