Gallery of prints for sale

Sunday, 16 December 2018

Crispijn de Passe the Elder’s engraving, “Nocturnal Serenade”, c1617, after Sebastiaan Vranckx


Crispijn de Passe I (aka Crispin Van de Passe; Crispin De Passe) (1564–1637)

“Nocturnal Serenade”. c1617, after Sebastiaan Vranckx (aka Sebastian Vrancx; Sebastiaan Franks; Sebastiaan Franck) (1573–1647), illustration (plate 10) to “Nieuwen ieucht spieghel” (New Mirror for Youth), published in 1617 (arguably by Jan Jansz.), p. 65. The Emblem Project Utrecht offers an online view of all the illustrations in this publication: http://emblems.let.uu.nl/nj1617_all_picturae.html; and details about this print: http://emblems.let.uu.nl/nj1617010.html.

Engraving with etching on fine laid paper, backed with a support sheet.
Size: (sheet) 15 x 21 cm; (plate) 9.7 x 14.2 cm; (image borderline) 8.6 x 13.9 cm
Lettered on plate below the image borderline in two lines of Latin text in two columns:
"Arreptis fidibus, noctu grassantur in vrbe,/ Facturi, socij, grata puella, tibi.// Offensi vigiles at membra ferocia mulctans/ Fustibus. I nunc, et disce manere domi.”
(Google transl. “Catching strings and violence in the city of night, / do, associates, dear girl, tibi.// offended members of the police but was checked mulctans / clubs. 1 now, and they learn to stay at home.”

Ilja M Veldman 2001, “Profit and pleasure: print books by Crispijn de Passe”, Rotterdam, Sounds & Vision, p. 165, n. 14, fig. 51
See also: M A Katritzky 2006, “The Art of Commedia: A Study in the Commedia Dell'Arte 1560-1620 with Special Reference to the Visual Records”, Amsterdam, Rodopi, p. 472.

Condition: crisp, well-inked and well-printed impression (undoubtedly a lifetime impression based on the strength of the printed lines and the still visible guidelines for the lettered text) backed with a support sheet of archival (millennium quality) washi paper. The sheet is in excellent condition (i.e. there are no tears, holes, folds—apart from a flattened fold of the lower right corner—abrasions, significant stains—there are a few dots—or foxing).

I am selling this small and rare emblem print showing the dual incursions to the peace at night of a musical serenade portrayed in the foreground and street violence portrayed in the distance, for AU$192 in total (currently US$137.95/EUR121.96/GBP109.58 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 fascinating engraving from the early 1600s incorporating small narratives within a bigger scene, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.


This print is reserved pending confirmation of its purchase










Saturday, 15 December 2018

Jean Pierre Norblin de la Gourdaine’s etching, “Bust of a Smiling Young Man”, 1776


Jean Pierre Norblin de la Gourdaine (aka Jean Pierre Norblin de la Gordaine) (1745–1830)

“Bust of a Smiling Young Man” (MIA title), 1776
Etching, drypoint and engraving on ivory Japanese (wove) paper with small margins (replenished lower right corner) and backed with a support sheet.

Size: (sheet) 4.9 x 3.8 cm; (plate) 3.9 x 2.7 cm
Signed and dated on plate at upper left.
State ii (The British Museum holds a first state impression before hatched tone was added to the upper corners: BM No. 1877,1013.721)

Hillemacher 1848 67.II (Frédéric Hillemacher 1848, “Catalogue des estampes qui composent l'oeuvre de J. P. Norblin”, Paris).

The British Museum offers the following description of this print:
“Bust of a bearded man, turned to left, with skullcap and curly hair; second state, with top corners cross-hatched.”
See also the description of this print at the Minneapolis Institute of Art: https://collections.artsmia.org/art/105190/bust-of-a-smiling-young-man-jean-pierre-norblin-de-la-gourdaine; and at the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.158726

Condition: faultless impression of this miniature etching laid onto a support sheet of archival (millennium quality) washi paper. The corner of the lower right margin is lost and has been replenished with watercolour on the support sheet; otherwise the sheet is in excellent condition (i.e. there are no tears, holes, folds, abrasions stains, foxing, or signs of use).

I am selling this tiny jewel of an etching by one of the most important artists of the Enlightenment in Poland for AU$256 (currently US$183.93/EUR162.62/GBP146.10 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 small masterwork from the 1700s following in the tradition of Rembrandt, 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








Friday, 14 December 2018

Adolphe Appian’s etching, “Marais de la Burbanche (Ain)”, 1868


Adolphe Appian (1818–1898)

“Marais de la Burbanche (Ain)”, 1868, published by Cadart & Luce (1867–1870/1) and printed by Auguste Delâtre (1822–1907).

There is a painting related to this print by Appian, “Temps gris, marais de la Burbanche” (“Gray weather, marsh of the Burbanche”) (see an image of this painting at henribidauld.com: http://www.henribidauld.com/wpimages/wp765ea859_06.png).

Etching with light plate tone on fine laid paper with watermark (“ARCHES”) and margins as published.
Size: (sheet) 22.7 x 31.7 cm; (plate) 13.5 x 23.5 cm; (image borderline) 10.3 x 19.4 cm.

Numbered on plate above the image borderline: (right corner) “36.”
Inscribed on plate within the image borderline: “APPIAN 1868”.
Letttered on plate below the image borderline: (left) “A. Appian sc.”; (centre) “MARAIS DE LA BURBANCHE (Ain)/ CADART & LUCE Editeurs Rue Nve des Mathurins 58.”; (right) “Imp.Delâtre, Paris.”

State ii (of iv)

Curtis & Prouté 1968 26.II (Atherton Curtis & Paul Prouté 1968, “Adolphe Appian, son oeuvre gravé et lithographié”, Paris, Paul Prouté, p. 26); Jennings 23; IFF Vol. 1, p.149 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris, 1930)

The British Museum offers the following description of this print:
“Landscape of a marsh, with two herons on an island at left; at right, the foot of a mountain; beyond at centre, a cluster of trees and shrubs, and at left, hills in the distance …”

Condition: richly inked and crisp impression with wide margins (as published). The sheet is in excellent condition (i.e. there are no tears, folds, holes, abrasions, significant stains—there is dot stain at left-of-centre above the platemark—or foxing).

I am selling this poetically haunting etching, typifying the best works of this famous artist closely connected to the Barbizon School, for the total cost of AU$192 (currently US$137.55/EUR121.71/GBP109.37 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested this delicate and romantically beautiful etching of a melancholic grey day, 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, 13 December 2018

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:

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)”

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








Wednesday, 12 December 2018

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”

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 18th 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.












Tuesday, 11 December 2018

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.”

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 …”

See also the description of this print at the Rijksmuseum:

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