Gallery of prints for sale

Friday, 3 April 2020

Jan Sadeler I’s engraving, “Tubal-Cain, Father of Blacksmiths”, 1583


Jan Sadeler I (aka Johannes Sadeler; Johann Sadeler) (1550–1600)

“Tubal-Cain, Father of Blacksmiths” (TIB title) (aka “Tubalcain in his Forge”), 1583, lifetime (first state) impression of plate 12 from the series, “The Story of the First Men” after a lost drawing by Maarten de Vos (aka Marten de Vos; Maerten de Vos) (1532–1603), published by Jan Sadeler I in Antwerp.

Engraving on laid paper trimmed with a thread margin around the image borderline and backed with a support sheet.
Size: (sheet) 19.6 x 25.8 cm; (image borderline) 18.4 x 25.6 cm.
Inscribed on plate within the image borderline: (lower centre) “GENES IIII”; (lower right of centre on footbridge) “Ioan: Sadl:/ inue: et scalps:”; (lower right corner) “M. de Vos figurauit.”
Lettered on plate below the image borderline in two columns of two lines: “Ipse Tubalcain …/ …// …/ … Noema.”
State 1 (of ii) lifetime impression before the addition of the number, “12”, below “inue: et scalps”.

TIB 7001. 028 S2 (Isabelle de Ramaix 1999, “The Illustrated Bartsch”, vol. 70, Part 1 [Supplement], New York, Abaris Books, p. 47, cat. no. .028 S1); Nagler 1835 1835–52 no. 19; Le Blanc, no. 39; Wurzbach, no. 8.12; Hollstein 1980, vol. 21, no. 28; Edquist, p. 8, no. 12b.

The British Museum offers the following description of this print:
“Plate 12: Tubalcain in his forge. Landscape with Tubalcain forging a weapon under a shed at centre, tending a fire that burns with the aid of two bellows, his sister Naamah spinning yarn at right, a river with a small water-wheel at right and in the distance tethered logs float down the river, wide landscape with mountains in background; first state before numbers; after Maarten de Vos”

See also the description of this print at the Rijksmuseum:

Condition: well-printed and strong impression trimmed close to the image borderline on the top and sides and with the Latin text lines below the borderline. The sheet has age-toning appropriate to being a lifetime impression of considerable age, otherwise the sheet is in excellent condition (i.e. there are no tears, folds, abrasions, significant stains or foxing) and is laid onto a support sheet of millennium quality washi paper.

I am selling this lifetime impression of a very beautiful engraving, showing the first blacksmith at his forge, by one of the most famous of the Flemish old masters for AU$370 (currently US$222.58/EUR206.13/GBP181.16 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 masterwork of engraving executed only 19 years after Michelangelo hung up his boots for the last time, 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











Tancrède Abraham’s etching, “Matinée d'Octobre”, 1880


Tancrède Abraham (1836–1895)

Matinée d'Octobre (Vallée de Blaison)” (October Morning [Blaison Valley]), c.1880, published in the “Gazette des Beaux-Arts”, vol. 22, July 1880, p. 62 (see https://archive.org/details/gazettedesbeauxa22pariuoft/page/n71/mode/2up), printed by François Liénard (fl.c.1860s–80s) in Paris.

This print is after Tancrède Abraham’s painting of the same title exhibited at the Salon of 1880 (cat. no. 6; see https://archive.org/details/catalogueillustr1880soci/page/n11/mode/2up/search/).

Etching with pale plate tone on cream laid paper with a narrow margin around the platemark backed with a support sheet.
Size: (sheet) 18.2 x 25.8 cm; (plate) 17.1 x 25.2 cm; (image borderline) 15 x 23.1 cm.
Lettered on plate below the image borderline: (left) “Tancrède Abraham, pinx. et sc:/ Gazette des Beaux-Arts.”; (centre) “MATINÉE D'OCTOBRE/ (Vallée de Blaison.)”; (right) “Salon de 1880./ F Liénard, Imp, Paris.”

Condition: well-printed, near faultless impression trimmed close to the platemark (as published). The sheet is in excellent condition (i.e. there are no tears, holes, folds, losses, abrasions, stains or foxing), laid onto a support sheet of millennium quality washi paper.

I am selling this strong etching executed with great subtlety and confidence—note, for example, how the artist creates spatial zones using mimetic multidirectional strokes in the foreground, aligned angled strokes to render foliage in the middle-distance and clumps of near horizontal strokes in represent the sky—for the total cost of AU$180 (currently US$108.58/EUR100.50/GBP88.22 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 serene rural scene of an Autumn morning in the Blaison Valley (France) exemplifying the Romantic spirit of the late 1800s with the leaning to unmanicured landscapes, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.













Thursday, 2 April 2020

Johann Kenckel’s mezzotint of Martin Luther’s wife, c.1715


Johann Kenckel (aka Johann Kenkel) (1688–1722)

“Portrait of Katharina of Bora”— wife of Martin Luther—(aka “Catharina aus dem Adelichen Geschlecht derer von Bore” [title on plate]), c.1715 (1708–22), after Lucas Cranach the Elder (c.1472–1553), published by Christoph Weigel (1654–1725) in Nuremberg.

Mezzotint with early hand-colouring trimmed with a small margin and backed with a support sheet.
Size: (sheet) 38.1 x 27.5 cm; (plate) 35.8 x 25.5 cm; (image borderline) 32.5 x 25.5 cm.

Lettered on plate below the image borderline:
(left) “Lucas Kranach pinx”;

(centre) “Catharina aus dem Adelichen Geschlecht derer von Bore,/ ward gebohren A.1499. rerließ mit Acht andern Gaistlichen Schwestern A:1523. das Gistercienser Closter Nimptsch beÿ Grimma, ward A. 1525./ den 13 Junu durch D. Foh. Bugenhagen , Pomeranum , Pfarrern in Wittenberg. D.Martin Luthern Professorn daselbst chelich angetrauct, zeugte mit ihm/ Sechs Kinder, als dreÿ Söhne und so viel Töchter, namentlich: A.1526.d.7. Jun. Johannem, A.1527.Elisabetham, A.1529. in rigil. Ascens. Magda =/ lenam, A.1531. d.7. Nov. Martinum, A. 1533. d.28. Jan. Paulum. und A. 1534. Margaretham, hielte ihrem Eheherrn allezeitals ein fromm treuc ehr =/ liches lGemahl liebund werth mard A.1546. d. 18. Fébr: zur Witme, und starb A.1552. d.20.Dacembr zu Torgan im 53, ten jahr ihres alters,woselbst sie auch in der Pfarr Kirche begraben/ Christ Weigel ex:” 

([Google transl.] Catharina from the Adelichen family of those of Bore, / was born A.1499. left with eight other Gaistliche sisters A: 1523. the Gistercienser Closter Nimptsch beÿ Grimma, A. 1525. / 13th June was by D. Foh. Bugenhagen, Pomeranum, pastors in Wittenberg. D.Martin Luthern professor there chelich, fathered with him / six children, as three sons and so many daughters, namely: A.1526.d.7. Jun. Johannem, A.1527. Elizabetham, A.1529. in rigorous. Ascens. Magda = / lenam, A.1531. d.7. Nov. Martinum, A. 1533. d.28. Jan Paulum. and A. 1534. Margaretham, always considered her husband to be a piously faithful honest husband Liebund werth mard A.1546. d. 18. Fébr: to Witme, and died A.1552. d.20.Dacembr zu Torgan in the 53rd year of their age, where they are also buried in the parish church / Christ Weigel ex:); 

(right) “Joh: Kenckel fecit”.

The British Museum offers a description of this print:

Condition: strong impression with delicate early hand-colouring and the initial guide lines for lettering of the artist’s name still clear—suggesting that this is possibly a lifetime impression—with small margins laid onto a support sheet of millennium quality washi paper. There are small restored chips to the edges and corners of the sheet and minor restorations of a few light abrasions to the delicate surface of the mezzotint, otherwise the sheet is in very good condition for its considerable age (i.e. there are no tears, holes, folds or significant stains).

I am selling this exceptionally rare mezzotint portrait of Martin Luther’s wife for the total cost of AU$300 (currently US$182.61/EUR166.80/GBP147.23 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  technically superb masterpeice of mezzotint showing Martin Luther’s wife gently smiling—to my eyes, an almost Mona Lisa-like enigmatic smile—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.












Wednesday, 1 April 2020

Horace Vernet’s lithograph, “L'homme entre deux âges et ses deux maîtresses”, 1818


Horace Vernet (aka Émile Jean Horace Vernet) (1789–1863)

“L'homme entre deux âges et ses deux maîtresses” (Middle-aged man and his two mistresses), 1818, from the series of 120 lithographs in total with 20 executed by Horace Vernet, 64 by his father, Carle (Antoine Charles Horace) Vernet (1758–1836) and 36 by his brother-in-law, Hippolyte Lecomte (1781–1857), to illustrate the two volumes of “Fables Choisies de La Fontaine” (Selected Fables of La Fontaine), published by Imprimerie de Fain (fl.1784–1877) in 1818 and printed by Godefroy Engelmann (1788–1839) in Paris.
This is impression is from the first volume (the second plate by Horace) illustrating the seventeenth fable: (transl.) “The Old Woman at all times carried away a bit of the remaining black hair … The youngster also ransacked the white hairs. Both did so much, that our gray head remained hairless …”.

Lithograph on wove paper with margins (as published), backed with a support sheet.
Size: (sheet) 25.2 x 34.7 cm; (image borderline) 19.1 x 24.4 cm.
Inscribed on stone within the image borderline: (lower right) “H Vernet”.
Lettered on stone below the image borderline: (centre) “L'homme entre deux ages, et ses deux maitresses”; (right) “Imp. Lith de G Englmann.”

Beraldi 128–146 (Henri Beraldi 1885-92, “Les graveurs du 19e siècle; guide de l'amateur d'estampes modernes”, vol. 12, p. 219, cat. nos. 128–146; see this catalogue online offered by archive.org:
Buisard 59 (L M Buizard 1826, “Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet ...”, imp. de J. Gratiot, p. 18, cat. no. 59; see this catalogue online offered by archive.org:

Condition: strong impression with margins as published and laid onto a support sheet of millennium quality washi paper. There are scattered dot-like marks (e.g. below the image borderline and a dot stain in the sky to the right of the tree) and there is a collector’s ink stamp verso, otherwise the sheet is in an excellent condition (i.e. there are no tears, holes, folds, losses, abrasions or signs of foxing).

I am selling this marvellously fresh lithograph exemplifying one of the first uses of the medium of lithography in illustration—for the total cost of AU$156 (currently US$94.79/EUR86.60/GBP76.54 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 superb example of Horace Vernet’s dazzling facility to execute a composition in an amazingly short period of time—on one lithograph he even wrote “fait en dix minutes” (done in ten minutes)! (see Daniel Harkett & Katie Hornstein [2017], “Horace Vernet and the Thresholds of Nineteenth-Century Visual Culture”, Dartmouth College Press, p. 33)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.