George Nicholson, “Bractyn Brig, on the Kelty, W. Highlands, Scotland”, 1822

George Nicholson (1787–1878)

“Bractyn Brig, on the Kelty, W. Highlands, Scotland”, 1822, from the series, “Lithographic Impressions of Sketches from Nature” (see the description of the title page offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1892-0714-4-1), initially published in London by Rodwell & Martin (fl.1819–1846) and later published by Rudolph Ackermann (1764–1834) and George Rowney & Co (1783–).

Lithograph printed in black ink on fine wove paper with wide margins.

Size: (sheet) 48.4 x 34.6 cm.

Lettered in the plate below the image: (left) “Bractyn Brig, on the Kelty, W. Highlands. Scotland.”; (right) “G. N. 1822.”

The British Museum offers the following description of this print: “Plate to Rodwell & Martin's edition: view of a large waterfall in a rocky cliff, making a pool in the foreground, dead trees in the left foreground, a figure walking across a bridge on top of the waterfall” (https://www.britishmuseum.org/collection/object/P_1892-0714-4-38).

Condition: a well-printed faultless impression with wide margins in an excellent condition with no tears or significant stains.

I am selling this large and historically significant lithograph, possibly showing what I believe to be the old cast-iron footbridge spanning the Bracklin Falls on the River Keltie in the Western Highlands of Scotland—sadly this bridge was swept away by flooding around 2004 and the surrounding gorge walls have changed significantly since this lithograph was executed (see https://www.ukriversguidebook.co.uk/rivers/scotland/central-highlands/river-keltie)—for AU$289 in total (currently/approximately US$193.50/ EUR177.90/ GBP152.39 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$289) as this is my currency.

If you are interested in purchasing this exceptionally rare and large lithograph, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Francesco Rosaspina, “The Preaching of St. John the Baptist”, c1830, after Lodovico Carracci

Francesco Rosaspina (1762–1841)

“The Preaching of St. John the Baptist” (aka “La Predicazione di S. Gio[v]anni Battista”; “John the Baptist Preaching to a Crowd at the River Jordan”), c.1830, after the altarpiece painting in the Pinacoteca Nazionale in Bologna, “Sermon of the Baptist” (aka “Predica del Battista”), 1592, (see https://www.pinacotecabologna.beniculturali.it/it/content_page/item/96-predica-del-battista), by Lodovico Carracci (aka Ludovico Carracci) (1555–1619), from the series published in Bologna by the Francesco Rosaspina in 1830, “La Pinacoteca della Pontificia Accademia di Belle Arti, Bologna” (The Art Gallery of the Pontifical Academy of Fine Arts, Bologna).

The Wellcome Collection offers an online view of the prints in the series, “La Pinacoteca della Pontificia Accademia di Belle Arti, Bologna”, including a description of this print (curiously described as a drawing): https://wellcomecollection.org/search/works?partOf.title=La+Pinacoteca+della+Pontificia+Accademia+delle+Belle+Arti+in+Bologna; https://wellcomecollection.org/works/fshbzx4d).

Interestingly, the British Museum holds an etching by an unidentified printmaker (late 18^th century) showing Lodovico Carracci’s composition in the reverse direction: https://www.britishmuseum.org/collection/object/P_U-1-23.

Etching with engraving on wove paper with full margins as published.

Size: (sheet) 48.8 x 31.5 cm; (plate) 34.5 x 22.7 cm; (image borderline) 28.4 x 16.9 cm.

Lettered in plate below the image borderline: (left) “Lod Carracci dip”; (centre) “LA PREDICAZIONE DI S. GIOANNI BATTISTA”; (right) F. Rosaspina dis. e inc.”

Condition: a well-printed faultless impression with generously wide margins in an excellent (near pristine) condition with no tears, holes, folds, abrasions or significant stains.

I am selling this large and exquisitely executed etching (with engraving) translating in line and dot the colours and tones of Carracci’s exemplary Baroque painting— for AU$289 in total (currently/approximately US$193.49/ EUR177.97/ GBP152.29 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 seldom seen print on the art market, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Adolphe Martial Potémont, “Sous Bois”, 1873, after Narcisse Diaz de la Peña

Adolphe Martial Potémont (aka Adolphe Martial; Adolphe Théodore Jules Martial Potémont) (1828–1883)

“Sous Bois” (undergrowth), 1873, after a painting of the same composition by Narcisse Diaz de la Peña (aka Narcisse Virgile Diaz de la Peña) (1807–1876), printed in Paris by Alfred Salmon (aka Adolphe Ardail; Salmon & Ardail; Alfred Fortuné Salmon) (fl.1863–1894). This etching was initially printed by Alfred Cadart (1828–1875) in Paris as an illustration to the art periodical, “Gazette des Beaux-Arts”, 1^st April, 1873, between pages 374 and 375.

Etching on fine wove paper, trimmed with a narrow margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 18.1 x 20.4 cm; (platemark) 16.3 x 19.7 cm; (image borderline) 13.5 x 16.5 cm.

Lettered in plate above the image borderline: (centre [indistinct]) “Diaz”.

Lettered in plate below the image borderline: (left) “Martial sc.”; (centre) “Sous Bois.”; (right) “Imp A Salmon, Paris.”

Beraldi 26-6 (Henri Béraldi 1891, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: PILLEMENT– SAINT-ÈVRE”, vol. XI, Paris, Librairie L. Conquet, p. 36, cat. no. 26 [“Reproductions diverses”, no. 6]).

Condition: a richly inked and well-printed impression, trimmed with narrow margin around the image platemark and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this very beautiful etching showing a figure with two dogs relaxing in the undergrowth and dappled light of what is possibly the Fontainebleau Forest (see Narcisse Diaz de la Peña’s “The Forest of Fontainebleau” [https://www.metmuseum.org/art/collection/search/436196]), for AU$197 in total (currently/approximately US$131.90/ EUR121.32/ GBP103.81 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$197) as this is my currency.

If you are interested in purchasing this finely etched landscape exemplifying the interest at the time in France in light and atmosphere heralding the dawn of Impressionism, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Bernard Picart, “The Fall of Icarus”, 1730/1

Bernard Picart (1673–1733)

“The Fall of Icarus”, 1730/1, Plate 36 (XXXVI) from the series of sixty plates, “Le Temple des Muses” (Neu-Eröfneter Musen-Tempel), first published in Amsterdam in 1733 by Zacharie Chatelain (fl.1700–50), between pages 100 and 101 (see https://digi.ub.uni-heidelberg.de/diglit/picart1754/0152/image). This impression is from the first edition.

Etching and engraving printed from two plates on laid paper with full margins as published.

Size: (sheet) 46.1 x 17.6 cm; (outer plate) 35.8 x 25.3 cm; (outer image borderline) 34.6 x 24.8 cm.

Lettered in plate below the inner image borderline: (left) “B. Picart invenit 1731.”; (centre with title in four languages [French, English, German and Dutch]) “LA CHUTE D’ICARE./ The fall of Icarus.// …./ …”.

Lettered in plate below the outer image borderline: (left) “B. Picart del. 1730.”

LeBlanc 85–146 (J.Ch. Brunet & Ch. Leblanc 1854[–1889], “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. 192, cat. nos. 85–146).

The Rijksmuseum offers the following description of this print: (Transl.) “Icarus and his father Daedalus escape from Crete. However, Icarus flies too close to the sun, causing the wax on his wings to melt, his wings to fall off, and him to crash into the sea. [...] The scene is decorated with an ornamental border” (http://hdl.handle.net/10934/RM0001.COLLECT.303441).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1914-0214-218.

Condition: a strong and well-printed (near faultless) impression in a near pristine condition for its considerable age.

I am selling this stunningly beautiful engraving showing Icarus falling from the sky when his imitation wings glued together with wax melted after Icarus flew too close to the sun following his escape from Crete with his father, Daedalus, shown flying in the distance, for AU$336 in total (currently/approximately US$223.64/ EUR206.09/ GBP176.78 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$336) as this is my currency.

If you are interested in purchasing this museum quality engraving printed from two plates—an outer “frame” plate and the inner “image” plate—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

Hieronymus Wierix, “Landscape with Saint Sebastian”, c,1600

Hieronymus Wierix (aka Jerome Wierix; Hieronymus Wierx) (1553–1619)

“Landscape with Saint Sebastian” (aka “Landschap met de H Sebastiaan”), c.1600 (Rijksmuseum dates: 1563–1619), published in Antwerp by Hieronymus Wierix with privilege from Joachim de Buschere (secretary to the Board of Brabant).

Engraving on laid paper, trimmed around the image borderline with loss of the writing edge and backed with a support sheet providing wide margins.

Size: (sheet) 7.5 x 5.2 cm.

Mauquoy-Hendrickx 1289 (Marie Mauquoy-Hendrickx 1978, “Les Estampes Des Wierix”, vol. 1, Brussels, Bibliotheque Royale Albert, [text] p. 228, [ill.] p. 169); Hollstein Dutch 1637.

The Rijksmuseum offers the following description of this print: (transl.) “Saint Sebastian is tied to a tree. Arrows have pierced into his body. In the background a view of a city. In the margin a Bible quote from Sir. 4 in Latin” (http://hdl.handle.net/10934/RM0001.COLLECT.332189).

Condition: a strong and well-printed impression—a lifetime impression based on the quality of the line showing no sign of wear to the printing plate—trimmed around the image and lines of text and laid onto a support of archival (millennium quality) washi paper providing wide margins. Beyond two restored nicks to the left edge, the sheet is in a very good condition for its considerable age with no significant stains.

I am selling this startlingly fine engraving—a true masterwork of engraving—for AU$256 in total (currently/approximately US$170.62/ EUR157.07/ GBP134.79 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$256) as this is my currency.

If you are interested in purchasing this tiny, jewel-like engraving, 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