Gallery of prints for sale

Monday, 19 October 2020

(attrib.) Bernard Salomon’s double-sided woodcut, “Jacob’s Ladder”, c1558

(attrib. by or after) Bernard Salomon (aka Bernard Klein; B Gallo; Bernardus Gallus; Klein Salomon; Le Petit Bernard) (1506/10–c1561) (cf. https://www.britishmuseum.org/collection/object/P_1865-0610-460)

Note that there are at least three woodcut artists in the 1500s that were influenced by Bernard Salomon: Pierre Eskrich (c1530–c1590), Thomas Arande (fl.c1532–c1578) and Jean Moni (fl.c1570).

(Recto) “Jacob’s Ladder” and (verso) “Joseph’s Children with Rebeka in Bed and Joseph Cast into the Well” (descriptive titles only), c1558, woodcut illustrations (recto and verso) originally published and printed by Jean de Tournes (1504-1564) in Lyon for Claude Paradin’s (c1510–1573) “Qvadrins Historiqves de la Bible” (see https://archive.org/details/qvadrinshistoriq00para/page/n35/mode/2up) and later republished in “Figures Historiques.”

This impression shows significant changes to the original design. Interestingly, the head of Jacob (recto at lower left) has been recut on a fresh insert of wood wedged into the plate matrix along with another fresh insert of recut wood showing what I read as Joseph leaving Jacob’s house (recto at right). Note also the white “dots” in both impressions (recto and verso) suggesting that the original wood printing plates were both riddled with worm holes.

Size: (sheet) 14.3 x 19.2 cm.

Condition: recto and verso impressions are both very good and trimmed along the image borderlines. The leaf is in an excellent condition for its considerable age with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this leaf of double-sided woodcuts from the mid-1500s showing (on the recto side) Jacob at lower left dreaming of a ladder to heaven and at right the departure of his son (Joseph) on a calamitous journey shown in the verso woodcut where Joseph is cast into a well/cistern by his brothers (at left), marries Rebeka (shown in bed) and then has children (one having a bath in the foreground)—for the total cost of AU$200 (currently US$141.90/EUR120.95/GBP109.24 at the time of this listing) including Express Mail (EMS) 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 double-sided woodcut featuring multiple events in a single scene and—perhaps even more interesting—the insertion of recut images similar to today’s use of Photoshop (e.g. Joshua’s head and Joseph departing his father on the right side of the recto print), 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












Sunday, 18 October 2020

Pieter van der Heyden’s engraving, “Representations of the Four Elements: Water”, 1566

Pieter van der Heyden (aka Pieter Verheijden; Pieter Verheyden; Petrus Ameringius; Petrus á Merica; Pietro Martini; Petrus Mericinus; Petrus Miricenys; Petrus Miricinus; Petrus Miriginus; Petrus Myricenis) (c1525–c1584)

“Representations of the Four Elements: Water” (aka “Voorstellingen van de vier elementen: water”), 1566, after Jacob Floris the Elder (1524–1581) from the series of 16 engravings (including the title plate), “Compartimentorum Quod vocant Multiplex Genus Lepidissimis Historiolis Poetarumque Fabellis Ornatum” ([Google Transl.] “What are the fables of poets call the authors give the family the most pleasant of a little history of their ornament compartments”), published by Hieronymus Cock (c1510–1570) in Antwerp in 1570.

Engraving on fine laid paper trimmed to the image borderline and backed with a support sheet.

Size: (sheet) 6.5 x 10 cm.

Lifetime/early impression (based on the engraving showing no sign of wear to the printing plate).

Orn Cat I 81.5 (Irene Margaretha de Groot 1988, “Ornamentprenten in het Rijksprentenkabinet”, Den Haag, Rijksprentenkabinet, Rijksmuseum Staatsuitgeverij).

See also Peter Fuhring (1989), “Ornament Prints in Amsterdam”, Print Quarterly 6, p. 328.

The Rijksmuseum offers a description of this print:

http://hdl.handle.net/10934/RM0001.COLLECT.409549.

Condition: faultless impression showing no sign of wear to the printing plate, trimmed along the image borderline and laid upon an archival support sheet of millennium quality washi paper. The sheet is in pristine condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of use).

I am selling this SMALL but important masterwork of early engraving commissioned by the great, Hieronymus Cock, as a part of a pattern book of ornament designs showing use of elaborate frames of strapwork, grotesques and putti surrounding allegorical scenes—here, Aquarius (the water bearer) pouring an endless supply of water from his urn—for the total cost of AU$291 (currently US$206/EUR175.66/GBP159.59 at the time of this listing) including Express Mail (EMS) 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 interesting example of how designers of the 16th century maintained design harmony, despite a clear joy in creative inventiveness—note how this design is crafted within the convention of colour codes so that dots in the strapwork would be read as gold—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, 17 October 2020

Unidentified printmaker’s etching after Bernard Picart’s “Monument in memory of the folly of the year 1720”, c1720

Unidentified printmaker from the circle of Bernard Picart (1673–1733)

“Monument in memory of the folly of the year 1720” (aka “Monument consacré a la posterité en memoire de la folie incroyable de la XX. année du XVIII. Siècle”; “A monument dedicated to posterity in commemoration of the incredible folly transacted in the year 1720”), c1720, after the etching of Bernard Picart from the series, “The Great Scene of Folly” (aka “Het Groote Tafereel der Dwaasheid”). The subject of this print is a satire about the South Sea/Mississippi Bubble—a crazy time of speculation that bankrupted many when stocks in crazy schemes collapsed in 1720, such as a purported scheme to develop a gun that could fire square cannon balls! Note that on the right of the composition is what I understand to be the coffee house of the financier John Law (aka Jean Law) (1671–1729) whose Mississippi scheme stock skyrocketed by 3000% before crashing disastrously. The riotous procession on the street outside his shop is led by a jester in a cart pulled by representatives of the Mississippi company (including a disabled Indian), with Fortuna—the personification of fortune—spreading investment stocks and snakes blown by a demon in the clouds above her.

Etching and engraving on laid paper with a narrow margin around the platemark and backed with a support sheet.

Size: (sheet) 28.5 x 37.6 cm; (plate) 27.5 x 36.5 cm; (outer image borderline) 21.2 x 35.2 cm.

Condition: a well-printed impression with narrow margins and laid onto a support of archival (millennium quality) washi paper. There are tears on the left side and a small replenished loss also on the left. Beyond these issues, the sheet is in a reasonably clean condition with no significant stains or foxing.  

I am selling this curiously wonderful broadsheet satirising the disastrous share crash of 1720 for AU$306 (currently US$216.62/EUR184.71/GBP198.18 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested this fascinating etching allegorically documenting the calamitous event of speculative trading known in England as the “South Sea Bubble” and in France as the “Mississippi Bubble”, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Friday, 16 October 2020

Christian Wilhelm Ernst Dietrich’s etching, “The Boulder at the Foot of the Mountain”, c1732

Christian Wilhelm Ernst Dietrich (aka Dietricy; Christian Wilhelm Ernst Dietricy) (1712–1774)

“The Boulder at the Foot of the Mountain” (aka “Der Felsblock am Fusse des Berges”), c1732, lifetime impression before the plate is numbered and titled in later states.

Etching on laid paper trimmed with a thread margin around the platemark and backed with a support sheet.

Size: (sheet) 5.1 x 12.4 cm.

Inscribed on plate at upper left: “Dietricy”.

State ii (of iv) with the addition of the artist’s signature.

Linck 128 II (J.F. Linck 1846, “Monographie der von C.W.E. Dietrich radierten, geschabten und in Holz geschnittenen malerischen Vorstellungen’, Berlin, Rudolph Weigel, pp. 211–12 [see: https://digital.slub-dresden.de/werkansicht/dlf/105498/225/0/]).

J.F. Linck (1846) offers the following description of this print:

(Google Transl.) “Almost in the middle of this sheet, at the foot of a high mountain on the right, close to a country road leading to the left, one sees a large, pyramidal boulder erected; where a woman on a horse and a man walking next to her, accompanied by a dog, pass by. On the right in the foreground, by a hill, sits a man, next to whom a pack and a stick are lying.” (pp. 211–12).

Condition: strong impression trimmed around the platemark with a thread margin and laid onto a support of archival (millennium quality) washi paper. The upper right corner is chipped and restored and the sheet has pale age-toning, otherwise the sheet is in very good condition for its considerable age with no significant stains.

I am selling this intimately small etching that, despite its size, presents a vast panorama radiant in sunlight for AU$252 (currently US$178.67/EUR152.26/GBP138.24 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested this fascinating etching showing a traveller gesturing towards a natural oddity in the landscape—exemplifying the popular interest of the time in natural phenomena and the forces underpinning them—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.








Thursday, 15 October 2020

Tancrède Abraham’s etching, "La Chasse au Marais", 1863

Tancrède Abraham (1836–1895)

"La Chasse au Marais" (aka “Hunting in the Marshes”; “Swamp Hunting), 1863 (as inscribed  with signature on plate [“63”]), published in "L'Artiste" (March 1870; see details: http://prelia.fr/base/opac_css/index.php?lvl=author_see&id=166&PHPSESSID=0cd69occigu9997b0o1obna372).

Etching on wove paper, signed and dated on plate before lettering with publication details, backed with a support sheet.

Size: (sheet) 34.9 x 24.2 cm; (plate) 32.7 x 24.5 cm; (image borderline) 31.2 x 23.9 cm.

Inscribed on the plate at lower-left corner: “63 T. ABRAHAM.”

Surprisingly, this large print does not seem to be in any of the major art museums, nevertheless, it features in the online images offered by Wikimedia: https://commons.wikimedia.org/wiki/File:Tancr%C3%A8de_Abraham-La_chasse_dans_le_marais.jpg (Note: Wikimedia credits the Cabinet des estampes et des dessins de Strasbourg as holding this print but my search was unsuccessful in finding it).

Condition: a richly inked and well-printed impression with flattened trifold (for publication of the print in "L'Artiste") and laid onto a support of archival (millennium quality) washi paper with retouching of the fold-line crease. The sheet is in an excellent condition with no tears, holes, losses, abrasions, stains, foxing or signs of handling.

I am selling this large and poetically beautiful etching—note the artist’s fascination with how light shimmers on and sparkles through the screen of trees—executed eleven years before the first Impressionist Exhibition of 1874, for AU$246 (currently US$175.83/EUR149.55/GBP134.97 at the time of this listing) including Express Mail (EMS) 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 darkly glowing print showing an almost invisible lurking hunter in the darkness of a tree-bordered marshland glade, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note: This is the second impression of this etching that I have listed. The previous copy has been sold.