Salvatore Castiglione, “The Raising of Lazarus”, 1645

Salvatore Castiglione (1620–1676)—brother of Giovanni Benedetto Castiglione (aka Il Grechetto) (1609–1664)

“The Raising of Lazarus” (TIB title) (aka “La Résurrection du Lazare”; “Opwekking van Lazarus”; “Resurrection of Lazarus”), 1645

Etching on laid paper with wide margins, backed with a support sheet.

Size: (sheet) 19.1 x 28.8cm; (plate) 11.5 x 21.6cm; (image borderline) 11 x 21.1cm

Inscribed in plate: (lower left corner) “Salvatore Cast Genov 1645”.

TIB 46.1 (Paolo Bellini [ed.] 1982, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 46, New York, Abaris Books, p. 68, cat. no 1 [43]); Bartsch 1 (XXI.43.1) (Adam Bartsch, “Le Peintre Graveur”, Vienna).

The British Museum and the Rijksmuseum offer descriptions of this print: https://www.britishmuseum.org/collection/object/P_1982-U-4171 (BM inv. no. 1982,U.4171); https://id.rijksmuseum.nl/200169558.

Condition: a well-printed impression with wide margins laid onto a support of archival (millennium quality) washi paper. Beyond minor marks and faint light burn from previous mounting, the sheet is in a very good condition for its considerable age with no tears, holes, folds or significant stains.

I am selling this rare and marvellous etching portraying with great clarity the Biblical episode in which Christ, shown here in a blaze of heavenly light, brings back to life the previously deceased body of Lazarus, seen in the foreground emerging from the tomb with his shroud stretched out to the left, for AU$571 (currently US$371.96/ EUR351.54/ GBP292.02 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$571) as this is my currency.

If you are interested in purchasing this bold composition of great breadth, possibly designed by the artist’s famous brother, Giovanni Benedetto Castiglione (as proposed by the Curator of the British Museum [see BM inv. no. W,6.29]), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Notwithstanding the catalogue entries that this etching is the “only known print by the artist” (see https://www.britishmuseum.org/collection/object/P_W-6-29), recent research has reattributed another very beautiful print that was once considered to be by the hand of Giovanni Benedetto Castiglione to Salvatore Castiglione (see https://www.rijksmuseum.nl/nl/collectie/object/Hoofd-van-een-oude-man-met-baard--0ea11280d87683ce9c09256c944c1c91?tab=data) and this reattributed print is (surprisingly) currently still available in an earlier listing: https://www.printsandprinciples.com/2021/01/salvatore-castigliones-etching-head-of.html. 

This print has been sold

Pierre Joseph Redouté, “Wallflower”, 1805

Pierre Joseph Redouté (1759-1840)

“Wallflower” (aka “Cheiranthus Cheiri / Géroflee Violier” [as titled in the plate])—a plant that I understand is often found growing in cracks in stone walls, 1805, engraving in colour (described in the title page as “IMPRIMÉES EN COULEURS” [printed in colour] see https://archive.org/details/mobot31753000809605/mode/1up), published in 1805 in Paris by Delachaussée as plate 8 to “La botanique de J.J. Rousseau: ornée de soixante-cinq planches, imprimées en couleurs d'après les peintures de P.J. Redouté” (The Botany of J.J. Rousseau: decorated with sixty-five plates, printed in colour after the paintings of P.J. Redouté), printed by Vincent Marie Langlois (aka Langlois frères; Langlois Jeune) (1756–still active c.1805). Archive.org offers and online view of this publication: https://archive.org/details/mobot31753000809605/page/7/mode/2up.

Stipple engraving printed in colour (or more likely hand-coloured, based on close examination of the print, despite the description as “printed in colour” on the title sheet) on cream wove paper.

Size: (sheet) 34.7 x 25.5cm.

Lettered in plate: (next to the relevant details of the flower) “a” ([faint] petal); “b” (flower stripped of its petals); “c” (flower stripped of the calyx and corolla); “d” (stamen); “e” (pistil); “f” (silique); (left) “CHEIRANTHUS CHEIRI./ par P. J. Redoute,”; (centre) “de L’Imprimerie de Langlois.”; (right) “Géroflee Violier.”

Condition: a strong and well-printed impression. Beyond small tears in the edges, the sheet is in a very good condition for its age with no significant stains.

I am selling this rare colour engraving, arguably, by the “greatest botanical illustrator of all time” who even earned the nickname, ”the Raphael of flowers“ (see https://en.wikipedia.org/wiki/Pierre-Joseph_Redout%C3%A9), for AU$267 (currently US$174.13/ EUR164.62/ GBP136.94 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$267) as this is my currency.

If you are interested in purchasing this technically demanding and impressive colour engraving of great beauty, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Frank Short, “Lucerne”, 1896, after Turner

Frank Short (aka Sir Frank Short) (1857–1945)

“Lucerne” (aka “Moonlight on the River” [BM title]), 1896, mezzotint, pencil-signed by the artist, after an unpublished drawing in the collection of the National Gallery (Henry Vaughan Bequest) by Joseph Mallord William Turner (1775–1851) for the “Liber Studiorum”.

Mezzotint printed in sanguine coloured ink, pencil-signed, on laid paper with full margins as published.

Size: (sheet) 28.9 x 42.7cm; (plate) 21.7 x 29cm; (image borderline) 21.2 x 28.3cm

Inscribed with the artist’s monogram within the image borderline: (lower right corner). “S” (on shield).

Lettered in plate below the image borderline: (left) “Drawn by J.M.W.Turner R.A.”; (centre) “LUCERNE From an Unpublished Drawing for the Liber Studiorum in possession of Henry Vaughan Esq”; (right) “Engraved by F. Short 1896.”

Published lettered state with the artist’s monogram.

Hardie 42 (Martin Hardie 1938, “The Liber Studiorium Mezzotints of Sir Frank Short after J.M.W. Turner, R.A.”, London, The Print Collector’s Club, pp. 73-4, cat. no. 42).

The British Museum offers the following description of this print: “The sky with moon above dominates image; to left and right on the banks of a river, a town, connected by a bridge; in the foreground, a crowd and boats, right of centre. 1896/ Mezzotint” (https://www.britishmuseum.org/collection/object/P_1901-0424-13 [BM inv. no. 1901,0424.13]).

Condition: a well-printed impression in an excellent condition with no tears, holes, folds, abrasions or significant stains—note, however, that the low edge is darkened and there are pencil notations along this lower edge.

I am selling this pencil-signed, moonlit scene executed in glowing mezzotint showing the famous wooden footbridge—the Kapellbrücke or Chapel Bridge—spanning the river Reuss in Lucerne (Switzerland), for AU$397 (currently US$257.52/ EUR244.13/ GBP203.38 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$397) as this is my currency.

If you are interested in purchasing this very rare mezzotint with the interesting note in Hardie’s catalogue raisonné (1938) by W.G. Rawlinson that Turner’s drawing that this print reproduces is “very slight in its execution” and may be one of the last drawings “made by Turner for the Liber [Studiorium]” (see p. 73), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Master of the Die, “Psyche Enters the Underworld”, 1530–60, after by Michiel Coxie I

Master of the Die (fl.1522–33)

Note the “Benezit Dictionary of Artists” (2005) proposes that the Master of the Die may be Bernardo Daddi (fl.c.1530–60) and the British Museum proposes that the artist may be Tommaso Vincidor (1493–1536); see https://www.britishmuseum.org/collection/term/BIOG37609.

“Psyche Enters the Underworld” (TIB title), 1530–60, plate 26 from the series of thirty-two plates (second version with verses and plate number), “Fable of Psyche” (TIB title) (aka "The Story of Cupid and Psyche as told by Apuleius" [MET title]), after the design by Michiel Coxie I (aka Michiel van Coxcyen) (1490–1592), published in Rome by Antonio Salamanca (1478–1562).

Engraving on fine laid paper. This is a rare early impression still retaining the lettering guide lines.

Size: (sheet) 24.2 x 29.7cm; (plate) 19.8 x 23.3cm; (image borderline) 16.3 x 22.6cm

Inscribed in plate within the image borderline: (lower right) “Ant. Sal exc.”

Numbered twice in plate at lower left: “26”.

Lettered in plate below the image borderline in four lines of Italian in two columns: “Poi c'ha passata la palude morta,/ et le maluage Linaiuole ancora/ Viene à l'horribil can, che 'n su la porta,/ Con tré teste à la guardia fa dimora,// Di polenta dui pan la Donna porta,/ Danne uno al mostro, che lo ingoglia e uora/ L altro serbando a se per la iornata,/ Come era dala torre ammaestrata” ([Google Transl.] Then he has passed the dead swamp,/ and the evil Linaiuole again/ He comes to the horrible dog, who at the door,/ With three heads to guard it,// The Lady brings two loaves of polenta,/ Giving one to the monster, who swallows it and eats it/ Keeping the other for himself for the day,/ As he was trained from the tower).

State iii showing Antonio Salamanca as the publisher (see the explanation of the various states offered by the Curator of the BM: https://www.britishmuseum.org/collection/object/P_M-44-2 [BM inv. no. M,44.2]).

TIB 29.64-II (Suzanne Boorsch [ed.] 1982, “The Illustrated Bartsch: Italian Masters of the Sixteenth Century”, vol. 29, Abaris Books, New York, p.220, cat no. [29] 64-II); Bartsch XV.222.64 (Adam Bartsch 1803, “Le Peintre graveur”, vol. 15, Vienna)

The British Museum offers the following description of this print: “Plate 26: Psyche enters the underworld giving an offering to Cerberus, at left sit three old women/ Engraving” (https://www.britishmuseum.org/collection/object/P_M-44-54 [BM inv. no. M,44.54]).

Condition: a richly inked and well-printed early impression (still showing the guidelines for lettering) with wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions, stains or significant signs of handling.

I am selling this early impression of a very beautiful engraving by the 16th century printmaker whose work is often inscribed with a symbol of a dice—hence the artist’s descriptive title, “Master of the Die”—for AU$388 (currently US$251.34/ EUR239.63/ GBP199.88 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$388) as this is my currency.

If you are interested in purchasing this superb print from the Renaissance era exemplifying the interest at the time for classical mythology, 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

Léopold Desbrosses, “La Descente des Bohémiens”, 1877, after Narcisse Diaz de la Peña

Léopold Desbrosses (1821–1908)

“La Descente des Bohémiens” (The Descent of the Bohemians), 1877, etching after the oil painting by Narcisse Diaz de la Peña (aka Narcisse Virgile Diaz de la Peña) (1807–1876) in the collection of the Worchester Art Museum (see https://worcester.emuseum.com/objects/33724/la-descente-des-bohemiens-the-descent-of-the-bohemians), printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “Gazette des Beaux-Arts” in 1877 between pages 298 and 299.

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

Size: (sheet) 22.8 x 17.2cm; (platemark) 21.3 x 16.7cm; (image borderline) 18.1 x 14.3cm.

Inscribed in plate within the image borderline at lower left with the signature of the painter (as shown in the original painting): “N. DIAZ”

Lettered in plate below the image borderline: (left) “DIAZ PINX./ Gazette des Beaux-Arts.”; (centre) “LA DESCENTE DES BOHÉMIENS./ (Collection de M^me Ernest André)”; (right) “DESBRÖSSËS SCULP./ Imp.A.Salmon.”

Beraldi 36 (Henri Béraldi 1886, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: CHERRIER–DIEN”, vol. 5, Paris, Librairie L. Conquet, p. 194, cat. no. 36); IFF 2 (Jean Adhémar & Jacques Lethève 1953, “Inventaire du Fonds Français après 1800: DAUMONT–DORANGE”, vol. 6, Paris, Bibliothèque nationale de France, p. 335, cat. no. 2).

Condition: a richly inked and faultless impression trimmed with a small margin around the image borderline with no tears, holes, folds, abrasions or stains and laid upon a support sheet of archival/millennium quality washi paper providing wide margins.

I am selling this richly inked and magnificent etching, for the total cost of AU$189 (currently US$121.94/ EUR116.71/ GBP97.37 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$189) as this is my currency.

If you are interested in purchasing this curiously interesting scene showing what seems to be a literal stream of people in Eastern apparel descending a dried creek bed—possibly a scene set in the Fontainebleau Forest where the artist famously worked and even lost his foot after being bitten by a snake–please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.