Wednesday, 16 October 2019
Francesco Rosaspina (1762–1841)
“Diana in Her Chariot Drawn by Hounds” (aka “Il Carro di Diana”), 1788, after an unidentified drawing by Parmigianino (aka Francesco Parmigianino; Girolamo Francesco Maria Mazzola; Francois Mazzuoli; Francesco Mazzuoli) (1503–1540), plate 18 from the series of twenty-five unnumbered plates (including the frontispiece) after drawings by Parmigianino, “Celeberrimi Francisci Mazzola Parmensis Graphides per Ludovicum Inig Bononiae collectae editaeque Anno MDCCLXXXVIII”, published in 1788 by Cesare Massimiliano Gini (aka Cesare Massimiliano Gini; Lodovico Inig) (c1739–1821) in Bologna.
See the descriptions and plates in this publication along with catalogue references in the remarkably thorough account offered by Robin Halwas:
See also the description of this publication offered by the Curator of the British Museum:
Regarding the fidelity of Rosaspina’s translation of drawings into prints, the British Museum offers the following biographical insights:
“Major reproductive engraver, professor of engraving at the Academy in Bologna. Made many prints after Parmigianino (q.v.) which are faithful to the originals even to the extent of replicating the historic mounts and collector's marks that many of the drawings had”.
Soft-ground etching and aquatint (with engraving for the inscribed text) printed in sanguine coloured ink on laid paper with watermark, “G entro doppio cerchio sormontato dalla croce di Lorena” (G within a double circle surmounted by the Cross of Lorraine) with full margins.
Size: (sheet) 49.2 x 39.7 cm.; (plate) 24.5 x 32.3 cm.; (outer image borderline) 22.3 x 31.8 cm.
Inscribed on plate below the image borderline: (left) F. Mazzola inv.”; “Extat apud Io. Ant. Armanum Venetum”; (right) “F. Rosaspina fecit.”
Lifetime impression as published in 1788.
Weigel 5588; Gaeta Bertelà 804; Mussini 390; De Rubeis 37 (see full entries for these references in Robin Halwas' account cited above)
Condition: faultless, richly inked lifetime impression in pristine condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing).
I am selling this large museum-quality etching of great beauty, for the total cost of AU$598 (currently US$402.64.76/EUR364.99/GBP315.73 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 rarely seen masterpiece of etching on the market—certainly not in this near pristine condition—please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
Tuesday, 15 October 2019
Félix Bracquemond (aka Joseph Auguste Félix Bracquemond; Joseph Félix Bracquemond) (1833–1914)
“Charles Méryon” (aka “Portrait de Meryon”; “Portrait of Artist Charles Meryon”), 1853, printed by Alfred Salmon (fl.1863–1894) and published in the June 1, 1884 edition of the “Gazette des Beaux-Arts”, opposite page 518.
Heliogravure on cream wove paper with full margins, two binding holes within the flattened left publication fold (as bound in the Gazette des Beaux-Arts).
Note: Boullion (1987) offers the following information regarding the original etching plate and the subsequent printing as a heliogravure plate:
(transl.) “plate made in 1853, then destroyed after a print [edition] of ten proofs; reproduced by the Amand-Durand process then reduced and published in the Gazette des Beaux-Arts on June 1, 1884” (p. 34).
From what I understand from reading about this print in Boullion’s catalogue raisonné, Meryon was far from happy about Bracquemond’s portrait of him and it may Meryon (but I may be wrong) that destroyed the original etching plate to make his dissatisfaction known.
A friend to both Meryon and Bracquemond, the art critic Philippe Burty, makes the following insightful comment (in translation from Boullion) about this portrait:
“The physiognomy is serious; the eyes have a piercing, insecure look like that of a beast who realizes that he is being observed” (Burty 1868).
Size: (sheet) 28 x 20.3 cm.; (plate) 19.5 x 14.3 cm.; (image borderline) 18.5 x 13.3 cm.
Inscribed on plate: (upper left) “à Ch.M./ B./ 1853”; (upper right) “Gazette des Beaux-Arts.”; (lower right corner) “Imp. A. Salmon.”
State iv (of iv) with inscribed publication details of the “Gazette des Beaux-Arts.”
Bouillon Aa 14-4 (4) (Jean-Paul Bouillon 1987, “Félix Bracquemond: Le Réalisme Absolu: Œuvre Gravé 1849–1859”, Skira, Genève, Skira, pp. 34–35); IFF 36; Beraldi 77
The Rijksmuseum offers the following description of this heliogravure :
(transl.) “Portrait of the artist Charles Meryon in half-figure sitting on a chair three-quarters to the right with his arm nonchalantly resting on the backrest. At the top left is the year in which the man was recorded. At the top right is the title of the magazine in which the portrait was published.”
Condition: well-printed, richly inked impression in near pristine condition as published. There are previous collectors’ pencil notations on both sides of the sheet.
I am selling this famous heliogravure etching—the original etching plate was destroyed (possibly by the sitter as a sign of disapproval) after only ten proofs were pulled—for the total cost of AU$368 (currently US$248.55/EUR225.83/GBP196.66 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 historically important heliogravure of one of the most famous French printmakers of the 19th century, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
This print has been sold
Monday, 14 October 2019
Franz Kobell (aka Franz Innocenz Josef Kobell; Josef Kobell) (1749–1822)
“Mountainous Landscape with Waterfall”, 1790, plate 1 from a series of twenty small landscape etchings, “Paysages”, published in Mannheim by Dominic Artaria (1765–1823) in “20 Paysages dessinées & gravées a l'Eau Forte par François Kobell” in c1790. This impression is before the numbering for this publication.
Etching on laid paper backed with a support sheet.
Size: (sheet) 9.8 x 6.8 cm.; (plate) 8.8 x 5.9 cm.
State i (of ii) lifetime impression before numbering.
Nagler 1835–52 1–20 (G K Nagler 1835, “Neues allgemeines Künstler-Lexikon”, 22 vols, Munich).
The British Museum offers a description of this print:
Condition: richly inked lifetime impression (before numbering) with restored losses to the upper left margin and a stain to the lower margin. The sheet is laid onto a support sheet of millennium quality washi paper.
I am selling this small jewel-like etching exemplifying the proto-Romantic spirit in Germany of the Sturm und Drang period, for the total cost of AU$230 (currently US$155.76/EUR141.17/GBP123.49 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 glowing etching executed with a curious juxtaposition of freely hatched strokes rendering the sky and carefully inscribed mimetic marks portraying the mountain, please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
This print has been sold
Jan Luyken (aka Jan Luiken) (1649–1712)
“Oproer tot Lions, in't Jaar 1621” (aka “Huguenot Revolt in Lyon, 1621”), 1696, illustration (Fol. 248) to the second volume of Elie Benoist’s four-volume account, “Historie der Gereformeerde Kerken van Vrankrijk” (History of the Reformed Churches of France), published in 1696 by Jan Claesz ten Hoorn (fl. 1671–1715) in Amsterdam.
Etching on laid paper with a small margin around the platemark and backed with a support sheet.
Size: (sheet) 30 x 38.4 cm; (plate) 29.2 x 37.3 cm; (image borderline) 28 x 36.4 cm.
Inscribed on plate within the image borderline: (upper centre) “Oproer tot Lions, in't Jaar 1621.”
Lettered on plate above the image borderline: (upper right corner) “Tweede Deel Fol. 248.”
Lettered on plate below the image borderline: (lower right corner) “Jan. Luiken, In. et fec”.
Van Eeghen 1536 (P van Eeghen & Johan Philip van de Kellen 1905, “Het werk van Jan en Casper Luyken”, vol. 1, pp. 293–94, cat. no. 1536).
See the description of this print at the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.143984
Condition: richly inked strong (near faultless) impression with a small margin (approx. 5mm) around the platemark with infilled loss in the margin of the upper right corner and a closed tear on the left flattened vertical gatefold—note that there are two publication gatefolds with the second flattened fold on the right of centre. The sheet is laid onto a support sheet of millennium quality washi paper.
I am selling this large etching showing rioting crowds in Lyon with Calvinist Protestants (Huguenots) attacking Catholics and burning their household goods in a street fire (my apologies if my historical description is flawed), for the total cost of AU$230 (currently US$155.63/EUR141.05/GBP123.71 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 highly detailed depiction of rioting in the city of Lyon in the 17th century, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
This print has been sold
Sunday, 13 October 2019
Hieronymus Wierix (aka Hieronymus Wierx; Jerome Wierix) (1553–1619)
“Pieta” (aka “Avant la Mise au Tombeau” [Mauquoy-Hendrickx title]), 1563–(before) 1619, after two engravings by Marcantonio Raimondi (1470/1482–1527/1534) of similar composition, “The Pietà” (aka “The Pietà with the Bare Arm” [see BM no. H,1.26]) and “The Virgin Lamenting the Dead Body of Christ” (BM no. 1868,0822.27), 1515–20, after a drawing by Raphael or his circle (Louvre, RF 3858),
Engraving on fine laid paper trimmed significantly within the image borderline (with loss of Latin text below the borderline) and with restored losses within the image area, backed with a support sheet.
Size: (sheet) 18.6 x 14.8 cm.
Inscribed on plate: (lower left) “[Hieronim]us, W, fe,”
Hollstein Dutch 696 (Zsuzsanna van Ruyven-Zeman & Marjolein Leesberg [comp.] Jan van der Stock & Marjolein Leesberg [eds.] 2003, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: The Wierix Family: Part IV, vol. 62. Rotterdam, Sound and Vision Rijksprentenkabinet, p. 51, cat. no. 696); Mauquoy-Hendrickx 377 (Marie Mauquoy-Hendrickx 1978, “Les Estampes des Wierix ... Catalogue Raisonné, Premièe partie [Part I], (4 vols.), Brussels, Bibliotheque Royale Albert, p. 54. cat. no. 377, ill. p. 47).
See also the description of this print at the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.438416
Condition: richly inked strong impression trimmed well within the image borderline with infilled losses (e.g. a restored loss to some of the drapery beneath the head of Christ). The sheet is laid onto a support sheet of millennium quality washi paper.
I am selling this trimmed but still graphically powerful engraving by one of the most famous of the Flemish old masters showing the Virgin Mary lamenting Christ on the anointing stone, for the total cost of AU$312 (currently US$212.04/EUR191.96/GBP167.75 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 very beautiful and sensitively executed print of exceptional rarity (even in this fragmentary state), please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.