Thursday, 24 October 2019
Tomorrow my cook is taking me away on another trip to New Zealand for around two weeks.The sketch book page above was from our last trip to NZ and the ones below are from past trips to other places.
For those interested, I plan to post daily trip pics on Instagram (my username is @printsandprinciples: https://www.instagram.com/printsandprinciples/)
Wednesday, 23 October 2019
Michael Wolgemut (1434–1519) (attributed to Wolgemut in Richard Bellm’s  facsimile edition of Stephan Fridolin’s “Der Schatzbehalter - Ein Andachts- und Erbauungsbuch aus dem Jahre”, Wiesbaden, Guido Pressler, pp. 5–8 (see BM curator’s note for 1904,0206.1.1-96).
(recto) “Die ander figure” (as titled on plate) (aka “Gott Vater von Engeln verehrt” [God the Father Adored by Angels]), 1491, illustration to page 74 of Fridolin’s “Schatzbehalter” (1491).
(verso) “Die drit figure” (as titled on plate) (aka “Höllensturz” [Descent into Hell]), 1491, illustration to page 75 of Fridolin’s “Schatzbehalter” (1491).
Two woodcuts on the same sheet (recto and verso) illustrations to Stephan Fridolin’s (c 1430–1498) (comp.) “Schatzbehalter”, published in 1491 by Anton Koberger (c 1445–1513) in Nuremberg.
Size: (sheet) 31.3 x 21.5 cm.; (image borderline) 25.5 x 17.7 cm.
Note: Stephan Fridolin’s “Schatzbehalter” may be viewed online of downloaded free-of-charge from archive.org: https://archive.org/details/dasbuchderschatz00frid/page/n73
Condition: richly inked, excellent lifetime impressions (based on the lack of wear to the printing plates) with full margins as published. There are two tears that have been addressed with the framing support sheet of archival (millennium quality) washi paper on the recto side. Note that there is a sheen to the recto side from the addition of the support sheet and there is a faded brown ink notation of numbers from an old hand on the upper left margin (verso).
I am selling this pair of stunning woodcuts printed on separate sides of the same sheet (i.e. recto and verso) from the incunabula period, executed when Michelangelo was a mere teenager of 16 and Albrecht Dürer, who possibly worked on this plate (seeing that he was apprenticed to Wolgemut’s workshop at the time), was 20, for AU$730 in total (currently US$499.52/EUR449.47/GBP388.35 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 magnificent double-sided pair of large woodcuts of the utmost rarity, please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
This sheet of woodcuts has been sold
Tuesday, 22 October 2019
John Mallows Youngman (1817–1899)
“Old Almshouses”, 1874, proof-state impression.
Although my research has failed to confirm the following, I believe (a sincere apology if I am wrong) that this print was ultimately published in London in 1874 by Thomas McLean (1788–1875) and printed by Auguste Delâtre (1822–1907) in “Gleanings from Nature: A Series of Twelve Etchings” (see description of this publication at viaLibri: https://www.vialibri.net/years/books/64394296/1874-youngman-john-mallows-gleanings-from-nature-a-series-of and at the Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/334200)
Note: the British Museum does no hold an impression of this etching but the museum has a reasonably large collection of this artist’s other etchings:
Etching with pale plate tone on tissue-thin laid paper.
Size: (sheet) 25.5 x 21.2 cm.; (plate) 17.6 x 15.1 cm.
Inscribed on plate: (indistinctly at lower right corner) “[…]4 [7?]/ Old Al[m]s Houses”.
Condition: strong, proof-state impression (based on the tissue-thin paper and no lettered publication details) in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing).
I am selling this darkly glowing etching by a lesser known 19th century British artist known for his landscape studies of the Saffron Walden region (Uttlesford district of Essex), for AU$168 (currently US$115.27/EUR103.43/GBP89.08 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 marvellous gem of an etching that has (to my eyes) more than a little of the great John Constable guiding the artist’s hand, 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, 21 October 2019
Valentin Lefebre (aka Valentin Le Fevre; Valentin Le Febre; Valentin Lefebure; Valentin Lefèvre) (1637–1677)
“Cain Kills Abel” (Caino e Abele) , 1682, plate 1 from the series of fifty-three plates, “Opera Selectiora” (aka “Opera selectiora quae Titianus Vecellius Cadubriensis et Paulus Calliari Veronensis inventarunt ac pinxerunt”), after one of the three ceiling paintings by Titian (aka Tiziano Vecellio) (1489/90–1576) originally in the church of Santo Spirito in Isola and later transferred in 1657 to the sacristy of the Basilica of Santa Maria della Salute in Venice (see to Ruggeri ), published by Jacobus van Campen (fl.1682) in Venice.
Regarding the publication of “Opera Selectiora”, the British Museum advises:
“The series was left unfinished at his [Valentin Lefebre's] early death, and finally published in 1682 by Jacques van Campen (the 1680 edition does not seem to exist). It was reprinted in 1684, and in the XVIIIc in 1749, 1763; later by Teodoro Viero who added his address to the plates (editions in 1786 and 1789).” (https://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=117639).
Etching on laid paper backed with a support sheet.
Size: (sheet) 35.6 x 32.1 cm.; (plate) 33.8 x 30.4 cm.; (image borderline) 28.9 x 29.8 cm.
Lettered on plate below the image borderline: (left) V. Lefebre del. et sculp.”; (centre) “Titianvs Vecellivs, Cad, Invent, &, Pinxit,”; (right) “J. Van Campen. Formis. Venetÿs.”
State i (of ii) before the addition of the later publisher’s [Teodoro Viero's] address.
Ruggeri I.I (Ugo Ruggeri 2001, “Valentin Lefèvre: Dipinti, Disegni, Incisioni”, Manerba, Merigo Art Books, p. 211, cat. no. I.I); Hollstein Dutch 1–53 (FWH Hollstein 1953, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700: L'Admiral–Lucas van Leyden”, vol. 10, Amsterdam, Menno Hertzberger, p. 46, cat. nos. 1–53).; Villot 1 (Frédéric Villot 1844, "Valentin Lefebre, peintre et graveur à l'eau-forte", in 'Le Cabinet de l'amateur et de l'antiquaire', vol. 3, p. 178, cat. no. 1).
The Rijksmuseum offers the following description of this print:
(Transl.) “Cain beats Abel with a piece of wood. In the background the smoking sacrifice of Abel. The print is part of a 53-part series of prints based on paintings by Titian and Veronese.”
(http://hdl.handle.net/10934/RM0001.COLLECT.138875 & http://hdl.handle.net/10934/RM0001.COLLECT.138876)
See also the description of this print offered by the British Museum:
Condition: richly inked, near faultless impression with a small margin (approx. 5 mm.) around the platemark. The sheet is in excellent condition (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing) and it is laid upon a support sheet of archival (millennium quality) washi paper.
I am selling this visually arresting etching where the dramatic moment of Cain dispatching his brother (Genesis 4:8) is viewed from a very low viewpoint for AU$230 (currently US$158.20/EUR141.49/GBP121.74 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 fascinating graphic translation of Titian’s painting into line—note, for example, how Lefebre has enhanced (i.e. “toyed” with) Titian’s treatment of the plant at the lower-left so that its angle of lean is silhouetted against a white void of sky and how this accentuation of its leaning angle draws attention to the same angle of Abel’s flailing right leg—please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
This print has been sold
Sunday, 20 October 2019
Johannes van den Avelen (aka Johannes van den Aveelen; Johannes van den Aveele) (1655–1727)
“Cataracte Halle-Strömm Westrogothiæ” (aka “Halleström Waterfall in Västergötland” [Rijksmuseum title]), 1705, plate 56, illustration to volume three of Erik Jönssen Dahlberg’s "Suecia Antiqua et Hodierna " (Sweden Ancient and Modern)—the largest Scandinavian topographical work featuring 353 engraved plates depicting Swedish cities, landscapes and subjects of pertinent interest in three volumes, published in 1705 in Stockholm.
Etching on laid paper backed with a support sheet.
Size: (sheet) 30.4 x 19.8 cm.; (plate) 27.4 x 17 cm. (image borderline) 24.9 x 15.8 cm.
Lettered on plate above the image borderline: “CATARACTE HALLE-STRÖMM. WESTROGOTHIÆ.”
Inscribed on plate within the image borderline: (left side of the cataract) “Biörn Klewan.”
Inscribed on plate below the image borderline: (right) “I.v.d.Avelen. Sc. Holmiæ 1705.”
For a complete listing and description of all the illustrations in “Suecia Antiqua et Hodierna” see the amazing Vöbam website:
In this listing, Vöbam offers the following description of this print:
(Transl.) “III: 56. Halleströms waterfall in Västergötland, Cataractre Halle stream Westrogothiae), copper engraving by J. vd Aveelen 1705. The image is likely to make the waterfall more significant than it really was. Next to it, a ridge, along which one could climb upwards, "Biörn Klewan" appears. At the bottom is an eating company.”
The Rijksmuseum offers a description of this print:
See also the description offered by Fine Art Museums of San Francisco:
Condition: richly-inked faultless impression with small margins (approx. 1.5 cm.). The sheet is in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing) laid upon a support sheet of archival (millennium quality) washi paper.
I am selling this slightly bizarre etching featuring rocky outgrowths in the cataract/waterfall that look (to my eyes) like spiky lumps floating on the downward rush of water, for AU$197 (currently US$135,13/EUR120.92/GBP104.03 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 fascinating topographical illustration exemplifying what artists should avoid when rendering rocks in water, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.