Raphael Sadeler II's engraving, “Seascape with Christ and his Disciples in the Storm on the Sea of ​​Galilee”, c1615

Raphael Sadeler II (1584 –1632)

“Seascape with Christ and his Disciples in the Storm on the Sea of ​​Galilee” (Rijksmuseum title [transl.]) (aka “Seascape with Christ walking on the Waters” [BM title]), c1615 (1599–1632), after Paul Bril (c1553/54–1626).

Engraving on fine laid paper trimmed along, or close to, the plate-mark and backed with a support sheet.

Size: (sheet) 20.1 x 27.4 cm; (image borderline) 19.3 x 27 cm

Inscribed on plate below the image borderline: (left) “P Bril inuentor”; (right) “Raphael Sadeler iun Scalpsit”

State i (of i)

Hollstein 50 (Dieuwke de Hoop Scheffer & K.G. Boon [eds.] 1980, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700”, vol. 21, Amsterdam, Van Gendt & Co, p. 278, cat.nr. 50).

The British Museum offers the following description of this print:

“Seascape with Christ walking on water in lower right, a ship on a choppy sea at left, St Peter walking towards Christ at centre, smaller boats and a city in background; after Paul Bril”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3097236&partId=1&searchText=Raphael+Sadeler+Bril&page=1)

See also the description of this print at the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.169175

Condition: crisp impression trimmed along—or close to—the plate-mark with small tears below the image borderline, a closed tear in the dark clouds (upper left) and a few handling marks, otherwise the sheet is in very good condition (i.e. there are no holes, folds, abrasions, significant stains or foxing), backed with a support sheet of archival (millennium quality) washi paper.

I am selling this luminous engraving portraying the moment when St Peter is distracted by an approaching storm and loses faith in Jesus’ instruction that he can walk on water and begins to sink into the sea, for AU$320 in total (currently US$243.76/EUR212.68/GBP188.04 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). (My apologies if my explanation of this scene is flawed and for those needing greater clarity about this biblical event, see Matthew 14:22–33.)

If you are interested in purchasing this remarkable engraving rendered with the theatrical drama of the period style known as Mannerism, 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

Jean Pierre Norblin de la Gourdaine’s etching, “Polish Charity”, c1774/89.

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

“Polish Charity” (MIA title) (aka “Woman gives a drink to the sick on bed”; “Sick Woodcutter”), c1774/89.

Etching on ivory China (wove) paper with small margins and backed with a support sheet.

Size: (sheet) 8.3 x 6.4 cm; (plate) 7.3 x 5.5 cm

State ii (of ii) The British Museum holds a first state impression before the darkening of the shadows; see: BM No. 1877,1013.711.

Hillemacher 1848 20 II (Frédéric Hillemacher 1848, “Catalogue des estampes qui composent l'oeuvre de J. P. Norblin”, Paris); Smolik 77; Francke 23.

The British Museum offers the following description of this print:

“Night scene with woman holding a burning torch and holding out a jug to a figure lying in a bed; second state, with additional work.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1533840&partId=1&searchText=1853,0312.282.&page=1)

See also the description of this print at the Minneapolis Institute of Art: https://collections.artsmia.org/art/105121/polish-charity-jean-pierre-norblin-de-la-gourdaine; and at the Rijksmuseum: http://hdl.handle.net/10934/RM0001.collect.158679

Condition: faultless impression of this miniature etching laid onto a support sheet of archival (millennium quality) washi paper. The upper right corner is slightly chipped , otherwise the sheet is in near pristine 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$262 (currently US$187.89/EUR165.08/GBP146.22 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

Gaston de Latenay's etching, “La Mer Sauvage”, c1890

Gaston de Latenay (1859–1943)

“La Mer Sauvage” (The wild sea) (aka “La côte rocheuse” [The rocky coast]), c1890 (see a very hesitant note about my attribution of this date below), hand-signed in pencil by the artist on the lower right in an edition of 50 impressions with an initialled inscription on the lower left. I believe that this impression is an artist’s proof before the editioned impressions as other copies of this print show the print number in the edition and the inscription at lower left (which I am unable to decipher) seems to be a note that the paper is old stock (“… papier ancien”).

Note: I have been unable to establish the exact date of this etching but the artist was executing similar prints towards the end of the 1800s and (to my eyes) this print exemplifies the fascination at the time with the rugged coastline of Belle-Île—a French island off the coast of Brittany—that was shared by John Russell, Claude Monet and Henri Matisse. Although I have not been able to determine whether the artist had visited the island I can see similarity in rock formations portrayed by these luminaries with those shown in this scene.

Etching and drypoint on fine ivory-coloured handmade paper (I am unable to see chainlines) with watermark, wide margins and backed with a support sheet.

Size: (sheet) 52 x 39.5 cm; (plate) 35.8 x 27 cm; (image borderline) 34.9 x 26.3 cm

Inscribed on plate at lower right corner: “G DE LATENAY”

Inscribed in pencil in margin below the platemark: (left) “… [Indecipherable text] papier ancien / GL”; (right) [artist’s signature]; (on lower edge of sheet at left) “La Mer Sauvage”

Condition: richly inked, near faultless impression with generous margins and signed in the plate and in pencil. The sheet is backed with a support sheet and is in very good condition for its age (i.e. there are no tears, holes, abrasions, significant stains or foxing); nevertheless, the margins show minor signs of handling (i.e. marks and light folds).

I am selling this large pencil-signed proof-state etching showing an equally grand vision of a rugged coastline with a churning wild sea, for AU$270 (currently US$194.54/EUR170.10/GBP151.46 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 visually arresting etching that has (to my eyes) clear connections with the Impressionist works of Claude Monet and John Russell when they worked together on Belle-Île, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Engraving from the circle of Jan Saenredam (in reverse of Saenredam’s composition), “Diana and a Wood Nymph”, c1650

(From the circle of) Jan Saenredam (aka Jan Pietersz Saenredam) (c1565–1607)

“Diana and a Wood Nymph” (Rijksmuseum title) (aka “Two Nymphs, One seen from the Rear, the Other Holding a Bow” [TIB title]) (Deux nymphes don’t l’une, placée à gauche …), c1650, copy in reverse after Jan Saenredam, after Hendrik Goltzius (aka Hendrick Goltzius) (1558–1617), first plate from the series of three plates with Latin captions, “Diana’s Nymphs” (TIB title).

Engraving on laid paper trimmed with thread margins around the platemark, backed with a support sheet

Size: (sheet/plate) 22 x 16 cm; (mage borderline) 20.8 x 15.7 cm.

Inscribed on plate within the image borderline: (lower right of centre) “HG. inu. I. Saenredam / sculp.”

Lettered below the image borderline: (left) “1’S’2” [?]; (centre) "Felices sÿlvæ nymphas spectare Dianæ".

Copy in reverse after Saenredam’s engraving: TIB Bartsch 4 (3). 59 (240) (Walter L Strauss [ed.] 1980, “The Illustrated Bartsch: Netherlandish Artists”, Abaris Books, New York, vol. 4, p. 37); Hollstein Dutch 80-3 (8) (GS Keyes & KG Boon [eds.] 1980, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700: Jan Saenredam to Roelandt Savery”, vol. 23, Amsterdam, Van Gendt & Co, p. 62, cat.no. 80).

Condition: crisp, well-inked and well-printed impression trimmed along the platemark and backed with a support sheet of archival (millennium quality) washi paper. The sheet is in excellent condition (i.e. there are no tears, holes, creases, abrasions or significant stains—but there are a few spots).

I am selling this engraving in reverse of Saenredam’s print (which in turn was a copy of Goltzius’ composition) for the total cost of AU$230 (currently US$165.30/EUR143.94/GBP128.74 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 finely rendered engraving (note in particular the subtle curving “flow” of vertical lines describing Diana’s body and the variety of marks used to portray the foliage), 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

John Crome's soft-ground etching, "Hoveton St. Peter", 1811–12

John Crome (1768–1821)

"Hoveton St. Peter", 1811–12, from the series of 31 etchings, “Etchings of Views in Norfolk” (aka “Norfolk Picturesque Scenery” [MMA title]), published before (or after?) the chine collê posthumous edition of 1834 (“to benefit his widow”, see MMA No. 26.72.223[26]) and/or 1838 (see BM No. 1868,0612.1823).

Soft-ground etching on wove paper with margins backed with a support sheet.

Size: (sheet) 23.4 × 30.3 cm; (plate) 16.8 × 24 cm

Signed on plate with etcher's initials in lower right corner: “JC”

State i (of i)

Goldberg 1978 240 (Norman L Goldberg 1978, “John Crome the Elder”, [2 vols.], New York, New York University Press, p. 285 [vol. 1], p. 164 [vol. 2]); Theobald 1906 30 (Henry Studdy Theobald 1906, “Crome's Etchings”, London, Macmilian); Goldberg 1978 242 (Norman L Goldberg 1978, “John Crome the Elder”, New York, New York University Press).

The British Museum offers the following description of this print:

“End of wood, with tall trees on r, fields and clouds beyond fence on l.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1519485&partId=1&searchText=Crome+hoveton&page=1)

See also the description of this print at the Metropolitan Museum of Art:

https://www.metmuseum.org/art/collection/search/720827

Condition: richly inked and well-printed crisp impression with generous margins backed with a support sheet of archival (millennium quality) washi paper. There are signs of handling in the margins (i.e. a flattened fold and tear at upper left corner and the platemark shows minor abrasions/staining), otherwise the sheet is in a very good condition.

I am selling this extremely rare and very beautiful etching, for AU$390 in total (currently US$281.53/EUR245.41/GBP219.30 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 major print in the oeuvre of one of the first English artists to value etching as a significant medium for portraying landscape and helped to pave the way for the Etching Revival, 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