Gallery of prints for sale

Tuesday, 30 June 2020

Charles E Wilson’s etching, "Paris, Vu Du Pont des Saints-Père, Le Soir", 1880, after Léon Pierre Herpin


Charles E Wilson (fl.c.1880)

"Paris, Vu Du Pont des Saints-Père, Le Soir", 1880, after Léon Pierre Herpin’s (1841–1880) 1879 painting, “Les Quais à Paris, la Nuit” (see https://www.invaluable.com/auction-lot/leon-pierre-herpin-1841-1880-les-quais-a-paris-la-44-c-67e0bf74ed), published in 1880 as plate XXVII (27) in the French periodical, “L’Art”, printed by François Liénard (fl.c.1860–1880s) in Paris.

Although I may be wrong, the view to the bridge, the Pont des Saints-Père (aka the Pont du Carrousel), is from the Pont Royal showing the old port of the Louvre on the left, the towers of Notre Dame right of centre in the far distance (?) with the flèche (spire) of the Sainte-Chapelle slightly to the left and the dome of the Institut de France on the right.

Etching on fine laid paper with full margins as published.
Size: (sheet) 30.7 x 43 cm; (plate) 23.4 x 33.4 cm; (image borderline) 20.7 x 31.9 cm.
Lettered on plate below the image borderline:
(left) “Léon Herpin pinx./ L’Art”; (centre) "PARIS, VU DU PONT DES SAINTS-PÈRE, LE SOIR/ (Musée du Luxemboug)”; (right) “Ch. E. Wilson sc./ F. Liénard, Imp, Paris.”

The British Museum offers the following description of this print:
“Evening view of Paris from Pont des Saints-Pères; boats moored at left, steamships travelling on the Seine; after Léon Herpin; illustration from 'L'Art' for 1880.”

Condition: richly inked, faultless impression, with full margins as published and in near pristine condition (i.e there are no tears, holes, folds, losses, abrasions, stains, foxing or significant signs of use).

I am selling this superb etching of moonlight glowing on the Seine, executed at the height of the etching revival period (c.1850–1930)—a time when etchers celebrated their joy in the vital lines that the medium of etching allowed (as opposed to the earlier established tradition of engraving)—for AU$206 (currently US$141.13/EUR125.71/GBP114.93 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 evening view of Paris from Pont Royal to the Pont des Saints-Père and Notre Dame beyond, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.












Monday, 29 June 2020

Jean Honoré Fragonard’s etching, “Sainte Catherine d'Alexandrie”, c.1763, after Mattia Preti


Jean Honoré Fragonard (1732–1806)

“Sainte Catherine d'Alexandrie” (aka “Saint Catherine of Alexandria Cured by an Angel”), 1763–1764, after Mattia Preti’s (1613–1699) (aka Il Cavalier Calabrese [the Calabrian Knight]) painting on the ceiling of church of San Pietro a Maiella, in Naples.

Note: Georges Wildenstein in the catalogue rainsonné for Fragonard’s etchings (1955) advises that this etching was previously wrongly titled by Gaudour and Goncourt, “The Conception of the Blessed Virgin”. Consequently it does not show “a representation of the virginal conception of Christ” as described by the Curator of the British Museum (see BM inv. 1882,0311.1157). Instead, according to Wildenstein (1955) (transl.), it “represents a scene from the life of Saint Catherine, after a painting by Calabrèse [Mattia Preti] on the ceiing of the church of San Pietro a Maiella, in Naples” (p. 24). Wildenstein goes on to explain:
“The young saint, who was flogged on the orders of Emperor Maximin, awaits the punishment  in a dungeon. Two angels comfort her while she contemplates the dove, symbol of the Holy Spirit” (ibid).

Etching on buff laid paper trimmed with a narrow margin around the image borderline.
Size: (sheet) 13.2 x 7.4 cm; (image borderline) 12.7 x 6.9 cm.
State i (of ii) Lifetime impression before the addition of signature and numbering.

Wildenstein 15; (Georges Wildenstein 1956, “Fragonard Aquafortiste”, Les Beaux Arts, Paris, p. 24, cat. no. xv [15]); Baudicour 16 (P de Baudicour 1859–61, “Le Peintre-Graveur Français continué”, vol. 1, Paris, p. 166, cat. no. 16): IFF 14 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris, 1930, vol. IX, p. 287, cat. no. 14).

The British Museum offers the following description of this print:
“Enigmatic scene with dove flying above two naked angels standing beside a seated half-naked woman. c.1761/65 Etching”

See also the description of this print offered by Harvard Art Museums:

Condition: well-printed first-state/lifetime impression trimmed with a small margin around the image borderline. The sheet is in very good condition (i.e. there are no tears, holes, folds, stains or foxing—but there are thin areas that are not visible recto) with a collector’s stamp verso.

I am selling this extraordinarily beautiful and rare lifetime impression by Fragonard, for AU$496 (currently US$340.81/EUR302.85/GBP276.72 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 exceptionally fine etching by one of the most important French masters of the 18th century, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Sunday, 28 June 2020

Frederic Regamey’s etching, “De L'Ame Des Betes”, 1873


Frederic Regamey (aka Frédéric Régamey) (1849-1925)

“De L'Ame Des Betes” (transl.) “Of the Soul of the Beasts”—no doubt a reference to René Descartes’ [1596–1650] proposition that animals do not feel anything and do not think because they do not speak, 1873.

Etching on fine cream laid paper, trimmed with a small margin around the image borderline (as published) and backed with a support sheet.
Size: (sheet) 10.2 x 9.3 cm; (image borderline) 9.4 x 8.5 cm.

Condition: a delicate impression showing slight plate movement, trimmed with a narrow margin (3 mm) around the image borderline, in near pristine condition and laid onto a support sheet of millennium quality washi paper.

I am selling this exquisite and very small etching of a cat, which I see as seemingly breathing in the life of Paris from its high perch with birds flying past in formation, for AU$227 (currently US$155.80/EUR138.85/GBP126.28 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 gorgeous etching of a French cat in a state of contemplative bliss, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.


This print has been sold







Saturday, 27 June 2020

Engraving after Cornelis Cort & Bernardino Passeri, “Rest on the Flight into Egypt”, c.1588


Unidentified Flemish engraver from the circle of Jan Sadeler I (1550–1600) and Thomas de Leu (c.1555–c.1612)

Compare the print by an unidentified engraver (published by Jan Sadeler I) held by the British Museum (https://www.britishmuseum.org/collection/object/P_1866-0407-836) with the print by Thomas de Leu held by the Rijksmuseum (http://hdl.handle.net/10934/RM0001.COLLECT.139694). Note that the earlier state of the print by Thomas de Leu is dated 1580.

“Rest on the Flight into Egypt” (aka “Le Repos en Egypte”), c.1588 (BM: 1576–1600), copy in reversed and reduced in size after Cornelis Cort’s (1533-1578) engraving (1576) (see https://www.britishmuseum.org/collection/object/P_Nn-7-28-1), after Bernardino Passeri’s (c.1540–c.1590) composition, possibly published by Jan Sadeler I (aka Johannes Sadeler; Johann Sadeler) in Antwerp.

Engraving on fine laid paper trimmed along the image borderline with loss of any lettered text below the borderline and backed with a support sheet.
Size: (sheet/image borderline) 16 x 13.1 cm.
Inscribed on plate on lower edge: “BERNARDINVS / PASSARVS / INVEN.”

Condition: well-printed and strong impression trimmed around the image borderline with loss of the text lines below the borderline. There are replenished losses (restorations) otherwise the sheet is in excellent condition and is laid onto a support sheet of millennium quality washi paper.

I am selling this superb engraving from the late 1500s for AU$323 (currently US$221.69/EUR197.57/GBP179.68 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, sparkling with light and exemplifying the engraver’s skill in rendering portrayed subjects with great clarity—note the modelling of the apple held by Joseph and the braying donkey in the distance—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Friday, 26 June 2020

Jan Sadeler I’s engraving, “Seth and Enoch”, 1586


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

“Seth and Enoch” (TIB title) (aka “Seth and Enosh”; “Set en Enos”), 1586, lifetime impression of plate 3 from the series of fifteen engravings, “The Story of the First Men” (aka “History of the Set family / About judging right and wrong”; “Bonorum et Malorum consensio”), 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 around the image borderline with loss of the lines of text below the borderline and backed with a support sheet.
Size: (sheet/imageborderline) 19.5 x 27.5 cm.
Numbered on plate on upper edge: (centre) “III”.
Inscribed on plate along the lower edge: (left of lower centre) “Joann: Sadeler auctor at sculptor excu: […] Genes: capit 4”; (right) “Martin de vos figuravit:”
State i (of i) Lifetime impression (based on the quality of the line showing no sign of wear to the printing plate).

TIB 7001. 031 (Isabelle de Ramaix 1999, “The Illustrated Bartsch”, vol. 70, Part 1 [Supplement], New York, Abaris Books, p. 52, cat. no. .031); Nagler 1835 1835–52 no. 20; Le Blanc, no. 40; Wurzbach, no. 9.3; Hollstein 1980, vol. 31, no. 28; Edquist, p. 10, no. 14a.

The British Museum offers the following description of this print:
“Plate 3: Seth and Enosh. the aged and bearded Seth, up a ladder, cuts a branch with an axe; the young Enosh drags a branch towards a wheelbarrow with logs; beyond is a well tended farm landscape with a river valley; by a small wooden bridge a woman collects water from the river; across the width of the river are fish traps; after Maarten de Vos. 1586”

See also the description of this print at the Rijksmuseum:
(Transl.) “Set and his son Enos are pruning trees and collecting wood. On the left, Set's wife prepares the food while the rest of the family takes care of the animals”

Condition: well-printed and strong (lifetime) impression trimmed around the image borderline with loss of the text lines below the borderline. The sheet is in excellent condition (i.e. there are no tears, holes, 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 by one of the most famous of the Flemish old masters for AU$370 (currently US$254.69/EUR226.70/GBP205.19 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 22 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 has been sold