Gallery of prints for sale

Tuesday 30 November 2021

Francis Seymour Haden’s drypoint and etching, “Ye Compleat Angler”, 1877

Francis Seymour Haden (aka Sir Francis Seymour Haden; H Dean [used for RA exhibitions]) (1818–1910)

“Ye Compleat Angler” (The Complete Angler), 1877, first published in 1878 by Hogarth and Sons (London) and later published in Philip Gilbert Hamerton’s, “Etching and Etchers” (3rd ed., London, 1880). This impression is from the 1880 edition.

Note: Hamerton’s, “Etching and Etchers” may be downloaded free of charge at archive.org and it may be viewed online: https://archive.org/stream/etchingandetche00hamegoog?ref=ol#page/n4/mode/2up

Drypoint and etching and printed in a warm-black ink with plate tone on cream laid paper with small margins.

Size: (sheet) 18.3 x 26.5 cm; (plate) 13.9 x 20 cm.

Signed in plate, at lower right: "Seymour Haden 1877".

State iii (of iii) with the bushes in the right background shaded with oblique lines. Compare with the state i impression held by the BM (https://www.britishmuseum.org/collection/object/P_1937-0612-216) and the state ii impression also held by the BM (https://www.britishmuseum.org/collection/object/P_1925-0312-14).

S 161 (Richard S Schneiderman 1983, “A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden”, Wiltshire, Robin Garton Ltd, p. 319, cat. no. 161 III); D 149 (Sir William Drake, “A Descriptive Catalogue of the Etched Work of Francis Seymour Haden”); H 166 (Henry Nazeby Harrington 1910, “The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue”, Liverpool, H. Young and Sons, cat. no. 166 i, p. 83, ill.).

The British Museum offers the following description of this print: “A young angler with a rod, wearing a bonnet, seated in profile, looking left towards the river; behind, small cabins on either sides [sic]; trees seen in the background” (https://www.britishmuseum.org/collection/object/P_1910-0421-176).

See also the superb insights about this print offered by Art of the Print: http://www.artoftheprint.com/artistpages/haden_francis_seymour_thecompleteangler.htm.

Regarding Haden’s approach to etching, Hamerton (1880) in “Etching and Etchers advises: “A good principle to remember is, that for an etching to look fresh we must avoid weariness. This is why Mr. Haden recommends a single sitting; it seems to him that the freshness of the mind, its first virgin impression of a subject, may be kept three or four hours, but not very much longer. Before the mind acknowledges fatigue it loses its keen interest in the subject which occupies it, and this keen interest is what we have mainly to rely upon for the vivacity of our work. A jaded etcher is sure to spoil his plate. Without making a rule to etch only plates of one sitting, which would confine us to sketching, it is quite necessary to stop before the mind wanders or goes on another tack” (p. 64).

Condition: a richly inked and near faultless impression. The sheet has a patch of thinning (only visible when the sheet is held to the light) otherwise it is in near pristine condition for the age of the print with no tears, holes, folds, stains or foxing.

I am selling this richly inked and freely drawn drypoint (with etching) by arguably one of the finest printmakers of the nineteenth century for AU$280 in total (currently US$200.59/EUR176.92/GBP150.66 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 quietly unassuming etching, no doubt, made directly in front of his subject during his usual self-imposed three-hour time limit, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the second impression of this print that I have listed (the previous impression has been sold).











Monday 29 November 2021

Gérard de Lairesse’s etching, “Cain Killing Abel with the Jawbone of an Ass”, c1680

Gérard de Lairesse (aka Gerardi de Lairesse; Gerardum de Lairesse) (1640–1711)

“Cain Killing Abel with the Jawbone of an Ass”, c1680, plate 5 from a series of etchings illustrating the Old Testament (Timmers 1 to 7), published by Nicolaes Visscher II (aka Nicolai Vischer; Claes Claesz Visscher) (1649–1702) in c1675 as an illustration to “Opus Elegantissimum” (see folios 65v-66r in the online scroll of this publication offered by the Yale Center for British Art: https://collections.britishart.yale.edu/catalog/orbis:4190566). The etching was later published by Gerard Valck (aka Gerard Valk) (1651/1652–1726) in Valck’s edition (c1702) of “Opus Elegantissimum” with the publication details, “nunc apud Ger.Valk” and “49”. This is a lifetime impression before the Valck edition.

The Curator of the British Museum offers the following insight regarding the publication of this print: “Timmers (p.83) records four editions of the plates: 1. with Visscher's address, 2. with Valck's added, 3. with the plates numbered, 4. with Schenk's address. He also notes that almost all copies show differences in content and order” (https://www.britishmuseum.org/collection/object/P_1929-1112-2-1).

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

Size: (sheet) 22.1 x 25.3 cm; (image borderline) 20.5 x 24.3 cm.

Numbered and lettered in plate below the image borderline: (centre) “Fratrum quoque gratia rara./ Per Gerardum de Lairesse inv: et sculp: et per Nicolaum Visscher edit: cum Privil: Ord: Gen: Belgii Fæderati.”; (right) “5”.

State i (of iv) (?) before the three alterations with publication details (see Timmers, p. 83).

Timmers 5 (J.J.M. Timmers 1942, “Gérard Lairesse”, Amsterdam, H J Paris, pp. 83 & 127, cat. no. 5).

Condition: a strong and well-printed lifetime impression showing no sign of wear to the printing plate, trimmed irregularly around the platemark and laid onto a sheet of archival (millennium quality) washi paper. Beyond a pale mark in the sky at upper left, the sheet is in a very good condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this superb etching showing the two sons of Adam and Eve fighting—note the crook that the shepherd, Abel, has dropped as the farmer, Cain, is about to kill him in a jealous rage with the jawbone of an ass after discovering that God favoured his brother—for the total cost of AU$368 (currently US$261.51/EUR231.10/GBP196.36 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 rare lifetime impression (based on the publication details), 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 











Johann Jakob Haid & Johann Elias Haid’s mezzotint, “The Prodigal Son in the Greatest Misery”, c1775


Johann Jakob Haid (aka Johann Jacob Haid, Johann Jacobus Haid) (1704–1767) and his son, Johann Elias Haid (1739–1809)

“The Prodigal Son in the Greatest Misery” (aka “L'Enfant Prodigue Dans la Plus Grande Misère”; “Der Ungerathne Sohn im Elend”; “The Unwary Son in Misery”), c1775, plate 4 from the series of 6 mezzotints, “The Prodigal Son”, based upon Sébastien Leclerc II's (1676–1763) series, "L'Histoire de l'Enfant Prodigue” (1751), published in Augsburg by Johann Jakob Haid and his son.

Mezzotint with etching on thick laid paper trimmed slightly within the image borderline and text, backed with a support sheet.

Size: (sheet) 32.4 x 39.8 cm; (image borderline) 29.2 x 39.8 cm.

Lettered in plate below the image borderline: (centre) "L'Enfant prodigue dans la plus grande Misere. Der ungerathne Sohn im Elend”; (right) “J. J. Haid et filius excud A. [V.]"

The Library Company of Philadelphia offers the following description of this print:

“Plate 4 from a circa 1775 Prodigal Son series of prints depicting the Prodigal Son in misery. Shows a young white man in the middle of a pen of pigs and in front of a barn. The man stands with his hands clasped, his head tilted to the right, and his eyes gazing up. He wears a tri-corn hat, an open shirt, breeches, a long coat, stockings, and slipper shoes. In the left, two pigs eat from a trough. In the right, two pigs stand and a third pig lies down. In the right background, countryscape is visible” (http://pacscl.exlibrisgroup.com:48992/F?func=direct&doc_number=000333698&solr).

See also the description of this print offered by the Yale Center for British Art: https://collections.britishart.yale.edu/catalog/tms:23259.

Condition: a strong impression with replenished losses in the sky and dots within the image, trimmed slightly within the platemark and laid onto a sheet of archival (millennium quality) washi paper.

I am selling this velvety and glowing mezzotint showing the key moment in the story of the prodigal son where his extravagantly careless lifestyle has led him living with swine—note the artists’ curiously comical interpretation of what a contrite young man might look like—for the total cost of AU$236 (currently US$168.50/EUR149.36/GBP126.37 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 marvellous print exemplifying a lobulate approach to rendering forms (i.e., the clouds, trees, swine and even the chap’s chest are all portrayed as if they are constructed from lumps/lobes), 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 November 2021

Alfred Robaut’s lithograph, “Hercules Throwing King Diomedes to his Man-eating Horses”, c1865, after Eugène Delacroix

Alfred Robaut (aka Alfred-Ernest Robaut) (1830-1909)

“Hercules Throwing King Diomedes to his Man-eating Horses”, c1865, after a study (c1852) by Eugène Delacroix (aka Ferdinand Victor Eugène Delacroix) (1798-1863) (see https://commons.wikimedia.org/wiki/File:Delacroix_-_Hercules_Throwing_King_Diomedes_to_his_Man-eating_Horses.jpg), possibly a design study for the decoration of the Salon de la Paix in the newly expanded Hôtel de Ville (Paris City Hall) (see the discussion of a related pencil study in the collection of the MET: https://www.metmuseum.org/art/collection/search/355649), printed in Douai by Alfred Robaut and published in Paris in 1865 by Dusacq & Cie (with the blind-stamp of the series) as plate 70 to the second volume of “Eugène Delacroix: Fac-Simile de Dessins et Croquis Originale par Alfred Robaut.”

Lithograph printed in sanguine coloured ink on grey chine collé (China) with full margins as published and backed with a support sheet.

Size: (sheet) 37.7 x 47.9 cm; (chine collé) 27.9 x 34.7 cm.

Numbered in plate above the image borderline: (left) “No. 70.”

Lettered in plate below the image borderline: (left) “Eug. Delacroix.”; (right) “Imp. Alf. Robaut, Douai”.

Blind-stamped below the image borderline: (in an oval at centre) “EUGÈNE DELACROIX/ FAC-SIMILE/ DE DESSINS et CROQUIS ORIGINALE/ PAR ALFRED ROBAUT”.

Condition: a near faultless impression laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this lithograph from the late 1800s designed to showcase Eugène Delacroix’s consummate skill as a draftsman—note how the lithograph not only captures the subtle variations of Delacroix’s  strokes but how it also simulates the grainy texture of his chalk lines—for the total cost of AU$198 (currently US$141.14/EUR124.65/GBP105.79 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 visually arresting lithograph—note that Robaut has chosen to print the sanguine colour of Delacroix’s lines onto a light grey chine collé paper to give vibrant depth to the colour—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Friday 26 November 2021

Félix Bracquemond’s etching, “Didier Erasme”, 1863, after Holbein


Félix Bracquemond (aka Joseph Auguste Félix Bracquemond) (1833–1914)

Didier Erasme” (aka “Érasme” [BM title]), 1863, after Hans Holbein the Younger’s (1497/8–1543) “Portrait of Erasmus”, 1523, in the collection of the Musée du Louvre, Paris (inv.no.1345) (see https://commons.wikimedia.org/wiki/File:Hans_Holbein_d._J._-_Erasmus_-_Louvre.jpg), printed by the Chalcographie du Louvre.

Etching on cream chine collé on heavy wove paper with huge margins and blind-stamped with the seal of the Chalcographie du Louvre.

Size: (sheet) 69.3 x 55 cm; (plate) 32.1 x 25.5 cm; (chine collé) 30.6 x 23.9 cm; (image borderline) 24.8 x 19.9 cm.

Lettered in plate below the image borderline: (left) “H. Holbein pint.”; (centre) “CHALCOGRAPHIE DU LOUVRE/ Didier Erasme”; (right) “Bracquemond sc.”

Blind-stamped with the seal of the Chalcographie du Louvre at lower centre.

Final state xi (of xi) with the name of the Chalcographie du Louvre added (Beraldi offers descriptions of the previous ten states).

Beraldi 39 (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Bracquemond”, vol. III, Paris, Librairie L Conquet, p. 27, cat. no. 39 [Portraits]).

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_1923-0714-155.

Condition: a richly inked and mostly well-printed impression—note that there are ink dots on Érasme’s chin—with enormous margins. There are minor tears and marks in the margin edges, otherwise this is a simply magnificent impression with no major issues.

I am selling this masterwork of etching after Holbein’s famous portrait of the Dutch philosopher and Catholic theologian, Erasmus (aka Desiderius Erasmus Roterodamus), for AU$257 in total (currently US$183.13/EUR161.77/GBP137.29 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 marvellous (and huge) etching—note that I have listed an etching by Henri Lefort reproducing the same painting by Holbein that may be interesting to compare—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