Friday, 24 January 2020
Charles Louis Kratke (aka Charles-Louis Krätke) (1848– 1921)
“Le Bain de Diane” (as titled on plate), late 1800s (?), after the painting, “The Bath of Diana”, 1855, in the collection of the Dallas Museum of Art—note that there is also a larger version of this painting, “The Company of Diana, Impression of Morning”, 1855, in the collection of the Musée des Beaux Arts in Bordeaux—by Jean-Baptiste Camille Corot (1796-1875), published and printed by Georges Petit in Paris and also published by Charles F Haseltine in Philadelphia.
Etching on cream coloured chine collé (China) on heavy wove paper with wide margins (as published).
Size: (sheet) 61.6 x 81 cm; (plate) 51.5 x 67.5 cm; (chine collé) 50.2 x 65.7 cm; (image borderline) 42.6 x 61.4 cm.
Inscribed on plate within the image borderline: (lower right corner) “COROT”.
Lettered on plate below the image borderline: (left) “PEINT PAR C. COROT/ CHARLES F HASELTINE. 1416 & 1418, Chestnut Street, Philadelphia.”; (centre) IMPRIMERIE GEORGES PETIT, PARIS,/ Le bain de Diane”; (right) GRAVÉ PAR L. KRATKÉ./ Paris, Publié par GEORGES PETIT, 12, Rue Godot de Mauroy.”
Condition: richly inked and strong velvety impression with wide margins (as published). The sheet has traces of wiped printing ink, otherwise it is in good condition for its age and large size.
I am selling this huge and poetically glowing etching of the huntress goddess, Diana, taking a backward splash on the shore of Lake Nemi accompanied by her companions and her hunting dogs all bathed in early morning light, for a total cost of AU$362 (currently US$248.13/EUR224.41/GBP189.02 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 magnificent etching that is so rare that it does not seem to be in any of the major museum collections—please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
Thursday, 23 January 2020
Giovanni Battista Piranesi's etching, “Candelabrum Base in the Palazzo Lante in St. Eustachian”, 1778
Giovanni Battista Piranesi (1720–1778)
“Candelabrum Base in the Palazzo Lante in St. Eustachian” (aka Candelabro ornato con diversi arabeschi. Si vede nel Palazzo dell Emo Card. Lanti a S.Eustachio” [Candlestick adorned with several arabesques. It can be seen in the Palazzo dell Emo Card. Lanti in S. Eustachio]), 1778–80, from the series of 110 plates (see Wilton-Ely  vol. 2, pp. 961–62), “Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi (Vases, candelabra, grave stones, sarcophagi, tripods, lamps and ornaments designed and etched by Cavaliere Giovanni Battista Piranesi). First edition published in 1778. This impression is from the second Paris edition (indicated by the added plate number) published by Ambroise Firmin-Didot (1790–1876) in c.1835.
Etching with engraving on heavy laid paper with full margins and centre-fold (flattened) as published.
Size: (sheet) 82 x 54.8 cm; (plate) 53.1 x 39 cm.
Numbered on plate: (upper right corner) “92”.
Lettered on plate with dedication in Italian: (centre of upper edge) “Al Signor Cavaliere Giovanni Rous Inglese/ amatore delle belle arti/ In atto d’ossequio il Cavaliere Gio Batta Piranesi D.D.D.”; (centre of lower edge) “Candelabro ornato con diversi arabeschi. Si vede nel Palazzo dell Emo Card. Lanti a S.Eustachio./ Cavalier Piranesi F.”
Wilton-Ely II.1068.987 (John Wilton-Ely 1994, “Giovanni Battista Piranesi, The Complete Etchings”, vol. 2, San Francisco, Alan Wofsy, p. 1068, cat. no. 987); Hind 87; Giesecke 120; Höper 13.106; Ficacci (Taschen) 832.
Wilton-Ely (1994) offers the following description of this print:
“Candelabrum base with a merman flanked by snakes, and goat’s heads, cornucopias and other ornaments.” (p. 1068).
See also the description offered by the Metropolitan Museum of Art:
Condition: richly inked and near faultless impression with full margins and centre-fold (as published, but flattened). The sheet is in almost pristine condition for its considerable age (i.e. there are no tears, holes, folds—beyond the flattened centre fold of publication—losses, abrasions, stains, foxing or significant signs of handling—but there are small pencil notations at the lower corners from previous collectors and the back of the sheet has marks).
I am selling this huge etching in museum quality condition for a total cost of AU$668 (currently US$458.98EUR413.95/GBP349.50 at the time of this listing) including postage and handling to anywhere in the world.
If you are interested in purchasing this stunning etching of a candelabrum from the collection of Cardinal Lante—possibly a print designed to showcase a concocted artefact that Piranesi created and sold to the Cardinal based on Piranesi’s marketing of his partly restored and partly confected “antiquities”—please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
Wednesday, 22 January 2020
Camille Lefèvre (1853–1933)
“Orphee”, c.1900, proof-state lithograph before formal lettering for publication (?) showing a water nymph caressing the soulfully singing head of Orpheus that had floated to the isle of Lesbos after Orpheus had been torn apart by dreadful Ciconian Maenads. For those wondering why Ciconian Maenads wouldn’t like a good-looking dude who simply enjoyed singing to himself, the answer is simple: they were upset that he preferred men to women! At first, they simply threw sticks and stones at him while he sang under a tree, but the tree liked Orpheus’ singing and repelled the missiles. Not to be stopped in their desire to prove that they were more lovely than men, they ripped him into pieces and flung his bits into the sea. Luckily, the chap still had his head about him and continued singing as he bobbed his way to Lesbos … and the story began again.
Note: Although Camille Lefèvre is better known for his sculptures, he was also a luminary featured in Edouard Duchâtel’s (fl.1893) treatise on Fine Art lithography, “Traité de Lithographie Artistique”, published in 1893 in Paris. By intention, this publication was aimed at rekindling artistic interest in the medium of lithography—a method of printmaking that had been largely left to what the Metropolitan Museum of Art describes as “the domain of commercial and scientific printers” since its initial development in the 1790s (see https://www.metmuseum.org/art/collection/search/348963).
Lithograph printed in black ink on pale grey chine collé (China) on white wove paper backed with a support sheet.
Size: (sheet) 28.4 x 41.8 cm: (image borderline) 24 x 33.2 cm.
Inscribed on plate along the lower edge: (left) “ORPHEE”; (right) “Cam. Lefevre.”
Condition: delicately strong impression with adequate margins (varying in size from 1.5 cm at the bottom to 4.5 cm on the right side), laid onto a support of archival (millennium quality) washi paper. The sheet is in excellent condition (i.e. there are no tears, folds, holes, abrasions, stains, foxing or signs of use), with the chine collé sheet laminated slightly off-centre to the right.
I am selling this rarely seen lithograph—I have been unable to locate another copy of it in any of the online archives—exemplifying the artist’s haptic approach to portraying the subject (i.e. drawing the subject by feeling its form as if by touch rather than by simply reproducing what it looks like) wherein contour lines are used like chisel strokes on a sculpture, for the total cost of AU$230 (currently US$141.82/EUR451.32/GBP120.47at 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 superbly drawn lithograph showing the artist’s admiration for the work of his friend (and sometimes rival), Auguste Rodin—compare Lefèvre’s nymph with Rodin’s “Danaïd” (http://www.musee-rodin.fr/en/collections/sculptures/danaid) and “Andromède” (http://www.musee-rodin.fr/fr/collections/sculptures/andromede)—and the rounded feminine forms sculpted by his colleague, Aimé-Jules Dalou, please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
This print has been sold
Tuesday, 21 January 2020
Tancrède Abraham (1836–1895)
"Environs de Château Gontier”, 1863, plate 86 to the second volume of sixty prints (plates 61 to 121 in the continuation of plate numbers from the first volume), “Eaux-Fortes Modernes: Originales et Inédites” (Modern Etchings: Original and Unpublished), printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published in 1864 in Paris by Cadart & Luquet (opnl.1863–1867) for the Société des Aquafortistes.
Etching on laid paper (watermarked, “Aquafortistes”), bearing the blind stamp of the publishers and with the full wide margins as published.
Size: (sheet) 32.7 x 49.5 cm; (plate) 21.8 x 36 cm; (image borderline) 17.3 x 32.7 cm.
Numbered on plate above the image borderline: (right) “86.”
Inscribed on plate within the image borderline: (lower right corner) “T. ABRAHAM 63”.
Lettered on plate below the image borderline: (left) “T.Abraham sculpt.”; (centre) "ENVIRONS DE CHÂTEAU GONTIER./ Paris, Publié A. CADART & LUQUET, Éditeurs 79 Rue Richelieu.”; (right) Imp. Delâtre, Rue St Jacques, 303, Paris.”
Blind stamp in margin: (lower centre) “CADART & LUQUET/ EDITEURS/ 79 R. RICHELIEU”.
The British Museum offers the following description of this print:
“Plate 86: view through dense trees, silhouetted figure seen with dog in distance”
See also the description offered by the National Gallery of Australia:
Condition: richly inked impression with generous margins, but with a restored printer’s crease at lower centre. The sheet is in very good condition for its age (i.e. there are no tears, holes, abrasions, significant stains or foxing). There are small numbers in brown ink at the upper right corner inscribed by a past collector.
I am selling this inviting view into the shadows of a forest grove in the new commune of Château-Gontier-sur-Mayenne in north-western France, for the total cost of AU$258 (currently US$176.54/EUR159.28/GBP135.36 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 beautifully executed etching exemplifying the romantic spirit of the French artists of the time and the Barbizon School in particular, 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, 20 January 2020
Emilio Greco (1913–1995)
"Composition No. 2" (aka “Composizone II”; “Flying Woman”), c.1970, numbered “6” in pencil in an edition of 100 impressions and signed in pencil by the artist with the artist’s stamped seal.
Etching printed in black ink on a cream-coloured ground on heavy Fabriano paper with wide margins, hand-signed and numbered in pencil by the artist, stamped with the artist’s authentication blind-stamp, titled in pencil verso.
Size: (sheet) 69.8 x 99.3 cm; (plate) 53.6 x 72.7 cm; (image borderline) 52.7 x 72 cm.
Hand inscribed in pencil along the lower edge of the image: (left) “6/100”; (right) “Emilio Greco”.
Blind-stamped below the artist’s signature at lower right: “ACQUAFORTE DE UN DISEGNO ORIGINALE / Emilio Greco” (ETCHING OF AN ORIGINAL DRAWING / Emilio Greco).
Istdibs showcases Emilio Greco’s “Composition No. 3” from the same series:
Condition: gigantic etching (almost a metre in length!) with a few minor pressure marks, especially along the edges, resulting from handling its huge size, otherwise the sheet is in good condition.
I am selling this huge etching—a monster!—showcasing the distinctively bold cross-hatched style of one of Italy’s most famous artists of recent times for the total cost of AU$730 (currently US$500.96/EUR451.32/GBP384.98 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 jaw droppingly large etching hallmarked with the confident subtlety of a true master, please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.