Gallery of prints for sale

Wednesday, 29 June 2022

Gabriel Perelle’s etchings, “Plate 119” & “Plate 120”, c1657



Gabriel Perelle (aka Gabriel Perrelle) (1604–1677) / Nicolas Perelle (1631–c1695) / Adam Perelle (1640–1695)

Note that the attribution of this print to Gabriel Perelle, rather than to his sons (Nicolas and Adam), follows the convention of the British Museum in that prints inscribed with the name, “Perelle,” are catalogued under the father’s name, “Gabriel Perelle” (see https://www.britishmuseum.org/collection/term/BIOG41615).

(Upper) “Plate 119” (aka “Figuren op pad richting ruïnes”; “Figures on their Way to Ruins”, c1657 (1613–1695), initially published in Paris by Pierre Mariette I (c1603–1657) and/or Pierre Mariette II (1634–1716) (see the description of this print and its publication details offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.161956).

(Lower) “Plate 120” (aka “Landschap met figuur op lastdier”; “Landscape with figure on beast of burden”, c1657 (1613–1695), initially published in Paris by Pierre Mariette I and/or Pierre Mariette II (see the description of this print and its publication details offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.161955).

Note that the attribution date (1657) for both prints is based on the date of death (1657) of the publisher, Pierre Mariette I (c1603–1657), but see also the dates of attribution for both prints proposed by the Rijksmuseum (1613–1695).

Etchings on fine wove (China?) paper trimmed with small margins around the plate marks and laid onto separate support sheets.

Size of upper etching: (sheet) 16.3 x 23.3 cm; (plate) 15.3 x 22.1 cm; (image borderline) 13.9 x 21.4 cm.

Size of lower etching: (sheet) 16.8 x 24.2 cm; (plate) 14.6 x 22.3 cm; (image borderline) 13.1 x 21.5 cm.

Upper plate numbered in plate below the image borderline: (right) “119”.

Lower plate lettered and numbered in plate below the image borderline: (left) “Perelle fe.”; (right) “120”.

Condition: strong and well-printed impressions showing no signs of wear to the printing plates, with small margins around the platemarks and laid upon separate archival support sheets of millennium quality washi paper. Both sheets are in an excellent condition with no tears, holes, folds, stains, foxing or signs of handling.

I am selling this pair of finely executed (almost jewel-like) landscape etchings from the 1600s for the total price of AU$400 for the pair (currently US$276.34/EUR262.33/GBP226.37 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 pair of highly detailed panoramic landscapes capturing the warm sparkling light and clean air of the rural countryside in the 17th century, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.








Tuesday, 28 June 2022

Elisabeth Brinclaire’s crayon manner etching, “Ceiling Between Columns at the Temple of Jupiter in Rome”, c1780


Elisabeth Brinclaire (aka Elisabeth Brainclaire) (born 1751–?)

“Ceiling Between Columns at the Temple of Jupiter in Rome” (aka “Plafond d'Entre-Colonnenment au Temple de Jupiter Tonnant”), c1780 (1778–1782), plate 14 from the series, “Huitième Cahier du Recueil d'Ornemens”, after the design by monogrammist R. L. (possibly Richard de Lalonde [fl.1780–90]), published in Paris by Jacques François Chereau (1742–1794).

The Metropolitan Museum of Art offers a description of this print and the series in which it features: https://www.metmuseum.org/art/collection/search/712238?sortBy=Relevance&ft=Elisabeth+Brinclaire&offset=0&rpp=40&pos=11.

See also the online view of this and the other prints in the series offered by Bibliothèque numérique de l'INHA: https://bibliotheque-numerique.inha.fr/viewer/19655/?offset=#page=18&viewer=picture&o=bookmark&n=0&q=.

Soft-ground etching with roulette in the crayon manner printed in sanguine coloured ink on laid paper with narrow margins around the image borderline and backed with a support sheet.

Size: (support sheet) 49.8 x 64.1 cm; (sheet) 41 x 54.9 cm; (image borderline) 39.5 x 54 cm.

Lettered in plate above the image borderline: (centre) “Plafond d'Entre-Colonnenment au Temple de Jupiter Tonnant.”

Lettered in plate below the image borderline: (left) “R. L . Del.”; (right) “Gravé par Mlle. Brinclaire”.

SKB 509 and p. 649.509 (R.L., incomplete); Jessen 309 (R.L., only 1 plate); Guilmard 263.110 (R.L., incomplete); Foulc 327 (R.L., 12 cahiers).

Condition: a strong and well-printed impression trimmed with a small margin around the image borderline and laid upon a support of archival (millennium quality) washi paper providing wide margins. The sheet has light pencil notations and grid lines (possibly a past collector drew up a grid to copy the design). There is also a flattened centre-fold and the lower left corner is chipped with loss of the corner margin. Beyond these issues, the sheet is in a good condition for its large size and age.

I am selling this rare, large and very beautiful soft-ground etching by one of the few documented female printmakers from the 1700s, for AU$472 (currently US$328.48/EUR309.99/GBP267.33 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 of an ornament feature in the Temple of Jupiter Tonans on the Capitoline Hill, Rome, 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









Monday, 27 June 2022

Ian Strang’s etching, “Puente Nuevo Rondo, Spain”, 1923


Ian Strang (1886–1952)

“Puente Nuevo Rondo, Spain”, 1923, possibly from a posthumous edition with the ink estate stamp at lower left and numbered in pencil 1/10 at lower right. Note that I have seen another copy of this print also bearing the estate stamp showing an edition numbered with 40 impressions suggesting that there is an inconsistency in the numbering or that there may have been more than one edition.

Etching on heavy wove paper with the ink-stamp of the estate at lower left and numbered in pencil “1/10” at lower right.

Size: (sheet) 32.9 x 28 cm; (plate) 25 x 22.3 cm.

The British Museum offers the following description of this print: “View from below of stone bridge built across ravine, town on cliff to right. 1923/ Etching” (https://www.britishmuseum.org/collection/object/P_1960-0409-516).

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

I am selling this very fine etching showing the artist’s remarkably consistent style where surfaces in strong light are rendered with vertical strokes and areas in shadow are hatched with largely horizontal strokes, for AU$352 (currently US$243.84/EUR230.84/GBP198.72 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 meticulously fine rendering of the Puente Nuevo bridge spanning the rock faces of the El Tajo gorge that divides the city of Ronda in Spain’s Malaga province, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Saturday, 25 June 2022

Alfred Prunaire’s coloured wood engraving, “The Print Collector”, c1880, after Honoré Daumier


Alfred Prunaire (aka Alphonse Alfred Prunaire; Léon-Alphonse-Alfred Prunaire) (1837–1912)

“The Print Collector” (aka “L'Amateur d'Estampes”), c1880 (1860–1902), hand-coloured wood-engraving after Honoré Daumier’s (1808–1879) famous painting “L'Amateur d'Estampes”, c1860, in the Petit Palais, musée des Beaux-arts de la Ville de Paris (inv. no. PPP39).

Wood engraving with hand-colouring on China paper with small margins around the image borderline and backed with a support sheet.

Size: (support sheet) 41.7 x 35.7 cm; (sheet) 32 x 26.1 cm; (image borderline) 29.8 x 23.9  cm.

Signed in plate at lower right corner: “h. Daumier”.

Paris Musées offer the following description of the portrayed scene and insights regarding its background:

(Transl.) “In a shop whose walls are covered with works, a man wearing a top hat bends down to consult prints contained in a portfolio of drawings placed on a board. A rolled up newspaper sticks out of his left pocket.

The theme of the print lover, dealt with on several occasions by Daumier, illustrates the emergence, in Balzac's France, of a new type of collector from the petty bourgeoisie. The founding of the Société des aquafortistes in 1861 corresponded to a renewed interest in original prints, which were more accessible than paintings to amateurs with modest incomes” (https://www.parismuseescollections.paris.fr/en/node/226665#infos-secondaires-suggestions-meme-siecle).

See also the descriptions of this print offered by the Rijksmuseum and the British Museum: http://hdl.handle.net/10934/RM0001.COLLECT.623969;  https://www.britishmuseum.org/collection/object/P_1906-0418-2.

Condition: a strong and near faultless impression with small margins in an excellent condition with no tears, holes, folds, abrasions, stains or foxing and laid upon a support of archival (millennium quality) washi paper providing wide margins.

I am selling this luminously beautiful and large wood engraving after Daumier’s famous—possibly even iconic—painting, exemplifying the surge of interest in prints in France during the late nineteenth century, for AU$259 (currently US$180.05/EUR170.52/GBP146.74 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 capturing the spirit of a passionate print collector—note the roll of paper in the collector’s pocket which is possibly his newly acquired prints rather than his newspaper—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 









Claude Lorrain’s etching, “Coast Scene with an Artist”, c1638–41


Claude Lorrain (aka Claude Gellée, Claude; Claude Le Lorrain; Claudio di Lorena) (1600–1682)

“Coast Scene with an Artist” (aka “Le Dessinateur”), c1638/39–41. This impression is from McCreery’s 1816 edition of “200 Etchings” printed from the original plate.

Etching on wove paper, trimmed with a narrow margin around the image borderline and with a section of an engraving from the 1784 Paris edition of “Stirpes Novae” (documented as a feature of the state v impressions; see Mannocci [1988] p. 28).

Size: (sheet) 13 x 17.9 cm; (image borderline) 12.5 x 17.5 cm.

State v (of v)

Mannocci 35 (Lino Mannocci 1988, “The Etchings of Claude Lorrain”, New Haven, Yale University Press, pp. 217–223, cat. no. 35, fifth state); Blum 14; Robert-Dumesnil 9; Duplessis 9; Russell 45.

The British Museum offers the following description of this print: “Coast scene with an artist; an artist sitting and drawing near a bridge crossed by a woman riding a donkey; fortified city and ships in the background. c.1638/41/ Etching” (https://www.britishmuseum.org/collection/object/P_1868-0822-902).

Regarding the subject portrayed in this print, H Dianne Russell in “Claude Lorrain 1600–1682 (1982, National Gallery of Art, Washington, Exh. cat.) offers the following insights: “This etching reproduces in reverse a painting by Claude, LV 44, signed and dated 1639 and now in the Cincinnati Art Museum […]. The print probably dates from the same year. The motif of an artist drawing out-of-doors is found in several of Claude’s paintings, a number of drawings, and another etching, […’Landscape with Artist Drawing’]. The earliest known example is a drawing depicting an artist sitting in front of a sculpture and sketching it […]. Sandrart recorded that Claude himself frequently drew out-of-doors” (p. 394).

Condition: a richly inked and well-printed impression trimmed with a narrow margin around the image borderline in an excellent/near pristine condition with no tears, folds, holes, abrasions, significant stains, foxing or signs of handling. Note that the verso shows a section of an engraving from the 1784 Paris edition of “Stirpes Novae” (documented as a feature of the state v impressions).

I am selling this curiously interesting etching by the one of the most famous artists of the 17th century, featuring an artist at work—mindful that Lino Mannocci (1988) advises: “The theme of the artist drawing from nature recurs frequently in Claude’s work” (p. 223)—for the total cost of AU$398 (currently US$276.68/EUR262.04/GBP225.49 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 superb impression of a very beautiful etching with the verso showing a fragment of an engraving from the 1784 Paris edition of “Stirpes Novae” (as discussed by Mannocci [1988] p. 28 and by H Diane Russell [1982] in “Claude Lorrain 1600–1682”, p. 300), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.