Monday, 24 October 2016
H. v. Hirt (19th century illustrator/lithographer)
“Plate 215: Caterpillar Muscles”, c.1830, from Georg August Goldfuss’ (1782–1848) “Naturhistorischer Atlas …” (Naturalist Atlas), published 1824–42, Duesseldorf.
Lithograph in black ink on wove paper (vellin) watermarked “J Whatman”
Size: (sheet) 46.2 x 58.6 cm
Lettered in the plate: (upper left) “CL. VI. INSECTA. / ll ANATOM.”; (upper right) “215.”; (lower centre) “Muskeln der Weidenraupe.”; annotated with letters, numerals and symbols within and alongside the three images.
For a slightly different version of this lithograph published by Goldfuss, see the impression at the The Prints Collector: http://www.theprintscollector.com/Article/Antique-Print-CATERPILLAR-MUSCLES-Goldfuss-1824
Condition: crisp impression in very good condition but with a few signs of use (i.e. light dustiness and minor marks).
I am selling this huge 19th century lithograph illustrating the musculature of caterpillars for the total cost of AU$92 (currently US$70.23/EUR64.49/GBP57.36 at the time of this listing) including postage and handling to anywhere in the world. If you are interested in purchasing this amazing curiosity of a print, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make your payment easy.
Collectors often purchase the most bizarre subjects and this 19th century lithograph of a caterpillar’s muscles should win a prize for being an extremely curious subject. I guess I should have known that caterpillars had muscles but the idea never seemed to dawn upon me until I saw this print.
Sunday, 23 October 2016
Charles Meryon (1821–68)
“Bain-froid Chevrier” (Chevrier's cold bath establishment) / “L'école” (The school baths), 1864, printed by Pierron (1849–66; fl.)
Etching on fine cream laid paper with large margins as published.
Size: (sheet) 40.7 x 29.7 cm; (plate) 13.8 x 15.2 cm; (image borderline) 11.5 x 13.1 cm
Signed with monogram within image and lettered with title caption and production detail below: "PARIS MDCCCLXIV" and "Pierron Imp. Paris"
State VI (of VI)
The British Museum offers the following description of this print:
“Elevated view over the river Seine with the Pont Neuf at left, the statue of Henri IV on the île de la Cité in centre, bath-house at right, a flag seen on the roof; with figures seen walking across plank bridge above boats at left. 1864 Etching with light surface tone, printed in dark brown ink.” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1444806&partId=1&searchText=1866%2c1013.594&page=1)
Delteil+Wright 44.VI (Delteil, Loys; Wright, Harold, “Catalogue raisonné of the etchings of Charles Meryon”, New York, Winfred Porter Truesdell, 1924); Schneiderman 1990 93.V (Schneiderman, Richard S; Raysor II, Frank W, “The Catalogue Raisonné of the Prints of Charles Meryon”, London, Garton & Co, in association with Scolar Press, 1990)
Condition: faultless impression in near pristine condition (i.e. there are no tears, abrasions, holes, stains or foxing but there is a light fold to the paper at the lower-left corner).
I am selling this marvellous impression by one of the greatest French printmakers of the 19th century for the total cost of AU$387 (currently US$294.39/EUR270.75/GBP240.79 at the time of this listing) including postage and handling to anywhere in the world. If you are interested in purchasing is exceptional print by a historically significant master, please contact me (email@example.com) and I will send you a PayPal invoice to make your payment easy.
Meryon wrote the following note to the artist and collector Jean-Louis-Henri Lesecq (1818-82) who commissioned this print:
“October 10th, 1864—Monsieur, I have now completed for you the little etching of the ‘Bain-Froid Chevrier’. On Friday, September 9th, having pulled the first proof I hastened to you to inform you of it, but I missed you. Yesterday at Pierron's I printed a proof 'bon à tirer' for 12 proofs before letters; tomorrow I hope to have the title etched upon the plate so that I may be able to proceed forthwith to print the edition. … I have also composed a few verses to be used with a limited number of the impressions of this etching. … I have made up an account for the time I have been occupied in making this etching. The account is in detail, to days and fractions of days, and totals 45 full days of 6 to 8 hours each. I first made a drawing of the scene as it is in reality, but finding that the ‘Pont Neuf’ was too much in profile, I made a second sketch in order to make a more compact composition. Other details I will reserve until I can communicate them to you personally as they bear upon the special methods I have employed in making this etching. Acceding to your request promised to let you have the plate itself, but you will readily understand after the above explanations, that I wish to be excused from this, and I hope you will agree with my suggestion and let the plate be destroyed after a reasonable number of impressions have been printed from it, according to the rule I always adopt now. Think of the abuses which may occur if this course be not followed. Given a plate, it is possible to reproduce it indefinitely nowadays, with the aid of the improved methods now known, such as the electrotype process, steel-facing, photography or lithography. …”
Interestingly, the plate still exists and is in the Bibliothèque Nationale, Paris.
Saturday, 22 October 2016
Magdalena van de Passe (aka Magdalene van de Passe (1596?–1638)
“Elijah at the Brook Cherith” (1 Kings 17:1–6), 1520–30, after Roelant Savery (1576–1639), from the series, “Four Landscapes with scenes from the story of Elijah”, published by Crispijn van de Passe the Elder (1564–1637).
Engraving (with etching) on laid paper with tread margins.
Size: (sheet) 21 x 26.4 cm; (plate) 20.7 x 26.3 cm; (image borderline) 18.4 x 25.5 cm
Lettered in the plate margin below the image borderline in one line: "Fecit Helias ... Jordanis" and "3 Reg Cap 17". Below left "Roelant Saverÿ Inventor", centre "Magdaleena van de pas fecit" and at right "Crisp Van de pas exc".
The British Museum offers the following description of this print:
“A landscape with a waterfall, river and wooden pathway; Elijah perches on a rocky outcrop in the distance; at right a resting deer and three fawns; after Roelandt Savery” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1550758&partId=1&people=112175&peoA=112175-2-60&page=1)
Franken 1881 1274 (Franken, Daniel, L'oeuvre gravé des van de Passe””, Paris, 1881); Hollstein 18 (Hollstein, F W H, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam, 1949)
Condition: Crisp impression of a print of the utmost rarity in excellent condition for its age (i.e. there are no tears, abrasions, holes, folds or significant stains).
I am selling this rare engraving by one of the few 16th century female engravers that history remembers for the total cost of AU$402 (currently US$305.81/EUR281.24/GBP250.12 at the time of this listing) including postage and handling to anywhere in the world. If you are interested in purchasing is very beautiful print, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make your payment easy.
This print has been sold
Although history has not remembered many female artists from the 16th century, Magdalena—the daughter of Crispijn van de Passe the Elder—is a well-known engraver from that time. This print has taken me a small lifetime to find a copy. I first saw an impression in a friend’s collection and fell in love with it, but I never imagined that finding a copy would have been so hard. This is a very rare print!
What I love about this image is that it crystallises my vision of women’s perception. Of course, even the suggestion that a man could hold a view about how women see the world is dangerous. Moreover, I were to relate what this “female vision” means to me, I KNOW that my wonderful cook will show me my error in a hideous way. After all, men aren’t supposed know how women see the world. Nevertheless, based on car accident statistics, women are more likely to crash into a car in front of them but are less likely to have a car crash into the side of them then men. The issue with differences of perception separating men and women is all about where each sex tends to focus.
To explain this theory about women’s ways of looking, in this image the centre of focus is a very substantial tree leaning to the left, but where the “real” action is portrayed is in the periphery. If this were an engraving by a man with hairy arms, the “hunter and gatherer” instinct would alter the composition so that the action would be towards the centre of the image. This leaning to centre the “centre of interest” is simply a man’s way of looking at things, but it has become such an entrenched part of traditional composition in a man’s world that it just seems so logical—especially to folk with hairy arms.
For those that do not share this personal belief in perception, please be gentle on me with your comments.
Friday, 21 October 2016
(?) Jacobus Harrewyn (1660/1–1732/40)
(Note: this attribution is based on the fine quality of the execution and that Harrewyn collaborated with Jan Luyken and Coenraet Decker (amongst other unidentified printmakers) in the engraving of the other plates featured in the four volumes of "Historien onses tyds, behelzende saken van staat en oorlogh ..." where this plate was published. I believe that the style is too refined to be by either Luyken or Coenraet. Any assistance in identifying the artist is appreciated.)
An early unfinished state and the published state of:
“Portrait of Henri de la Tour d'Auvergne, vicomte de Turenne (1611–75)”, 1685–99
Published by Jan Bouman (1670–87; fl.) and Jan Claesz. ten Hoorn (fl.1671–fl.1715) in Lieuwe van Aitzema’s (1600–69) and Lambert van den Bos’ (1610–98)' "Historien onses tyds, behelzende saken van staat en oorlogh, voorgevallen in, en omtrent de Vereenigde Nederlanden, en door geheel Europa, mitsgaders in meest alle de andere deelen des werelds. Beginnende met het jaar 1669 daar het de heer Lieuwe van Aitzema heeft gelaten; ..." (Jan Claesz. ten Hoorn & Jan Bouman: Amsterdam, 1685-1699)
The Curator of the British Museum offers the following insights about the publication of this print:
“The publication "Historien onses tyds, behelzende saken van staat en oorlogh, voorgevallen in, en omtrent de Vereenigde Nederlanden, en door geheel Europa, mitsgaders in meest alle de andere deelen des werelds. Beginnende met het jaar 1669 daar het de heer Lieuwe van Aitzema heeft gelaten; ..." was started by Liewe van Aitzema and subsequently completed by Lambert van den Bosch (Latin: Lambertus Sylvius).The first volume was published by Jan Claesz. ten Hoorn and Jan Bouman, the last three volumes were published by Jan Claesz. ten Hoorn only: volume II in 1688, volume III in 1698 and volume IV in 1699. Nine prints in the book are (partly) engraved by Jan Luyken (Van Eeghen-Van der Kellen, nos.787-794), some prints are engraved by Jacobus Harrewyn, Coenraet Decker and some are by unidentified printmakers.” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3448966&partId=1&searchText=1875,0508.481&page=1)
Engraving(s) on laid paper cut on, or within, the platemark. The unfinished state impression has the collection stamp Lugt L.971 (Frederick Augustus II, King of Saxony)
Size of unfinished state: (sheet) 15.9 x 11.6 cm
Size of published state: (sheet) 19.4 x 15.4 cm
Lettered on tablet with sitter's name and his titles
Condition: superb, crisp lifetime impressions in almost pristine condition (i.e. there are no tears, abrasions, holes or significant stains). The unfinished state has the notable collector’s stamp of the King of Saxony (Frederick Augustus II) (Lugt L.971).
I am selling this exceptionally rare pair of developmental engravings for the total cost of AU$394 (currently US$300.47/EUR276.04/GBP246.64 at the time of this listing) including postage and handling to anywhere in the world. If you are interested in purchasing these prints, please contact me (email@example.com) and I will send you a PayPal invoice to make your payment easy.
These prints have been sold
Very seldom is one able to see early and late stages in the execution of an engraved portrait. This remarkable and exceptionally rare pair of prints is not only interesting from the standpoint of how early printmakers approached the task of making an engraved portrait—especially the grid of preparatory vertical lines and the way that the hair is rendered—but the subject of the portrait is equally interesting.
According to Wikipedia regarding Henri de Turenne—the subject of the portrait: “Alongside Condé, Henri de Turenne is regarded as the most important French soldier of his time, and in France, as the most important commander, before and in the hierarchy after Napoleon. He was a methodically educated and cautious general, an excellent tactician who also carefully looked after the food and use of his troops.” (https://de.wikipedia.org/wiki/Henri_de_La_Tour_d%E2%80%99Auvergne,_vicomte_de_Turenne)
Thursday, 20 October 2016
An unidentified master engraver (no date)
“The Judgement of Paris” after the engraving of the same name by Marcantonio Raimondi (c.1460–before 1534)
Engraving on laid paper lined on a conservator’s support sheet of fine washi paper
Size: (sheet) 36.5 x 50.5 cm; (plate) there is a plate mark but it is too faint for accurate measurement but it is approximately 33 (?) x 48.5; (image borderline) 29.3 x 33.1 cm
Inscribed with a direct copy of the lettering on Raimondi’s plate, including Raimondi’s monogram
I am not selling this engraving as it is clearly intended to deceive the market. In short, rather than being a reproductive engraving where the artist has translated another artist’s artwork in a way that retains the intrinsic hand of the reproductive artist, this is simply a well-executed but imperfect fraud.
There are numerous prints on the market that are designed to deceive and this is one of them. Some of these reproductive prints are photo-mechanically produced—often called photogravures—that are hand-pulled impressions from metal plates but this print is not one of those. Usually photogravures are easy to spot. One attribute of a photogravure that may be seen under magnification is a honeycomb-like structure in the printed lines. Frequently, the plate edge also shows an angle of bevelling and a rounding of the plate corners beyond what most printmakers employ. Moreover, photogravures are usually either larger or smaller than the original prints that they reproduce to ensure that once the photogravures are released on the market they can be identified as they are not the same size as the original.
Whoever engraved this plate was a master engraver but the printmaker was not Raimondi and the difference is all about expressed meaning. For instance, in the details of the dog heads shown in the above details, Raimondi’s dog (shown on the left) embodies the character of a “real” dog whereas the other reproductive artists have perfunctorily copied the dog’s superficial appearance in varying degrees of success. Or to express this idea in different words, to copy a great master’s artwork an artist has to get “inside” the master’s head and to fully conceive and “feel” what is being portrayed.
An overview of prints that I have featured in my gallery reproducing Marcantonio Raimondi’s engraving, “The Judgement of Paris”
Wednesday, 19 October 2016
Giovanni Francesco Ferrero (fl. c.1830–62)
“The Judgement of Paris”, 1820, after the engraving of the same name by Marcantonio Raimondi (c.1460–before 1534), published in “Raccolta delle migliori composizioni di Raffaello, Pusssino, Domenichino e di altri celebri pittori = Recueil des meilleures compositions de Raphael, Poussin, Domeniquin, et des autres celebres paintres” (1820) (see http://www.worldcat.org/title/raccolta-delle-migliori-composizioni-di-raffaello-pusssino-domenichino-e-di-altri-celebri-pittori-recueil-des-meilleures-compositions-de-raphael-poussin-domeniquin-et-des-autres-celebres-paintres/oclc/53203518)
Line engraving on wove paper
Size: (sheet) 22.9 x 30.9 cm; (plate) 10.4 x 15.4 cm; (image borderline) 9.6 x 14.6 cm
Inscribed below the image borderline: (left) “Rafaello S. inv,”; (centre) “II Giudizio di Paride”; (right) “CXL G.F.”
Condition: crisp impression with generous margins. The sheet is in very good condition for its age (i.e. there are no tears, abrasions, holes or significant stains).
I am selling this small line engraving for the total cost of AU$92 (currently US$70.55/EUR64.17/GBP57.39 at the time of this listing) including postage and handling to anywhere in the world. If you are interested in purchasing this original print based on Raphael’s design that Manet appropriated in part for his painting, “Le déjeuner sur l'herbe” (Luncheon on the Grass), please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make your payment easy.
Although I have discussed Raphael’s design for this composition before with regard to where Raphael acquired the original idea (viz. a relief carved on a Roman sarcophagus in the Villa Medici) and its subsequent history of other artists who used the design (viz. Raimondi and Manet), I now realise that I failed to explain the narrative underpinning the composition. To ensure that I do not give incorrect information, I will rely on the description offered by the Metropolitan Museum of Art:
“Depicted here is the incident that sparked the Trojan War: Paris being forced to decide which goddess—Juno, Minerva, or Venus—was the most beautiful. He chose Venus, seen receiving the golden apple upon promising to help him woo the most beautiful woman alive, Helen of Troy.” (http://www.metmuseum.org/art/collection/search/337058)
Tuesday, 18 October 2016
Marco Dente (1515–97)
“The Judgement of Paris” 1515–27 after the engraving by Marcantonio Raimondi (c.1460–before 1534)
Engraving on heavy laid paper
Size: (sheet) 29.8 x 44.5 cm; (plate) 29.3 x 43.7 cm; (image borderline) 29 x 43 cm
State I (of I)
Inscribed with the artist’s signature and date in the image (upper right) and annotated below the borderline: (lower right) "Léo Drouyn inv. et. sculp."; (lower centre) “LES DERNIÈRES FEUILLES”
Bartsch XIV,198,246; Delaborde 114, Copy 1
Condition: exceptionally rich impression of the utmost rarity with minimal margins. The sheet is in exceptionally fine condition (i.e. there are no tears, foxing or stains). The lower- left corner of the margin is lacking but the impression within the platemarks is complete. There is the central fold as published (?) but this fold is flattened and is barely visible. On the verso is a collector's mark in ink there are pencil and notations.
I am selling this large, exceptionally fine and rare engraving for the total cost of AU$435 including free shipping to anywhere in the world. If you are interested in purchasing this original etching, please contact me (email@example.com) and I will send you a PayPal invoice to make your payment easy.
This print has been sold
This detail from Dente’s rare engraving should catch most viewer’s attention as it is virtually the same arrangement of three figures that Manet referenced for his most famous—and historically infamous—painting, “Le déjeuner sur l’herbe” (Luncheon on the Grass). Although Manet appropriated this image through Titian’s appropriation of the same group of figures, Manet and Titian were not alone in their copying. Dente who copied Raimondi’s engraving was actually referencing a much earlier work by Raphael of the same grouping of figures and even Raphael was referencing an even earlier carved relief of the same group on a Roman sarcophagus in the Villa Medici.
Artists have always visually cannibalised the past. From my standpoint, this is not a problem, but hopefully the past is refreshed with current issues and sensitivities.
Unidentified 19th century artist
“Divine Knowledge”, c. 19th century (based on the style, the subject, the fading of the alizarin crimson colour on the central figure’s red cloak, the type of cardboard and the general patina of age of the painting). The painting is unsigned and undated.
Watercolour with pencil and gold leaf on light brown cardboard
Size: 17.4 x 17.2 cm
Inscribed on the tablets held by the putti figures: “DIVINAR / RER"; "NOTI / TIA”.
Condition: good condition (i.e. there are no significant stains, tears, abrasions, holes, losses or foxing).
I am selling this beautifully executed watercolour showing the symbolic figure of knowledge surrounded on her left and right by putti figures uplifted in a heavenly realm for the total cost of AU$189 (currently US$145.14/EUR131.73/GBP118.62 at the time of this listing) including postage and handling to anywhere in the world.
If you are interested in purchasing this exceptional study, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
This painting has been sold
I really like this small watercolour and if I were asked why I like it so much, I guess that there are two likely reasons.
The first is simply because the drawing of the figures shows a high level of technical training and insight that I love examining. For instance, note how the artist—sadly unidentified—shows that the index finger of the central figure’s right hand is “in front” of the other fingers of that hand with the tiniest change of angle at the knuckle—amateur artists usually need instruction to employ such a subtle device.
My second reason is a personal interest in the expressed meaning of the central figure’s hand gestures. Mindful that the text inscribed on the putti figures’ tablets informs the viewer that knowledge is divine, the hand gestures of the central figure—symbolising knowledge—are fascinating for me to contemplate. Although the figure’s left-hand holding the book is clearly intended to draw attention to the idea of knowledge crystallised in a book, it is more the gesture of the figure’s right-hand pointing downwards that fascinates me. To me this gesture relates to Raphael’s painting of the hands of Plato and Aristotle in “The School of Athens” where Plato points downwards to the earth with the implicit suggestion that wisdom is to be found in the temporal world, whereas Aristotle points to the heavens with the implicit suggestion that wisdom is to be found beyond earthly pursuits. (My apologies if my reading of the gestures is misguided, but, whether I am right or wrong, I love pondering about such things.)