Jacques Callot, “L'Hospice”, 1617–1620

Jacques Callot (1592–1635)

“L'Hospice” (The Almshouse—an institution offering accommodation and care for the poor), 1617–1620, a strong lifetime impression of the first state (of two), from the series, “Les Caprices” (Series B, “The Nancy Set”), dedicated to Lorenzo de' Medici (1599–1648) (see the description of this print offered by the MET: https://www.metmuseum.org/art/collection/search/418077).

Etching on fine laid paper with narrow margins around the platemark.

Size: (sheet) 5.7 x 8.3 cm; (platemark) 5.5 x 8 cm; (image borderline) 5.4 x 7.9 cm.

State i (of ii) from the second plate before the addition of the plate number “36” at the lower right corner of state ii. Note that the first plate/version of this print (Lieure 251) features the cane supporting the elderly woman in the centre of the scene with a single line whereas in this, the second plate, the cane is rendered with two lines. Moreover, the figures shown on the far left are not cropped in the first plate.

Lieure 465 (Jules Lieure 1989, “Jacques Callot: Catalogue Raisonné de l’Œuvre Gravé”, San Francisco, Alan Wofsy, vol 1 [text], p. 98, cat. nos. 251, 465 [B] 1^er Etat).

The Art Institute Chicago offers a description of this print and the following explanation of the series, “Les Caprices”, in which it features: “In the 17th century, the word capriccio generally indicated a musical composition that thwarted listeners’ expectations with sudden changes in tempo, rhythm, or structure that appeared to be made according to the performer’s whim, or caprice. Jacques Callot borrowed the term to describe a series of etchings with a wide variety of diverting subjects including peasants, architectural sites, military [manoeuvres], and musicians. Among other motifs, he depicted two pairs of dancers frolicking and playing musical instruments and a shepherd playing a flute” (https://www.artic.edu/artworks/131528/the-home-from-the-caprices).

Condition: a strong and well-printed impression with narrow margins. The sheet is in an excellent condition, free from tears, holes, folds, abrasions, or stains.

Price & Shipping: AU$280 (approx. US$181.89 / €157.21 / £138.20), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in acquiring this rare first-state, lifetime impression of a museum-quality etching by one of the master printmakers of the 17th century, Jacques Callot, please contact me at oz_jim@printsandprinciples.com. I will gladly provide a PayPal invoice to ensure a simple and secure payment process.

This print has been sold

Maxime Lalanne, “Vue de la Seine, Arc de Triomphe”, before 1863

Maxime Lalanne (aka François Antoine Maxime Lalanne) (1827–1886)

“Vue de la Seine, Arc de Triomphe” (Villet title) (aka “Vue de Paris, Quai Voltaire” [Gutekunst title]), before 1863. This impression is signed in ink at lower left, possibly by the printer with the note “3^eme Epreuve …”, suggesting that this is the third test/proof.

Interestingly, I understand that this etching was the artist’s first attempt at etching and was unpublished (see Villet's (2010) translation of Lalanne’s annotation of the first state proof held by the New York Public Library [n.p., Villet cat. no. 198; https://digitalcollections.nypl.org/items/c2c7a650-c612-012f-6085-58d385a7bc34]).

Etching printed in warm black ink on heavy wove paper, with a signed, hand-inscribed inscription in brown ink (possibly by the printer) at lower left.

Size: (sheet) 30.1 x 46.5 cm; (platemark) 24 x 31.8 cm; (image borderline) 19.7 x 29.2 cm.

Inscribed in brown ink below the image borderline: (lower left) “3^eme Epreuve [avant la Eme?]/ A. [Gavay?]”

State ii (of ii) with vertical reflections added to the river at right.

Villet 198 (Jeffrey M Villet 2010, “The Complete Prints of Maxime Lalanne”, Washington, D.C., art@mone fine prints, n. p., cat. no. 198 II).

Condition: a richly inked and well-printed impression with wide margins. Beyond a remnant of mounting verso, the sheet is in an excellent (near pristine) condition free from tears, holes, folds, abrasions, or stains.

Price & Shipping: AU$283 (approx. US$183.84 / €158.89 / £139.69), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in purchasing this exceptionally rare proof impression of an etching—potentially the first etching attempt by the renowned French artist Maxime Lalanne—please note that the hand-signed impression bears an ink signature. While I cannot definitively confirm the signature's attribution, my reading of the annotation suggests it may be that of the printer. For inquiries or to purchase, please contact me at oz_jim@printsandprinciples.com. I will then send you a PayPal invoice for a secure and convenient transaction.

This print has been sold 

Israël Silvestre, “View of the Mountain and Cave of Sainte-Baume”, c. 1640

Israël Silvestre (aka Israel Sylvestre) (1621–1691)

“View of the Mountain and Cave of Sainte-Baume” (aka “Gezicht op de berg en grot van Sainte-Baume”; “Natural view of the Sainte-Baume in Provence”; “Vue au naturel de la Sainte Baume en Provence”), c. 1640, published in Paris by Pierre Mariette I (1596–1657) with royal privilege from Louis XIV (King of France).  

Etching on fine laid paper with watermark.

Size: (sheet) 16.7 x 31.3 cm; (plate) 13.8 x 30.7 cm; (image borderline) 11.1 x 30.3 cm.

Inscribed in plate below the image borderline: (left) “Dessignée et grauée par Israel Syluestre”; (centre) “Veüe au naturel de la Saincte Baume en Prouence./ Auec priuilege du Roy”; (right) “A. Paris chez Pierre Mariette, rue S. Iacques a l’Esperance”.

LeBlanc 698; Faucheux 288

The British Museum offers the following description of this print: “Sainte-Baume in Provence: landscape with cascading river at right, and at left a fortified city standing at the bottom of a mountain ridge, with the entrance of the cave visible behind the town/ Etching” (https://www.britishmuseum.org/collection/object/P_X-9-178).

See also the description of this print offered by the Rijksmuseum: https://id.rijksmuseum.nl/200255617.

Condition: a strong and well-printed impression with small margins. Beyond minor surface marks and areas of thinness visible when held to the light, the sheet is in a good condition, free from tears, holes, folds, or significant stains.

Price & Shipping: AU$262 (approx. US$169.95 / €147.32 / £129.48), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in purchasing this panoramic view looking towards the cave in the mountain where Christian tradition holds that Saint Mary Magdalene spent her final years—note the location marker of tiny angels in the sky above the saint’s grotto (though I may be mistaken about this). To inquire, contact me at oz_jim@printsandprinciples.com, and I will send you a PayPal invoice for a secure and convenient payment process.

Raphael Sadeler, “Saint Arnulf (Arnoul) of Metz”, 1598, after Maarten de Vos

Raphael Sadeler I (1560/61–1628/32)

“Saint Arnulf (Arnoul) of Metz” (TIB title), 1598, engraving after a drawing by Maarten de Vos (aka Maarten de Vos; Maerten de Vos) (1532–1603) in the Kupferstichkabinett, Berlin (inv. 79B17, pl. 5). Plate 12, from a series of twenty-five engravings and the title plate, “Trophies of the Solitary Life” (aka “Trophaeum Vitae Solitariae”; “Het deugdzame leven van kluizenaars” [The Virtuous Life of Hermits]) with privilege granted for its publication by Clement VIII and the German emperor, Rudolf II of Habsburg. This is a lifetime impression from the first state before the plate number is effaced in the second state.

Engraving on laid paper with the watermark of an anchor in a circle with a collector’s ink stamp verso, backed with a support sheet.

Size: (sheet) 25.2 x 28.6 cm; (plate) 16.9 x 20.8 cm; (image borderline) 15.4 x 20.8 cm.

Inscribed in plate within the image borderline: (lower right) "Vos fig. R Sadeler Scalpsit cu[m] grat. Et priuil. S. Po[n]t:”

Lettered below the image borderline in two columns of two lines of Latin: " Exuit ARNVLPHVS …/ …// 12// …/ … mira facit.”

State i (of ii)

TIB 7101. 120 S1 (Isabelle de Ramaix 2006, “The Illustrated Bartsch”, vol. 71, Part 1 [Supplement], New York, Abaris Books, p. 166, cat. no. [7101].120 S1); Sénéchal 1987, no. 29; Hollstein 1980, vol. 21, no. 138; Hollstein 1995–96, vol. 44, no. 1036.

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1958-0712-206.

Regarding biographical details about Saint Arnulf, Isabelle de Ramaix (2001) advises: “Arnulf, became bishop of Metz (France) about 611. He retired ca. 626 to a hermitage in the Vosges mountains, later the monastery of Remiremont, where he died” (p. 166).

Condition: a strong and well-printed (museum-quality) impression with wide margins, laid on an archival-quality millennium washi support sheet. Beyond an ink stamp of a previous collector verso and a black dot in the sky at upper left, the sheet is in an excellent condition, free from tears, holes, folds, abrasions, or significant stains.

Price & Shipping: AU$330 (approx. US$214.89 / €186.69 / £164.53), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in purchasing this rare first-state impression of a beautifully crafted and unusual engraving of the hermit saint, St. Arnulf, praying before a crucifix—please note the bishop’s mitre behind the saint, alluding to his former role as the bishop of Metz in northeast France. To inquire, contact me at oz_jim@printsandprinciples.com, and I will send you a PayPal invoice for a convenient payment process.

This print has been sold