Gallery of prints for sale

Wednesday, 12 February 2025

Jules Léon Perrichon, “Bust of Victor Hugo by Auguste Rodin”, c.1900

Jules Léon Perrichon (1866–1946)

“Bust of Victor Hugo by Auguste Rodin”, c.1900, a rare proof state impression of a wood-engraving after Auguste Rodin’s (aka Pierre Auguste Rodin) (1840–1917) “Buste de Victor Hugo”, inscribed in pencil as a retouching proof (“epreuve de retouche”) and with the artist’s monogram as the engraver (“JLP. sc.”).

Note that Auguste Lepère (aka Louis Auguste Lepère) (1849–1918) executed a wood-engraving of the same bust by Rodin in 1902; see https://www.britishmuseum.org/collection/object/P_1949-0411-3756 (BM inv. 1949,0411.3756) &  https://www.britishmuseum.org/collection/object/P_1949-0411-3754 (BM inv. 1949,0411.3754).

Wood-engraving on Japanese paper, pencil inscribed as a “epreuve de retouche” (retouching proof), backed with a support sheet.

Size: (sheet) 15.5 x 11.7cm; (plate) 11.8 x 8.5cm.

Inscribed in pencil below the image borderline: “epreuve de retouche/ [monogram of the artist] JLP. sc.”

Condition: a strong, near faultless impression in an excellent condition with no tears, holes, folds or stains and laid upon a support sheet of archival (millennium quality) washi paper.

I am selling this rare, pencil monogramed and inscribed, proof-state wood-engraving showing a sculpted bust by Rodin of the famous author and artist, Victor Hugo, for the total cost of AU$292 (currently US$183.41/ EUR 176.64/ GBP 147.20 at the time of this listing) including Express Mail (EMS) postage and handling to any location worldwide. Please note that import duties or taxes may apply in certain countries and are not included in the price. Payment is requested in Australian dollars (AU$292).

If you are interested in purchasing this unique pencil inscribed artist’s proof, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.













Tuesday, 11 February 2025

Anthonie Waterloo, “The Porter”, c.1645

Anthonie Waterloo (aka Anthoni Waterloo; Antoni Waterlo) (1609–1690)

“The Porter” (TIB title) (aka “Le porte-faix”), c.1645, the first plate from a series of six landscapes, “Forest scenes, series B” (aka “Bosgezichten, series B”; “Six Landscapes”), published in Paris in c.1785 (1784–1786) by Pierre-François Basan (1723–1797).

Etching on fine laid paper.

Size: (sheet) 14.9 x 18cm; (plate) 12.2 x 15.3cm.

Inscribed in plate: (upper left): “Antoni Waterlo f. et in.”; (upper right) “1.”

State iv (of iv) with the name of the previous publisher (R. & I. Ottens) erased (see Morse [1992], p. 84).

TIB 0201.065 S4 (Peter Morse [ed.] 1992, “The Illustrated Bartsch: Antoni Waterloo”, vol. 2, Commentary, Part 1, New York, Abaris Books, pp. 83–84, cat. no. [0201.065 S4); Hollstein Dutch 65 (Christiaan Schuckman 1997, “Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Antoni Waterloo,” vol. 50, Rotterdam, Sound and Vision, cat. no. 65).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_Sheepshanks-1657 (BM inv. no. Sheepshanks.1657).

Condition: a richly inked and strong impression showing no sign of wear to the printing plate. Beyond a vertical printer’s crease at centre (not easy to see), the sheet is in a near pristine condition with no tears, holes, folds, stains or signs of handling.

I am selling this magnificently strong impression of a very beautiful etching by the largely self-taught landscape artist of the Dutch Golden Age, Anthonie Waterloo, showing a traveller with a large backpack following a country path through a forest with a cascading stream and what may be a local church on his left, all illuminated by a raking morning light, for the total cost of AU$288 (currently US$180.88/ EUR 175.46/ GBP 146.33 at the time of this listing) including Express Mail (EMS) postage and handling to any location worldwide. Please note that import duties or taxes may apply in certain countries and are not included in the price. Payment is requested in Australian dollars (AU$288).

If you are interested in purchasing this superb etching, 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












Sunday, 9 February 2025

Friedrich Wilhelm Schmidt, “Raja Clavata”, 1782


Friedrich Wilhelm Schmidt (jr.) (fl. late-1700s)

“Raja Clavata” (aka “Thornback Ray”), 1782, engraving with hand-colouring heightened with silver and gum arabic (as published) after the intermediary design by Krüger (jr.) (fl. late-1700s), plate 83 (LXXXIII) to the most important ichthyology (fish) references to be published in the 18th century, Marcus Elieser Bloch’s (1723–1799) “Allgemeine Naturgeschichte der Fische” (General Natural History of Fishes), published in Berlin between 1782 and 1795 by the author. Interestingly, the Smithsonian Libraries & Archives advise that Bloch “was the first to name and describe many of the species featured in the book and it remains an important reference for researchers today” (https://blog.library.si.edu/blog/2015/07/09/blochs-allgemeine-naturgeschichte-der-fische/). This is a rare print and as Christie’s Auctions point out in regard to the complete copy that they were offering in December 2015, “only 3 other complete copies are recorded in ABPC since 1975” (see https://www.christies.com/en/lot/lot-5949523).

Archive.org offers on online view of this print in its context in the publication, “Allgemeine Naturgeschichte der Fische”, 1782: https://archive.org/details/DMarcusElieserBplatBloc/page/LXXXIII/mode/1up.

Engraving on laid paper with full margins and hand-colouring as published.

Size: (sheet) 25.1 x 43.5 cm; (plate) 23.5 x 37.4 cm; (image borderline) 21.2 x 34.8 cm.

Inscribed in plate: (below the image borderline at left) “Krüger. jun: del.”; (within the image borderline at upper left) “Verkleinert.”; (upper right) “Taf: LXXXIII./ RAJA CLAVATA./ Der Nagelroche./ La Raie Boucleé/ The Thornback.”; (lower right) 83te Tafel./ F.W.Schmidt. jun.”

Condition: a strong impression with vibrant unfaded colour in excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this large, rare and magnificent hand-coloured (as published) engraving—note that the colour is more intense in reality (“in the flesh”) as the generous quantity of gum arabic in the watercolour has given great luminosity to the colouring and the effect is further enhanced by the touches of silver on the ray’s spines/“thorns” and textures towards the centre of its body—for AU $322 in total (currently/approximately US $201.96/ EUR 195.78/ GBP 162.85 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 $322) as this is my currency.

If you are interested in purchasing this remarkably beautiful 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











Saturday, 8 February 2025

Jan Sadeler I, “Saint Didymus”, c.1585, after Maarten de Vos

Jan Sadeler I (aka Johannes Sadeler; Johann Sadeler) (1550–1600)

“Saint Didymus” (TIB title) (aka “Didymus van Nitria als kluizenaar” [Didymus of Nitria as a Hermit]), c.1585 (1583–1588), after a lost drawing by Maarten de Vos (aka Maarten de Vos; Maerten de Vos) (1532–1603), plate 13 in the series, “Oraculum Anachoreticum” (aka “Hermits”), published by Jan Sadeler in Venice with privilege from Rudolf II of Habsburg.

Wikipedia advises that the saint is also known as “Didymus the Blind (alternatively spelled Dedimus or Didymous (c.313–398)” and “was a Christian theologian in the Church of Alexandria.” Interestingly, the date of the saint’s death may be arguable as the biographical details offered by Isabelle de Ramaix (2001) in TIB (vol. 70, part 2, suppl. p 192) advises that the saint was “a companion of Theodorus, the saint dies in Alexandria in 301. He is celebrated on 4 April.”

Engraving on fine laid paper, trimmed with a small margin around the platemark.

Size: (sheet) 19.3 x 21.7 cm; (plate) 18 x 21.6 cm; (image borderline) 15.7 x 20.8 cm.

Inscribed in plate within the image borderline: (lower right of centre) “Sadeler excud:”.

Lettered in plate below the image borderline: “Tanta fuit DIDYMO …/ …// 13// …/ …/ …malis.”

Lifetime impression. State i (of ii) before the erasure of the number “13” in the second state.

TIB 7001.361 SI (Isabelle de Ramaix 2001, “The Illustrated Bartsch: Johan Sadeler I”, vol. 70, Part 2 [Supplement], New York, Abaris Books, p. 192, cat. no. [7001].361 S1); Hollstein 390 (1980, vol. 21, cat. no. 390).

The Rijksmuseum offers the following description of this print: (transl.) “St. Didymus of Nitria as a hermit. He reads the Bible while walking. Around him on the ground crawl snakes and other evil animals (toads, scorpions and reptiles)” (https://id.rijksmuseum.nl/200248017).

Condition: a strong and near faultless lifetime impression, trimmed with a small margin around the platemark. The sheet is in an excellent (near pristine) condition for its considerable age with no tears, holes or stains.

I am selling this superb engraving executed with great subtlety—note how the engraver has darkened the immediate background around the lit side of the saint and lightened the background on the saint’s shadow side, perhaps even more interesting, note how the engraver has added the suggestion of movement to the saint’s right hand through the use of animation marks (agitrons)—for the total cost of AU $340 (currently US $213.30/ EUR 206.52/ GBP 171.95 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 $340) as this is my currency.

If you are interested in purchasing this curiously wonderful engraving of a hermit saint thoroughly engaged in reading the scriptures and oblivious to an accompanying contingent of demon critters, 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











Johann Wilhelm Baur, “Boreas' Abduction of Orithyia”, 1641

Johann Wilhelm Baur (aka Johann Wilhelm Bauer; Joan Guiliam Bouwer) (1607–1642)

“Boreas' Abduction of Orithyia”, 1641, plate 61 from the series of 148 illustrations to Ovid’s (43–17/18 BC) “Metamorphoses”, initially published in 1641 before the lines of Latin text were added in “Des vortrefflichen Römischen poëtens Publii Ovidii Nasonis Metamorphoseon, oder, funffzehen Bücher der Verwandlungen”. This impression is from the 1709 edition published by Pet. Detleffsen (and Jer. Wolff?) in Augsburg with the Latin text.

Note that Baur etched another plate with minor variations of the same composition, but in the reverse direction, published in 1639 in Vienna(?) as plate 61 to “Des vortrefflichen Römischen poëtens Publii Ovidii Nasonis Metamorphoseon, oder, funffzehen Bücher der Verwandlungen” (see https://archive.org/details/desvortreffliche00baur/page/n117/mode/2up).

Note also that Abraham Aubry (fl. c1650) made etchings in reverse of Bauer’s designs published by Paulus Fürst (1608–1666) in Nuremberg in 1688.

Etching on fine laid paper with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 17.1 x 24 cm; (plate [soft]) 13.3 x 20.9 cm; (image borderline) 12.7 x 20.7 cm.

Numbered and lettered in plate below the image borderline: (left) “Wil: Baur.” (centre in two columns of two lines) “Orithyian amans Boreas & stemmate claram,/ Et specie insignem per sua regna vehit.// Hanc illi genitor bis terq[ue] negarat Erechtheus,/ Nunc ferus ereptam vendicat ipse sibi.” ([trans] Boreas, loving Orithyian, both bright in lineage and distinguished in appearance, carries her through his kingdom. Her father, Erechtheus, had denied her twice and thrice, Now the wild beast claims her for himself.); (right) “lib: 6.  61.”

State ii (of ii) with the addition of Latin text below the image borderline.

Bonnefoit R.185 (Régine Bonnefoit 1997, “Johann Wilhelm Baur (1607–1642). Ein Wegbereiter der barocken Kunst in Deutschland”, Tübingen, Ernst Wasmuth, cat. no. R 180); Hollstein 12.

See also Daniel Kinney’s marvellous documentation regarding Baurer’s series: https://ovid.lib.virginia.edu/tempestabaurnew.html.

The British Museum offers the following description of this print from its first state: “Plate 61: Boreas' Abduction of Orithyia; in the centre, Boreas, the north wind, with wings on his back and feet, carries Orithyia in the sky; Boreas looks toward Orithyia; she looks away from him; the two figures are surrounded by billowing clouds; below at left, the sea, figures, building and ships depicted in miniature; mountains beyond. 1641
Etching” (https://www.britishmuseum.org/collection/object/P_2AA-a-31-61).   

Condition: a strong and well-printed impression with a small margin (approx. 1.5 cm) around the platemark. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains and is laid upon a support sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this superb etching from 1641, showing Perseus about to behead the Medusa, for AU$232 in total (currently/approximately US $145.55/ EUR 140.92/ GBP117.33 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 $232) as this is my currency.

If you are interested in purchasing this dramatic scene from Ovid’s “Metamorphoses”, 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