Gallery of prints for sale

Monday 27 May 2024

This is a short note to let everyone know that I'm away on holidays until the start of July and so there won't be fresh posts until I return. For those that like holiday pics, I'm planning to make daily posts (like a photo diary) of what my cook and I get up to and this will be on Instagram: https://www.instagram.com/printsandprinciples   

The watercolour shown above is one I made last week. Someday I must devote a whole post to what I "do" (hopefully with a few drawings/watercolours that I plan to make during the upcoming trip).


 

Sydney Long, “Pastoral Soft-Ground”, 1918

Sydney Long (1871–1955)

Pastoral Soft-Ground”, 1918, pencil signed and titled by the artist and numbered 31 in an edition of 50 impressions.

Soft-ground etching with plate tone (from a zinc plate) printed in a warm black ink on buff coloured wove paper.

Size; (sheet) 46 x 34.1 cm; (platemark) 36.4 x 25.2 cm.

Inscribed in pencil below the image: (lower left corner of sheet) “Pastoral”; (left) “31/50”; (centre) “Pastoral Soft-Ground”; (right) “Sydney Long”.

Mendelssohn 26 (Joanna Mendelssohn 1979, “The Life and Work of Sydney Long”, Copperfield Publishing, p. 141 [illus.], p. 251, cat. 26); Gray 69 (Anne Gray 2012, “Sydney Long: The Spirit of the Land”, National Gallery of Australia [exh. cat.], p. 158, cat. no. 69).

See the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1924-1028-7.

Condition: a richly inked and well-printed (near faultless) impression. The sheet has mount stains and remnants of glue where a mount was once attached, otherwise the sheet has no tears, holes, folds or significant stains to the image area.  

I am selling this masterwork of soft-ground etching by one of the major early Australian printmakers, for AU$3000 in total (currently/approximately US$1991.42/EUR1834.90/GBP1562.93 at the time of posting 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. Note that payment is in Australian dollars (AU$3000) as this is my currency.

If you are interested in acquiring this exceptionally rare and very large etching—a truly outstanding etching and, interestingly, one of Sydney Long’s first prints to be exhibited and possibly executed when Long was still a student (see Gray [2013] p. 158)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Sunday 26 May 2024

Augustin Hirschvogel’s etching, “The Betrayal of Christ”, 1547

Augustin Hirschvogel (1503–1553)

“The Betrayal of Christ” (TIB title) (aka “The Kiss of Judas”, 1547 (date inscribed in plate), from the series of 104 illustrations published in Vienna in 1550 by Aegidius Adler (fl.mid-1500s) in “Vorredt und eingang der Concordantzen alt und news Testaments."

Etching on fine laid paper trimmed around the image borderline (with loss of the accompanying letterpress text [see https://www.nga.gov/collection/art-object-page.39407.html]) and backed with a support sheet.

Size: (sheet) 11.6 x 14.4 cm.

Inscribed in plate within the image borderline: (lower right-of-centre) “1548”.

TIB 18 (9).1.47 (171) (Jane S Peters [ed.] 1982, “The Illustrated Bartsch: German Masters of the Sixteenth Century”, vol. 18, Abaris Books, New York, p. 141, cat. no. 1.47 [171]); Paisey 306; Hollstein 134b; Schwarz 44.

The British Museum offers the following description of this print: “Betrayal of Christ; Christ at center, Judas kissing his cheek, Roman soldiers advancing from right, apostles at left; accompanied by German biblical verse to Lucas 22 in letterpress; printed to face the antetype of Gideon slays Zebah and Zalmunna; illustration to Peter Perenyi and Augustin Hirschvogel, 'Vorredt und eingang der Concordantzen alt und news Testaments, durch Pereny Petri... Und nachuolgents durch Augustin Hirßfogel... erweytert' (Vienna, Aegidius Adler: 1550). 1547” (https://www.britishmuseum.org/collection/object/P_1926-0617-13-40).

The Curator of the British Museum advises that Adler’s publication features “[t]wo etchings to a page with German letterpress above and below with relevant biblical passages” (see BM no. 1926,0617.13.55). TIB notes that this print is paired with the etching “Jacob Betrays Abner” (see TIB 18 [9].1.46 [171]).

Condition: a strong and well-printed lifetime impression (based on the line quality with no sign of wear to the printing plate), trimmed around to the image borderline and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in a very good condition with no tears, folds or significant stains.

I am selling this very early and extremely rare etching illustrating an Old Testament scene from Luke 22, for AU$310 in total (currently/approximately US$205.75/EUR189.56/GBP161.48 at the time of posting 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. Note that payment is in Australian dollars (AU$310) as this is my currency.

If you are interested in acquiring this Renaissance period print executed in Michelangelo’s lifetime by the artist who arguably popularised the great Albrecht Altdorfer’s somewhat panoramic approach to landscape—note, for example, the treatment of the foreground trees set against the distant mountains and the group of advancing soldiers at right that are shown as not only spatially stacked with in diminishing sizes, but also portrayed with aerial perspective in the blurred details of the men further away—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 25 May 2024

Charles Joseph Beauverie, “Labourer Tilling the Soil at Twilight”, c.1880

Charles Joseph Beauverie (1839–1924)

“Labourer Tilling the Soil at Twilight” (descriptive title only), c.1880, a hand-signed proof before lettering.

Although this huge etching is clearly rooted with the interests of the Barbizon School in terms of the portrayed subject and its treatment—mindful that Beauverie’s etching after Jean-François Millet’s (1814–1875) painting, “Berger Gardant Son Troupeau (Effet d’Automne)” features in Alexandre Piedagnel’s (1876) “Souvenirs de Barbizon” (see https://archive.org/details/jfmilletsouvenir00pied_1/page/82/mode/2up)—I have been unsuccessful in finding background information about this print or even another copy of it in the major museum repositories.

As an interesting point of comparison of this superb etching by Beauverie with those by Millet, I have previously shown (and at present they are still available) the following original etchings by Millet: “Les Bêcheurs” (The Diggers), c.1855–6 (https://www.printsandprinciples.com/2016/05/jean-francois-millet-181475-les_15.html) and “Peasant with a Wheelbarrow”, 1855 (https://www.printsandprinciples.com/2022/07/jean-francois-millets-etching-peasant.html).

Etching printed in brown/sepia ink on buff coloured wove paper (imitation Japon?), hand-signed by the artist in ink at lower right, with wide margins.

Size: (sheet) 44.8 x 65 cm; (platemark) 27.5 x 37.6 cm; (image borderline) 25 x 35.5 cm.

Condition: a strong impression with generously wide margins. The sheet has minor surface marks, otherwise, it is in a very good condition with its immense size with no tears, holes, folds or significant stains.

I am selling this exceptionally rare and large hand-signed proof-state etching for AU$289 in total (currently/approximately US$191.63/EUR176.63/GBP150.43 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. Note that payment is in Australian dollars (AU$289) as this is my currency.

If you are interested in purchasing this spectacular etching, 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 











François Perrier, “Battle between the Romans and the Dacians”, 1645

François Perrier (aka Le Bourguignon) (1594–1649)

“Battle between the Romans and the Dacians”, 1645, published in Rome (note that the Rijksmuseum advises the place of publication is Paris [see RP-P-2016-693-51]) by Giovanni Pietro Bellori (aka Giovan Pietro Bellori; Gian Pietro Bellori) (1613–1696) with privilege from Pope Innocent X (the Vatican) in 1645 from the series of fifty-four plates (La Blanc advises, fifty-five plates [p. 173]), “Roman Sculpted Reliefs”, from the Arch of Constantine in Rome, as an illustration to “Icones et segmenta illvstriuvm e marmore tabvlarvm qvae Romae adhvc extant a Francisco Perrier, delineata incisa et ad antiqvam formam lapideis exemplaribvs passim collapsis restitvta”) (Icons and fragments of illustrious marble tablets which are extant in Rome by Francisco Perrier, cut out and restored to the ancient form of the stone models collapsed here and there).

Etching on laid paper trimmed unevenly around the image borderline with partial loss of the writing edge and upper corners (restored and replenished with colour) and backed with a support sheet.

Size: (uneven sheet) 23.9 x 38.8 cm.

The sheet is trimmed with loss of the critical details in the writing edge that would establish which of the four states this print belongs; nevertheless, the impression is possibly early as the quality of the line shows no sign of wear to the printing plate.

LeBlanc 138–192 (J.Ch. Brunet & Ch. Leblanc 1888, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire”, vol. 3, Paris, p. 173, cat. nos. 138–192).

The Rijksmuseum offers a description of this print: http://hdl.handle.net/10934/RM0001.COLLECT.631544.

Note that Pietro Santi Bartoli (1635–1700) made an etching of the same relief but in the reverse direction to this print and later in the 1600s (1650–1691); see https://www.britishmuseum.org/collection/object/P_1854-1020-70.

Condition: a strong impression trimmed crudely around the image and writing edge and laid onto a support of archival (millennium quality) washi paper. The trimmed edges have been replenished with watercolour to visually straighten them.

I am selling this large and visually arresting etching showing Emperor Trajan on horseback along with his army battling the Dacians—the depicted scene is from a relief sculpture on the Arch of Constantine in Rome—for AU$287 in total (currently/approximately US$190.31/EUR175.40/GBP149.39 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. Note that payment is in Australian dollars (AU$287) as this is my currency.

If you are interested in purchasing this marvellous etching exemplifying the publisher’s (Giovanni Pietro Bellori) advocacy for idealism in art—a world of glorious men far removed from the earthy realism of Caravaggio—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










Friday 24 May 2024

Crispin van de Passe II’s engraving, “Seated Female Nude”, 1643-44

Crispin van de Passe II (aka Crispijn de Passe II; Crispijn van Passe II) (1594–1670)

“Seated Female Nude”, 1643-44, illustration to the third part (female nude studies) of what may be the largest of the early drawing books to be published, “La prima [-quinta] parte della luce del dipingere et disegnare …” (The first [to the fifth] part of the light of painting and drawing) (aka “Van't Light der teken en schilder konst” [From the Light of drawing and painting art]), published in Amsterdam, 1643–44, by Jan Jansz. with Crispin van de Passe II as the author.

See details of this publication offered by the MFA Boston: https://collections.mfa.org/objects/523562/la-prima-quinta-parte-della-luce-del-dipingere-et-disegna;jsessionid=6B58FEA2F30EAFBE381E2390322110AF.

See also an online copy of this publication offered by artchive.org: https://archive.org/details/laprimaquintapar00pass/page/n201/mode/2up.

Engraving on fine laid paper with full margins as published.

Size: (sheet) 36.8 x 24.3 cm; (platemark) 30.3 x 20.2 cm; (image borderline) 29.9 x 19.8 cm.

Condition: a strong and well-printed (near faultless) impression in an excellent condition with no tears, holes, abrasions, significant stains or foxing.

I am selling this superb impression in a remarkable good state of preservation, mindful that most prints from this early publication were handled and soiled based on the designed use of the images for art students to study and copy, for AU$352 in total (currently/approximately US$232.90/EUR214.76/GBP183.05 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. Note that payment is in Australian dollars (AU$352) as this is my currency.

If you are interested in purchasing this exceptionally fine (and rare) study of a female nude executed in the early 1640s, 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