Bernard Picart, “Hercules Fights the Lernaean Hydra”, 1731

Bernard Picart (1673–1733)

“Hercules Fights the Lernaean Hydra” (aka “Hercules’s Combat with the Hydra”; “Hercules doodt de hydra van Lerna”), 1731, Plate 24 (XXV) in the series of sixty plates, “Le Temple des Muses” (Neu-Eröfneter Musen-Tempel) after Abraham van Diepenbeeck (1596–1675), first published in Amsterdam in 1733 by Zacharie Chatelain (fl.1700–50), facing page 55 (see https://archive.org/details/gri_33125012263162/page/n115/mode/2up). 

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

Size: (sheet) 44.3 x 27cm; (outer plate) 36.1 x 25.7cm; (outer image borderline) 34.8 x 25.1cm.

Lettered in plate: (at left below the outer image borderline) “B. Picart del,1731”; (at centre below the inner image borderline with title in four languages [French, English, German and Dutch]) “COMBAT D’HERCULE CONTRE L’HYDRE DE LERNE./ Hercules’s Combat with the Hydra.// …./ …”.

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).

See also the description of this print offered by the Rijksmuseum https://id.rijksmuseum.nl/200370066.

Condition: a strong and well-printed (near faultless) impression laid onto a support of archival (millennium quality) washi paper. Beyond a significant closed tear in the lower margin (approx. 3cms away from the outer image borderline), the sheet is in a very good condition with no holes, folds, abrasions or stains.

I am selling this graphically strong representation of Hercules fighting the mythological Hydra— a serpentine monster with poisonous breath, deadly scented blood, and many heads that regenerate with two extra heads if one were to be lopped off—for the total price of AU$326 (approximately US$211.26, EUR 181.58, or GBP 157.01). This price includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the responsibility of the buyer.

If you are interested in purchasing this large museum quality etching with engraving printed from two plates—an outer “frame” plate and an 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

Amable Louis Schneider, “Shepherdess Seated at the Entrance of a Stone Shelter with Her Resting Flock”, mid-1800s

Amable Louis Schneider (aka Louis A. Schnaider) (1824-1884)

“Shepherdess Seated at the Entrance of a Stone Shelter with Her Resting Flock” (descriptive title only), mid-1800s, after a painting by the artist.

Etching on buff coloured chine collé on heavy wove paper, trimmed with a small margin around the chine collé and backed with a support sheet.

Size: (sheet) 18.5 x 22cm; (chine collé) 16.5 x 21cm; (image borderline) 14.7 x 19.3cm.

Inscribed in plate below the image borderline: (left) “Am. Schmeider p: et sc.”.

Condition: a richly inked and well-printed (near faultless) impression, trimmed with a small margin around the chine collé and laid onto a support of archival (millennium quality) washi paper providing wide margins.  The sheet is in a near pristine condition with no tears, holes, folds, abrasions or stains.

I am offering this rare and remarkably beautiful etching for a total price of AU$256 (approximately US$166.28, EUR 142.07, or GBP 123.07). This price includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the responsibility of the buyer.

If you are interested in acquiring this evocative etching, which highlights the mid-nineteenth-century fascination with the raw realities of rural life, please note the setting within a Roman-arched ruin—possibly with additional ruins in the distance—suggesting a connection between the present moment of the resting shepherdess and an ancient past. To purchase, contact me at oz_jim@printsandprinciples.com, and I will send you a PayPal invoice for a smooth and secure transaction.

Jocodus de Curia & Hubert Goltzius, “Portrait of Emperor Pertinax”, 1557

Jocodus de Curia (aka Joos Gietleughen; Regnirer Curia) (fl.1555–1559)—active in Antwerp and Cologne as a chiaroscuro woodcut printmaker and publisher with Hubert Goltzius (1526–1583) (see https://www.britishmuseum.org/collection/term/BIOG24206)

“Portrait of Emperor Pertinax”— Emperor of Rome for 87 days in 193 AD (see https://www.britishmuseum.org/collection/term/BIOG140717), 1557, plate XX (20) published on page 20 to the first book of Hubert Goltzius’ “Les Images presque de tous les Empereurs” (full title in translation: “The Images of almost all the Emperors from C. Iulius Caesar to Charles V and Fernidanus his brother, depicted from life, taken from ancient medals: not as they have been made known before, but in truth and with great care and diligence. Together also their lives and their deeds, both good and bad, painted with the historical brush: [print] / dedicated to the very powerful and very illustrious Philip, King of Spain, Naples, etc. by Hubert Gholtzius of Virztbourg, painter in Antwerp” (see https://gallica.bnf.fr/ark:/12148/btv1b105511132/f81.item).

Although I may be misinformed, Hubert Goltzius etched the black plate in this print and Jocodus de Curia executed the woodcut printed in ochre. Note that Christoffel Jegher (1596–1652/3) later printed the same composition from two woodcut blocks in black and ochre in 1645 as an illustration to page 41 of Hubert Goltzius' “Icones Imperatorum Romanorum”, published in Antwerp by Balthasar Moretus II (aka Balthasar Moerentorf II) (1615–1674) in 1645  (see https://www.britishmuseum.org/collection/object/P_1982-U-2940; https://archive.org/details/iconesimperatorugolt/page/40/mode/2up).

Woodcut printed in ochre and etching printed in black on laid paper with letterpress French text verso.

Size: (sheet) 29.9 x 22.6cm; (image borderline dia.) 18.1cm.

Lettered in plate following the round image borderline: “DIVVS. PERT. PIVS. PATER.”

Letterpress: (above the image) “MIEVX VAVT AVOIR VN POVRE PEVEPLE/ QVE DE PARVENIR A RICHESSES EN/ GRAND PERIL ET DESHONNEVR.” (It is better to have good people than to achieve riches in great danger and dishonour); (below the image) “Estant presque en l'aage de septante ans, apres auoir gouuerné/ fix moys, il fut miserablement mis à mort./ G” (Being almost seventy years old, after having ruled for a fixed month, he was miserably put to death).

Condition: a strong but slightly unevenly printed impression. There is a tear to the right edge, two wormholes on the neck of the portrayed head and minor toning to the sheet appropriate to its considerable age, otherwise the sheet is in a good condition with no significant stains.

I am selling this graphically arresting chiaroscuro woodcut created at the time when Michelangelo was working on his final marble sculpture, “The Rondanini Pieta” (1552–64), for the total cost of AU$298 (approximately US$193.47, EUR 164.99 or GBP 143.02). This price includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the buyer’s responsibility.

If you are interested in purchasing this marvellously strong colour woodcut, 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

Charles Daubigny, “The Towing Horses”, 1850

Charles Daubigny (aka Charles François Daubigny) (1817–1878)

“The Towing Horses” (aka “Les Chevaux de Halage”), 1850, printed in Paris by Auguste Delâtre (1822–1907).

Drypoint with plate-tone on heavy wove paper with wide margins

Size: (sheet) 24.1 x 30.2cm; (plate) 12.3 x 18.8cm; (image borderline) 8.1 x 15.8cm.

Inscribed in plate below the image borderline: (left) “Daubigny inv.”; (right) “Imp. par Aug Delatre, F^bourg Poissonniere 145 Paris”.

State v (of v) with the addition of the address of Auguste Delâtre as the printer.

Melot D 68 (Michel Melot 1978, “Graphic Art of the Pre-Impressionists”, New York, Harry N. Abrams, p. 276, cat. no. D 68); Delteil 68 (Loys Delteil 1921, “Le Peintre Graveur Illustré: Charles François Daubigny”, vol. 13, Paris, cat. no. 68).

The British Museum offers the following description of this print: “Figure on horses pulling nets (?) in river, two other horses to right, with figure seen beyond with whip. 1850
Drypoint” (https://www.britishmuseum.org/collection/object/P_1865-1209-716 [BM no. inv. 1916,0411.34]).

Condition: a strong and well-printed (near faultless) impression with wide margins in a near pristine condition with no tears, holes, folds or stains.

I am selling this luminous and very beautiful drypoint by one of the leading figures of the Barbizon School, for the total cost of AU$319 (approximately US$207.10, EUR 176.62 or GBP 153.19). This price includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the buyer’s responsibility.

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