Gallery of prints for sale

Monday 30 September 2024

Circle of Nagasawa Rosetsu, “Standing Crane”


Circle of Nagasawa Rosetsu (also known as Gyo, Masakatsunoinn, Chougyo and Hyokei) (1754–1799)—note that although the inscription shows (in translation) the name “Rosetsu” and the seal has the name, “Gyo”, I propose that this painting is in the manner of Nagasawa Rosetsu rather than being by the artist’s hand, following the strong tradition in Japan of working within the style of great masters.

Standing Crane”, date of execution is unknown apart from clear evidence of the patina of age that this is an antique painting. Note that there is minor surface wear to the image and the mount has perforations and marks.

Ink on paper, mounted as a scroll with bone roller ends.

Size: (scroll) 60 x 208 cm (scroll); (image) 116 x 46 cm.

I am selling this bold and confident ink painting of a crane—note the loose calligraphic freedom of the brushwork that (to my mind) is in keeping with the rebellious spirit of the artist for which he is famous—for AU$700 in total including a wood storage box (currently US$484.41/EUR434.61/GBP361.99 at the time of posting this print) 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$700) as this is my currency.

If you are interested in purchasing this large scroll painting signed and with the seal of Nagasawa Rosetsu—mindful that I am not proposing that the painting is by this famous artist but rather from hand of a follower—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Sunday 29 September 2024

Alfred Alexandre Delauney, “Trees Silhouetted in a Forest”, (2nd copy), c.1870

Alfred Alexandre Delauney (1830–1895)

“Trees Silhouetted in a Forest” (descriptive title only), c.1870.

Etching with on fine wove paper backed with a support sheet providing wide margins.

Size: (sheet) 22.7 x 14.7 cm; (plate) 15.5 x 8.6 cm.

Inscribed minutely in plate below the image borderline: (centre) “Delauney”.

Condition: richly inked and well-printed (near faultless) impression in an excellent condition with no tears, holes, folds, abrasions or significant stains and laid onto a support of archival (millennium quality) washi paper.

I am selling this small, sparklingly luminous impression for AU$222 in total (currently US$153.56/EUR137.59/GBP114.79 at the time of posting this print) 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$222) as this is my currency.

If you are interested in purchasing this little jewel of an etching that (to my eyes) captures the spirit of the time in which it was executed—viz. a fascination with the effects of light (Impressionism); a love of rural subject matter (Barbizon School); a free use of the etching needle (Etching Revival)—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 copy of this very beautiful etching that has been listed. The previous impression has been sold.

This print has been sold










Circle of Ambroise Paré, “Crocodile”, c1575

Unidentified 16th century printmaker from the circle of Ambroise Paré (aka Ambrosio Paræo) (1510–1590)—author and father of modern surgery

“Crocodile”, c1574/5, initially published by Gabriel Buon (fl.1558–1595) in Paris in 1575 (note that work commenced on the publication in 1574) with Royal privilege on page LXXXIII (83) in Ambroise Paré’s “Les Oeuvres d'Ambroise Paré” (see https://archive.org/details/BIUSante_01709/page/n107/mode/2up). The woodcut was republished in the same publication with the following publishers: in 1614 and 1652 by Pierre Rigaud in Lyon; in 1628 by Nicolas Buon (fl.1624–1628) in Paris; in 1664 by Jean Gregoire.

Based on the letterpress text verso, this impression is from Nicolas Buon’s 1628 Paris edition; see page 18 [81]: https://archive.org/details/BIUSante_00249D/page/80/mode/2up

Woodcut with letterpress text (verso) on laid paper trimmed around the image and backed with a support sheet.

Size: (sheet) 8 x 16 cm.

Condition: a strong and well-printed impression, trimmed around the image with a small margin and laid onto a support of archival (millennium quality) washi paper.

I am selling this marvellous woodcut showing a what may one of the first representations of a crocodile in a natural setting—curiously unattached to the ground or water—for AU$228 in total (currently US$157.43/EUR140.96/GBP117.68 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$228) as this is my currency.

If you are interested in purchasing this early woodcut representation of a crocodile with nipple-like plated skin, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print is reserved pending confirmation of its purchase










Friday 27 September 2024

Albrecht Altdorfer, “St Christopher Bearing the Christ Child”, 1513 (2nd copy)

Albrecht Altdorfer (1482/5–1538)

St Christopher Bearing the Christ Child” (aka. “S. Christophe portant l’enfant Jésus”), 1513, a later impression—note that Baron Hans Albrecht von Derschau printed an edition of this print between 1808 and 1816 on a greyish paper and further impressions were taken from the original block, now in the Kupferstichkabinett (Berlin), between 1922 and 1963.

Woodcut on wove (Japanese?) paper trimmed with a narrow margin around the image borderline.

Size: (sheet) 17.4 x 12.7 cm; (image borderline) 16.5 x 12.1 cm.

Dated and signed in the block with the artist’s monogram: (on tree at right) “1513/ [monogram with ligature initials] AA”.

TIB 14(6).53(79) (Robert A Koch 1980, “The Illustrated Bartsch: Early German Masters; Albercht Altdorfer; Monogrammists”, vol. 14, New York, Abaris Books, p. 159, cat. no. 53 [79]); New Hollstein w.56 (Ursula Mielke [comp.] 1997, “The New Hollstein German Engravings, Etchings and Woodcuts 1400-1700: Albrecht and Erhard Altdorfer”, Rotterdam, Sound and Vision Interactive, p. 130, cat. no. w.56).

The Rijksmuseum offers the following description of this print: (transl.) “Saint Christopher wading through the river with the Christ Child on his back. He bends under the weight of the child and holds on to his staff” (http://hdl.handle.net/10934/RM0001.COLLECT.30781).  

The Curator of the British Museum offers the following insights about this print (note that the numbers in brackets reference the BM’s inv. nos.): “Altdorfer has reduced the amount of hatching normally seen in his woodcuts to a minimum, restricting it to the areas of deepest shade, so that the outlines of the woodcut are firmly emphasised. Like Baldung's 'St Christopher' of c.1511 (1895,0122.227), it is conceivable that it was designed with a tone block in mind, so that parts of the sheet were left intentionally blank to receive the coloured areas. But no such colour print is known, and the small size of this woodcut would seem to argue against this idea; colour prints of the period, such as Altdorfer's 'Beautiful Virgin' of Regensburg (1909,0612.3), were usually of larger dimensions. It is possible that Altdorfer was attempting to reproduce the outline effect of a pen drawing or an etching in the medium of woodcut with not altogether successful results, in much the same way as he aspired to mimic the effects of small, finely detailed engravings in his accomplished woodcut series of the 'Fall and Redemption of Man' (1837,0616.225-226; 1845,0809.1191-1192; 1837,0616.229; 1845,0809.1194; 1837,0616.231 and 1845,0809.1196)” (https://www.britishmuseum.org/collection/object/P_1895-0122-363 [BM inv. no. 1895,0122.363]).

Condition: a very strong impression trimmed with a narrow margin around the image borderline in a near pristine condition.

I am selling this magnificent late impression of a Renaissance period woodcut by one of the founders of landscape painting, Albrecht Altdorfer, for AU$368 in total (currently US$254.09/EUR227.51/GBP189.99 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$368) as this is my currency.

If you are interested in purchasing this amazing woodcut—note Altdorfer’s inventive use of bold diagonals and the subtlety of his portrayal of the infant Christ advising St Christopher as the saint struggled to wade across a river with increasing weight on his shoulders that he was carrying not only the king of world but also the weight of the world—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 copy of this woodcut that has been listed. The previous impression has been sold.










Adolphe Appian, “Environs de Lyon (Large Plate)”, 1879

Adolphe Appian (aka Jacques Barhelemy `Adolphe` Appian), (1818–1898)

“Environs de Lyon (Large Plate)”, 1879, after a painting by Adolphe Appian exhibited in the Salon of 1879, published in Paris by the widow of Alfred Cadart (1828–1875) (Veuve A. Cadart [fl.1875-1882]) as plate 21 to “L'Eau-Forte en 1880”.

Etching with dot roulette and plate tone on heavy cream laid paper with wide margins.

Size: (sheet) 28.7 x 35.9 cm; (plate) 20.1 x 27.9 cm; (image borderline) 14.2 x 23.5 cm.

Lettered and numbered in plate above the image borderline: (centre) “Salon de 1879.”; (right) “21.”

Inscribed in plate within the image borderline: (upper right corner) “APPIAN/ 1879”.

Lettered in plate below the image borderline: (left) “A. Appian, pinx. et sculp.”; (centre) “ENVIRONS DE LYON”; (right) “Vve A. Cadart, Edit. Imp. 56, Bard, Haussmann, Paris.”

State ii (of ii) with the addition of lettering for publication.

Curtis & Prouté 56 ii (Atherton Cutiis & Paul Prouté 1968, “Adolphe Appian son Oeuvre Gravé et Lithographié”, Paris, Paul Prouté, [n.p.] cat. no. 56 ii); Jennings 52 (Herbert H Jennings 1925, Adolphe Appian (essay) in “Print Collector’s Quarterly,” vol. 12, no. 1, p. 116, cat. no. 56 [see https://digi.ub.uni-heidelberg.de/diglit/print_collectors_quarterly1925/0134/scroll]).

In Hamerton’s 1876 edition of “Etching and Etchers”, Hamerton offers the following interesting insights about Appian’s prints: “…his [Appian’s] work is that each plate, however large or however small it may be, is conceived from the first as a whole, and the first conception is never departed from for the disproportionate realisation of some obtrusive detail.” Going further, “…Appian sees always in masses, and gives quite as much detail as is consistent with the preservation of the mass” (pp. 202–03).

Condition: a richly inked, strong and well-printed impression with generous margins. The sheet is in an excellent condition with no tears, holes, folds or significant stains.

I am selling this poetically dark etching where close examination reveals figures barely visible in the dense shadows blanketing a quayside path beside steam and sailboats, for the total cost of AU$315 (currently US$216.60/EUR193.84/GBP161.73 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$315) as this is my currency.

If you are interested in purchasing this very beautiful etching executed by an artist with a strong personal vision of his surroundings and a close connection with the Barbizon School, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.