Gaston Jean Coindre, “Interior of the Glacier”, 1874

Gaston Jean Coindre (1844–1914)

“Interior of the Glacier” (title based on a pencil inscription on the lower edge of the sheet by a previous collector), 1874.

I am mindful that Coindre made numerous etchings of scenes in the Jura Mountains (eastern France) and this may be the location of the portrayed ice cave, but I understand that glaciers are no longer in this region and that they had virtually disappeared when this print was made.

Etching with dot roulette on laid paper (“FRERES” watermark) with wide margins as published.

Size: (sheet) 36 x 26.5 cm; (plate) 26.5 c 18.7 cm; (image borderline) 24.9 x 17.3 cm.

Inscribed in plate: (lower left corner) “G COINDRE 74”.

For the IFF catalogue of works by Gaston Jean Coindre see: Jean Adhémar 1949, “Inventaire du Fonds Français après 1800: Cidone–Daumier”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 5, pp. 71–72 (https://gallica.bnf.fr/ark:/12148/bpt6k5488526m/f83).

Condition: a strong and near faultless impression with wide margins in a near pristine condition with the title inscribed in pencil by an earlier collector.

I am selling this unusual, graphically inventive and very beautiful etching for AU$202 (approximately US$129.96, EUR 114.50, or GBP 96.59), including express mail shipping worldwide.  Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this visually arresting etching showing an ice cave in a glacier, 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 

Paolo Mercuri, “The Execution of Lady Jane Grey”, c.1858, after Paul Delaroche (2nd copy)

Paolo Mercuri (aka Paul Mercury) (1804–1884)

“The Execution of Lady Jane Grey” (aka “Jane Gray”), c.1858, after Paul Delaroche’s (aka Hippolyte Delaroche) (1797–1856) painting (1833) in the National Gallery, London (see https://en.wikipedia.org/wiki/The_Execution_of_Lady_Jane_Grey), printed in Paris by Goupil & Cie (fl.1827–1919) with the inscribed note: “Tiré de la Galerie du Prince Anatole Demidoff” (From the Gallery of Prince Anatole Demidoff [Count Anatole Nikolaievich Demidov, 1^st Prince of San Donato, 1812–1870]).

Etching with engraving on heavy wove paper, trimmed within the platemark with a margin around the image borderline and backed with a support sheet.

Size: (sheet) 32.7 x 37.5 cm; (image borderline) 29.2 x 35.3 cm.

Lettered in plate below the image borderline: (left) “Peint par Paul De la Roche”; (centre) “Tiré de la Galerie du Prince Anatole Demidoff (right) “Gravé par P. Mercury”.

The Rijksmuseum offers the following description of this print (before lettering): (transl.) “Lady Jane Gray is kneeling on a cushion. She is blindfolded and fumbles forward with her hands. In front of her is a chopping block. A man in a rich fur-trimmed cloak bends over her. Next to [them] is the executioner with an axe ready. In the background two crying women” (http://hdl.handle.net/10934/RM0001.COLLECT.339926).

Condition: a strong and near faultless impression with small margins around the image borderline (1 cm on top and sides and 2.5 cm on the lower margin) and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this large and finely executed etching (with engraving)—a true masterwork of nineteenth century reproductive printmaking— for AU$300 (approximately US$192.40, EUR 169.73, or GBP 142.93), including express mail shipping worldwide.  Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this magnificent and historically important 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

Josef Bergler, “Saturn”, 1820

Josef Bergler (aka Joseph Bergler) (1753–1829)—a neoclassical artist whose subjects were often drawn from Bohemian folklore. Bergler was the first director of the Prague Academy of Arts (see https://en.wikipedia.org/wiki/Joseph_Bergler).

“Saturn” (aka “Stařec čas”; “Chronos”), 1820 (date inscribed in plate “MDCCCXX”), proof before lettering with two lines of German verse (see Moravian Gallery: https://sbirky.moravska-galerie.cz/items/CZE:MG.MM_52) showing the allegorical figure of Time as a winged older man weighed down with a burden of the world and with his attributes of an hourglass and a scythe.

Etching on heavy wove paper, trimmed with a small margin around the platemark.

Size: (sheet) 19.5 x 14.8 cm; (plate) 18.2 x 13.4 cm; (image borderline) 16.2 x 11.8 cm.

Inscribed in plate within the image borderline: (on sphere) “MDCCCXX”; (lower left corner) [artist’s monogram of a ligature “J” and “B”].

State i? (of ii?) I have not been able to find documentation of the various states of this print, but this impression is a state before the lettered state.

Not described by Heller, but a description is offered for a possibly related series: cat.no. 8, “The Elements” (Die Elemente), featuring landscapes with figurative staffage (Joseph Heller 1870, “Handbuch für kupferstichsammler”, Leipzig, T.O. Weigel, pp. 111–112 [https://archive.org/details/handbuchfrkupfe00andrgoog/page/110/mode/2up]).  

Condition: a strong and well-printed impression with small margins in a very good condition with no tears, holes, folds, abrasions, losses or significant stains.

I am selling this symbolically rich etching depicting the mythological figure of Saturn, as the embodiment of Father Time, laden with the weight of the world and with his wings unfurled as he contemplates his role as the great leveller, for AU$232 (approximately US$149.33, EUR 132.44, or GBP 110.98), including express mail shipping worldwide.  Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this rare and beautiful etching of Saturn as an allegorical figure, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Waltner, “Tête de Bélier Mort”, 1873, after Constant Troyon (2nd copy)

Charles Waltner (aka Charles Albert Waltner) (1846–1925)

“Tête de Bélier Mort” (Dead Ram's Head), 1873, from the series of sixty-eight plates, “Tableaux de premier ordre anciens et modernes composant la galerie de M. John W. Wilson” (Ancient and modern first-rate paintings composing the gallery of Mr. John W. Wilson), after the painting of the same composition by Constant Troyon (1810–1865), printed by François Liénard (fl. c.1860s–1880s) and published in Paris by Jules Claye (aka Jules Alexandre Saturnin Claye) (1806–1886) in 1873.

I understand that the artworks from the former John W Wilson’s collection (which this etching and the others in the series reproduce) were exhibited in the Wilson’s gallery to showcase (transl.) “the artistic and literary Circle of Brussels. For the benefit of the poor of this city” (see Lambertus Vincentius Ledeboer 1878 “Catalogue raisonné de la bibliothèque de M. Lambertus Vincentius Ledeboer Bzn”, Rotterdam, Van Hengel & Eeltjes, pp. 139–40; https://archive.org/details/catalogueraison00ledegoog/page/n155/mode/2up).  

Etching with drypoint on cream laid paper with full margins as published.

Size: (sheet) 35.1 x 26 cm; (plate) 23.2 x 17.8 cm; (image borderline) 16.7 x 13.7 cm.

Inscribed in plate within the image borderline: (lower left corner) “Waltner 1873/ C. T.”

Lettered in plate below the image borderline: (left) “C.Troyon, pinx.”; (centre) “TÊTE DE BÉLIER MORT./ F^çois Liénard,Imp.Paris”; (right) “'Ch.Waltner, sc.”

Beraldi 42 (Henri Béraldi 1892, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Saint-Marcel–Zwinger”, vol. XII, Paris, Librairie L. Conquet, p. 262, cat. no. 42 [https://archive.org/details/lesgraveursdu19e12berauoft/page/262/mode/2up]).

The British Museum and the Philadelphia Museum of Art offer descriptions of this print: https://www.britishmuseum.org/collection/object/P_1877-1013-1879; https://www.philamuseum.org/collection/object/7460.

Condition: a strong and well-printed impression with wide margins in a near pristine condition with no tears, holes, folds, abrasions, losses, stains or signs of handling.

I am selling this visually arresting and symbolically potent etching projecting (for me) meanings including sacrifice—in the sense of the biblical reference to Abraham's sacrifice of a ram in place of his son—to feelings of respect for the animal’s fearless male determination, for AU$234 (equivalent to approximately US$151.76, EUR 133.33, or GBP 111.89 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, if any, are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$234).

If you are interested in purchasing this superbly executed and pictorially challenging etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the second impression of this print that I have listed (the previous copy has been sold).

This print has been sold

Franz Kellerhoven, “Premiere Entrevue de Frédéric III avec sa Fiancée, l’Infante de Portugal”, 1870, after Pinturicchio

Franz Kellerhoven (1814–1872)

“Premiere Entrevue de Frédéric III avec sa Fiancée, l’Infante de Portugal” (First Meeting of Frederick III with his Fiancée, the Infanta of Portugal), 1870, a rare oleograph/colour lithograph (see explanation below) after the fresco, “Aeneas Piccolomini Introduces Eleonora of Portugal to Frederick III” (see http://www.travelingintuscany.com/images/art/pinturricchio/piccolomini1700.jpg) in the Piccolomini Library, Duomo, Siena, by the Italian Renaissance painter, Pinturicchio (aka Pintoricchio; Benetto di Biagio; Sordicchio) (1454–1513), published in Paris in 1870 by André Guillaumin through the Association of Lithograph Workers (Association d'Ouviers Lith Guillaumin et Cie) as an illustration between pages 160 and 161 to Paul Mantz’s (1821–1895) “Les Chefs-d'Œuvre de la Peinture Italienne” (The Masterpieces of Italian Painting) (1870). Note that this oleograph was also published with the title and additional text by Firmin Didot (1764-1863).

Archive.org offers an online view of this oleograph in its context in the Firmin Didot edition: https://archive.org/details/gri_33125008542462/page/n261/mode/2up.

Oleograph—a now virtually obsolete form of colour lithograph developed in the 1830s and leading to commercial use in the 1860s and 1870s in which a varnish layer and subtle textures and were added with each colour labour intensively hand printed from possibly thirty separate colour stones/plates (see https://www.britannica.com/technology/oleograph)—printed on buff coloured chine collé on fine wove paper (with partial watermark) with full margins as published. See other oleographs by Kellerhoven held by the British Museum: https://www.britishmuseum.org/collection/object/P_1865-0610-53; https://www.britishmuseum.org/collection/object/P_1865-0610-52; https://www.britishmuseum.org/collection/object/P_1865-0610-56.

For additional information about publications featuring oleographs, see: “Dictionnaire des imprimeurs-lithographes du XIX^e siècle” at the subheading, “Informations professionnelles” (http://elec.enc.sorbonne.fr/imprimeurs/node/22463).

Regarding the artist, Pinturicchio, whose painting Kellerhoven has translated into this lithograph, I read with shocked surprise the following passage in Paul Mantz’s (1870) account of the artist’s last days: (transl.) “When Pinturicchio fell ill, his mother had the cruelty to abandon him, alone and without help, with a candle where she had locked him up. No one received his supreme farewell. Despite the public applause, despite the glorious radiance that surrounds them, these artists' lives sometimes hide painful mysteries” (p.60).

Size: (sheet) 43 x 32 cm; (chine collé) 28 x19.7 cm; (image borderline) 26.1 x 18.1 cm.

Lettered below the image borderline: (right) “Association d'ouviers Lith Guillaumin et c^ie Paris”.

Condition: a strong and well-printed impression in a near pristine condition with no tears, holes, folds, abrasions, losses, stains or signs of handling.

I am selling this jewel-like rare example of an early form of labour intensive handprinted colour lithography, called an oleograph, involving the use of subtle textures, varnish and the use of possibly thirty individual colour plates, for AU$234 (equivalent to approximately US$151.76, EUR 133.33, or GBP 111.89 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, if any, are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$234).

If you are interested in purchasing this incredibly fine and very beautiful oleograph, 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