Robert Preston, “Seated Figure, Life Class, 7th May 1966”

Robert Preston (Dr Robert Preston) (born Yorkshire 1942–)

“Seated Figure, Life Class, 7^th May 1966”, 1966, charcoal on buff coloured paper, backed with a support card.

Size: (support card) 35.4 x 25.6 cm; (sheet) 24.7 x 20.4 cm.

Signature in charcoal at lower right: “Preston.”

Inscribed by the artist in pencil on the backing card below the drawing: (left) “7^th May 1966.”; (right) “Life Class.”

Preston’s training, as revealed in this early life class charcoal drawing of a seated female figure, is explained very well in Preston’s following interview with Anneke Silver (1989): “I had an odd combination of teachers and lecturers in my foundation year [at the Camberwell School of Arts and Crafts, London] especially. One of the most significant influences on my drawing activities was Euan Uglow, one of the post-war generation Euston Road painters and a student of Sir William Coldstream and Victor Pasmore. Uglow introduced me to measured drawing a la Euston Road School, a particularly objective way of looking at reality” (“Robert Preston: Inner Visions: Observation, Abstraction and Imagination, 1955–2021”, 2021 (exh. cat.), Townsville, Perc Tucker Regional Gallery, p. 9).

Condition: There are losses/chips to the right edge, otherwise the sheet is in a good condition for its age with no tears, holes, folds, abrasions or significant stains.

I am selling this small and very beautiful charcoal drawing showing the artist’s exceptional sensitivity in establishing the figure’s spatial position within the room, for AU$720 (equivalent to approximately US$457.83, EUR 403.81, or GBP 345 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$720).

If you are interested in purchasing this very rare early life class drawing by one of Australia’s master artists, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Comte de Caylus, “Holy Family with St. John the Baptist”, c.1720–28, after Girolamo Mazzola Bedoli

Anne Claude Philippe de Tubières, Comte de Caylus (aka Caylus; Anne Claude de Caylus; Anne Claude de Pestels; Anne Claude Philippe de Thubiéres; Anne Claude Philippe de Tubières) (1692–1765)

“Holy Family with St. John the Baptist”, c.1720–28, a later 19^th century impression(?) with the additional plate number, “124”, inscribed at upper left, after a drawing by Girolamo Mazzola Bedoli (aka Girolamo Bedoli) (c.1505–c.1570), plate 124 (as inscribed in plate, previously 120) from the series, “Recueil de Dessins Gravés du Comte de Caylus”.

Etching with plate tone printed in brown ink on heavy wove paper.

Size: (sheet) 27.1 x 35.1 cm; (plate) 21.5 x 28.4 cm; (image borderline) 19.8 x 26.9 cm.

Inscribed in plate: (upper left) “124”; (lower left) “Girolamo Mazzola In”; (lower centre) “Cab. du Roy.”; (upper right) “120”; (lower right) “Cx Sculp”.

IFF 356 (Marcel Roux 1940, “Inventaire du Fonds Français, Graveurs du XVIIIe Siècle: CATHELIN-COCHIN Père (Charles-Nicolas)”, vol. 4, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 111, cat. no. 356 [see https://gallica.bnf.fr/ark:/12148/bpt6k5489575d/f115.image.r=111]).

See also the description of this print offered by the Metropolitan Museum of Art (MET): https://www.metmuseum.org/art/collection/search/385185.

Condition: a richly inked and well-printed (near faultless) impression with substantial margins. The sheet is in a near pristine condition with no tears, holes, abrasions or significant stains.

I am selling this very strong etching showing the Virgin on the left and Joseph on the right watching the infant Jesus embracing the infant, St. John the Baptist, for AU$297 (equivalent to approximately US$190.03, EUR 166.86, or GBP 142.84 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$297).

If you are interested in purchasing this animated scene of the Holy Family exemplifying the Mannerist spirit of the time in which Girolamo Mazzola Bedoli (the designer of the image) worked, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

William Unger, “Adam and Eve”, 1874, after Palma Vecchio

William Unger (aka Wilhelm Unger) (1837–1932)

“Adam and Eve”, 1874, after a painting by Palma Vecchio (aka Jacopo d'Antonio Negretti; Jacopo Palma) (c.1480–1528), printed by Alfred Cadart (1828–1875) and published in Paris in the art periodical, “Gazette des Beaux-Arts”, 1^st October, 1874, as plate 3 between pages 354 and 355.

Etching and drypoint on fine laid paper.

Size: (sheet) 26.2 x 18.4 cm; (soft platemark) 23.6 x ? cm; (image borderline) 17.6 x 13.2 cm.

Numbered in plate above the image borderline: (right) “3.”

Lettered in plate below the image borderline: (left) “Palma-vecchio pinxit./ Gazette des Beaux-Arts.”; (centre) “ADAM ET EVE.”; (right) “W. Unger sculpsit./ Imp. A. Cadart,Paris.”

Condition: a strong and well-printed (near faultless) impression with margins possibly as published. The sheet is in a near pristine condition with no tears, holes, abrasions or significant stains.

I am selling this exquisite etching, for AU$243 (equivalent to approximately US$157.75, EUR 136.66, or GBP 117.64 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$243).

If you are interested in purchasing this magnificent etching rendered with the most sensitive of modelling, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Johann Jacob von Sandrart, “Candlestick with Two Caryatids”, 1675, after Enea Vico

Johann Jacob von Sandrart (aka Johann Jakob von Sandrart) (1655–1698)

“Candlestick with Two Caryatids” (aka “Chandelier, don’t le manche offre deux caryatides” [Bartsch title]), 1675, after Enea Vico (1523–1567) (TIB 30.491) with the design of the caryatid figures possibly based on the design by Marcantonio Raimondi (1470/1482–1527/1534) after Giulio Romano (c.1499–1546), after Raphael (1483–1520) (see https://www.britishmuseum.org/collection/object/P_1868-0822-56 [inv. 1868,0822.56]), published in 1675 in Nuremberg by Jacob von Sandrart and in Frankfurt am Main by Matthäus Merian II (1621–1687) as an illustration to Joachim von Sandrart’s “Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Künste …” (German Academy of the Noble Arts of Architecture, Sculpture and Painting…), with impressions of this print on page 65 (see https://archive.org/details/gri_33125008279545/page/n237/mode/2up) and page 376 (see https://archive.org/details/gri_33125008279545/page/n737/mode/2up).

Engraving on fine laid paper with letterpress text verso, trimmed with a small margin and backed with a support sheet.

Size: (sheet) 20.8 x 16.8 cm; (plate) 20.1 x 15.8 cm; (image borderline) 20.1 x 15.6 cm.

Inscribed in plate in six lines of German in two columns (upper edge): “Hier, Iugend, geh zur Schule,/ und mit der Musa buhle,/ die sich Antike nennt./ Was Neues man erfindet,/ sich in dem Alten gründet:/ die Kunst man so erkennt.// Wan soll ein Künstler sehen:/ diss Liecht muss ihm aufgehen,/ sonst ist u. bleibt er blind./ Der Leuchter ist gestellet:/ wer sich zu ihm gesellet,/ und ämsig sucht, der findt.”

([Google transl.] “Here, youth, go to school,/ and woo Musa,/ who calls herself antiquity./ Whatever new is invented,/ is founded on the old:/ thus one recognizes art.// When should an artist see:/ this light must dawn on him,/ otherwise he is and remains blind./ The lampstand is set:/ whoever joins it,/ and diligently seeks, will find.”)

Condition: a strong and well-printed impression. The sheet is in an excellent condition with no tears, holes, abrasions or significant stains—there is however, minor toning from the text printed verso—and is laid onto a support of millennium quality washi paper providing wide margins.

I am selling this marvellous engraving executed in 1675 of a candlestick holder featuring classical motifs (viz. classically draped women posed as caryatids standing on a pedestal decorated with festoons hanging from bucrania) for AU$263 (equivalent to approximately US$169.06, EUR 146.55, or GBP 126.21 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$263).

If you are interested in purchasing this very 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

Eugène Gaujean, “La Vierge au Paradis”, 1897, after Ernest Hébert

Eugène Gaujean (1850–1900)

“La Vierge au Paradis” (The Virgin in Paradise), 1897, after a painting by the French Academic artist, Ernest Hébert (aka Antoine Auguste Ernest Hébert) (1817–1908), printed by Paul Moglia (aka Moglia & Cie) (fl.1863–1901) and published in Paris in the art periodical, “Gazette des Beaux-Arts”, 1^st March, 1897, between pages 180 and 181.

Etching with roulette and drypoint on chine collé on heavy wove paper backed with a support sheet.

Size: (sheet) 27.6 x 17.6 cm; (plate) 23.9 x 15.9 cm; (chine collé) 22.6 x 14.6 cm; (image borderline) 20.5 x 11.4 cm.

Lettered in plate below the image borderline: (left) “E. Hébert pinx./ Gazette des Beaux-Arts.”; (centre) “LA VIERGE AU PARADIS”; (right) “E. Gaujean sculp./ Imp. P. Moglia, Paris”.

Condition: a strong and well-printed (near faultless) impression. The sheet is in an excellent (near pristine) condition with no tears, holes, abrasions or significant stains and is laid onto a support of millennium quality washi paper providing wide margins.

I am selling this remarkably fine etching that is (at least to my eyes) breathtaking in the sensitively of its execution, for AU$243 (equivalent to approximately US$154.99, EUR 136.01, or GBP 116.57 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$243).

If you are interested in purchasing this simply stunning etching, exemplifying the use of what may be described as the fifty shades of grey in the rendering of the subtle tones of the background foliage, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.