Aegidius Sadeler II, “Johann Georg Godelman”, c1615

Aegidius Sadeler II (aka Egidius Sadeler; Gillis Sadeler; Gillis Sadler; Ægedius Sadeler) (1570–c1629)

“Johann Georg Godelman” (aka “Iohan. Georg. Gődelman”), c1615 (1600–1629), after a lost drawing by Aegidius Sadeler II with four lines of Latin verse (in lower cartouche) by Johannes Nienborg (1573–1639), published in Prague.

Engraving with etching on laid paper trimmed with a thread margin around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 17 x 14.7 cm.

Inscribed on plate: (upper banderole) “In vita et morte es tu mea Christe salus.”; (centre oval frame) “IOHAN. GEORG. GŐDELMAN IC. COMES PALATINVS ET AVLÆ ELECT. SAXO: CONSILIARIVS.”; (within the oval frame to the left) “ÆTATIS XLII”; (lower left corner) “De Facie Faciem/ expressit Egidius/ Sadeler Pragæ.”; (lower cartouche)” Hæc Godelmanni viua est Doctoris imago,/ Quem pietas celebrem mens humilisq[ue] facit./ Ius dat cuiq[ue] suum: bene’ viuit: nec nocet ulli./ Illum SAXONICO cum DVCE CÆSAR amat.// Ioannes/ Niemberg P.L.”

State ii (of iii) with the addition of “Pragæ” after the engraver’s name but before state iii when the plate was cut to show only the oval of the portrait.

TIB 7201.300 S2 (Isabelle de Ramaix 1998, “The Illustrated Bartsch: Æidius Sadeler II,” vol. 72, Part 2 [Supplement], New York, Abaris Books, p. 119, cat. no. [7201].300 S2); Hollstein 1980 293 II (3); Nagler 1835–52 46; Le Blanc 106; Wurzbach 133.

The British Museum offers the following description of this print: “Portrait of Johann Georg Gödelmann; bust-length, directed to right, glancing towards left; wearing ruff, fur coat, doublet and chains; in ornamental oval frame, surmounted by ribbon, flanked by pelican feeding young and roaring lion; below, cartouche, snake, and skull surrounded by three bent stalks of wheat. Engraving” (https://www.britishmuseum.org/collection/object/P_1877-0609-2031 [BM inv. 1877,0609.2031]).

See also the description offered by the Rijksmuseum: (Transl.) “Johann Georg Gödelmann at the age of 42, a German lawyer and author of tracts against witchcraft. In the corners of the portrait a pelican, a lion, a snake and a skull. The print has a Latin inscription on a banderole and a Latin inscription in a cartouche” (https://id.rijksmuseum.nl/200247428).

Condition: a near faultless impression, trimmed with a thread margin around the image borderline and laid upon a support sheet of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent/museum-quality condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this remarkably fine impression showing the professor of law, Johann Georg Godelman (1559–1611), surrounded by what I read as symbols of his attributes (viz. the virtue of atonement symbolised by the pelican pecking its breast to feed its young with its own blood; the virtues of majesty, strength, justice and courage symbolised by the roaring lion; recognition of transience of life and the ephemeral nature of life symbolised by the skull; eternal cyclic renewal symbolised by the knotted snake), for AU$478 (equivalent to approximately US$306.39, EUR 271, or GBP 230.42 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$478).

If you are interested in purchasing this superb engraving of the highest quality, 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

Augustin Mongin, “Madame Orchardson”, 1877, after William Quiller Orchardson

Augustin Mongin (1843–1911)

“Madame Orchardson”, 1877, after William Quiller Orchardson’s (1835–1910) portrait of his wife, printed by Alfred Salmon (fl.1863–1894) and published in Paris in 1877 in the French art review, “L’Art.”

Etching and drypoint on buff coloured laid paper.

Size: (sheet) 42.5 x 26.9 cm; (plate) 29.8 x 21.6 cm; (image borderline) 25.9 x 20.3 cm.

Lettered in plate below the image borderline: (left) “W. Q. Orchardson A.R.A. pinx./ L’Art.”; (centre) “MADAME ORCHARDSON.”; (right) “Mongin sculp../ Imp. A. Salmon.”

The British Museum offers the following description of this print: “Portrait of Lady Ellen Orchardson; almost whole-length, seated to right, hands clasped in lap; wearing fur-trimmed cloak around shoulders; pot plant on table to right, her gloves on seat to left; after a painting by Orchardson (1873; Barber Institute of Fine Arts, Birmingham: 39.23); illustration to 'L'Art' (1877)/ Etching and drypoint” (https://www.britishmuseum.org/collection/object/P_1878-0511-344 {BM inv. 1878,0511.344).

Condition: a richly inked and well-printed (near faultless) impression in a pristine condition with no tears, holes, folds, stains or signs of handling.

I am selling this sensitively executed and very beautiful etching (with drypoint) for AU$208 (equivalent to approximately US$133.37, EUR 117.24, or GBP 99.60 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$208).

If you are interested in purchasing this amazing print—note the velvety richness of black created by the use of drypoint and the exquisite rendering of the head and hands—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Ignace Duvivier, “The Tempest”, c1800

Ignace Duvivier (aka Ignaz Duvivier; Joseph Ignace Duvivier; Ignace Vivier; Ignace "du" Vivier; Matthäus Ignaz [Edler von] Vivier) (1758–1832)

“The Tempest”, c1800, from the series of landscape etchings, "Divers sujets de paisages dessiné et gravé par I. Viviers 1800". Note: the title page to the series is signed, titled and dated (1800).

Etching on heavy laid paper,

Size: (sheet) 22.3 x 29.2 cm; (plate) 16.1 x 24.4 cm; (image borderline) 14.6 x 22.7 cm.

For those interested in Ignace Duvivier’s etchings, see the collection of twenty prints by the artist held by the Philadelphia Museum of Art: https://www.philamuseum.org/search/collections?from=0&size=12&filters=%7B%22artist%22%3A%5B%22Ignace%20Duvivier%22%5D%7D.

Condition: a richly inked and well-printed (near faultless) lifetime impression (based on the quality of line showing no wear to the printing plate) in an excellent (near pristine) condition with no tears, holes, folds, abrasions or stains. There is a pencil notation verso by a previous collector giving the title of the print and pertinent details about it.

I am selling this confidently executed and freely drawn etching in a Rembrandtesque manner for AU$243 (equivalent to approximately US$155.93, EUR 136.96, or GBP 116.35 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 rare 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

Bernard-Romain Julien, “Study in White Crayon, No. 30”, 1845

Bernard-Romain Julien (1802–1871)

“Study in White Crayon, No. 30” (aka “Étude au Crayon Blanc, No. 30”), 1845, plate 30 in Julien’s drawing course, “Cours de Dessin”, printed and published by Aubert & Cie (fl.c1830s–1880s) in Paris.

Crayon-manner lithograph printed in black and buff/beige coloured ink on heavy wove paper.

Size: (sheet) 48.1 x 31.6 cm.

Inscribed in plate along lower edge: (left) “Chez Aubert, Place de la Bourse.”; (centre) “ÉTUDE AU CRAYON BLANC, N^O. 30./ Lithographiée pa[r] Julien.”; (right) “Imp. d’Aubert & C^ie.”

Condition: a strong and well-printed impression. There is minor surface dustiness and a worm’s hole at lower right, otherwise the sheet is in a good condition with no tears or significant stains. There are soft pencil inscriptions from a previous collector recto and verso.

I am selling this large and exceptionally beautiful lithograph by one of the most famous of 19^th century artists involved in creating academic studies for students to copy, for AU$235 (equivalent to approximately US$150.52, EUR 132.26, or GBP 112.94 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$235).

If you are interested in purchasing this exquisite academic study exhibiting the highest order of technical skill, 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

Jean Cousin, “Treating Illness or Injury”, 1558

Attributed to, or from the circle of, Jean Cousin the younger (c1525–c1595), and/or Jean Goujon (c1510–c1565/68), and/or Germain Pilon (1535–1590) (see attribution offered by Christie’s Auctions: https://www.christies.com/en/lot/lot-5909342).

“Treating Illness or Injury”, 1558, published in Paris in 1558 by Maurice de La Porte (II) (1490–1558) as an illustration on the verso of page 88 to André Thevet’s (1516–1590) “Les Singularitez de la France antarctique, autrement nommée Amérique: & de plusieurs terres & isles decouvertes de nostre temps” (The Singularities of Antarctic France, otherwise called America: & of several lands & islands discovered in our time).

Archive.org offers an online view of this print and its context in the publication: https://archive.org/details/DELTA54095RES/page/n203/mode/2up.

To give an idea of the flavour of the text accompanying this extraordinarily fine woodcut, the following extract relates to the illustration: (Google transl.) “If one of them is injured by illness or otherwise, he is obliged to sew his wound, until he is cured: and while they make certain meats, each one being contrary to the other. They have a method of making incisions around the shoulders, and they get out of it with whatever quantity of languish they make, with some very sharp kind of grass, or with the teeth of some beasts. Their way of living when sick is that they will never give the patient anything to eat, unless he asks for it first…” (p. 89).

Woodcut on laid paper trimmed around the image borderline with letterpress text verso, backed with a support sheet providing wide margins.

Size: (sheet) 8.9 x 11 cm; (image borderline) 8.2 x 10.8 cm.

Condition: a strong lifetime impression (based on the quality of line showing no sign of wear to the printing plate) trimmed with a thread margin. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains, laid upon a support sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this exceptionally rare and historically important Renaissance period woodcut showing for the first time in Europe a scene of Brazilians treating a man suffering from an illness or injury, for AU$247 (equivalent to approximately US$158.03, EUR 139, or GBP 118.68 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$247).

If you are interested in this extraordinary woodcut executed in Michelangelo’s lifetime showing one of earliest depictions of indigenous native Americans, 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