Mariano Fortuny, “Young Man Standing Dressed in Rags”, c.1862

Mariano Fortuny (aka Mariano José María Bernardo Fortuny y Carbo; Mariano José María Bernardo Fortuny y Marsal) (1838–1874)

“Young Man Standing Dressed in Rags” (aka “Un Pouilleux”—lousy/flea-ridden/seedy/miserable), c.1862, a proof before the addition of the artist’s stamped signature and lettering for publication as plate 13 in a folio of 28 etchings (see the published state held by the MET: https://www.metmuseum.org/art/collection/search/656766),  

Etching with plate tone on fine laid paper with partial watermark.

Size: (sheet) 25.3 x 16.2cm; (plate) 17 x 11cm; (image borderline) 15.4 x 9.4cm.

Inscribed in plate: (upper right corner) “Fortuny/ Roma”.

Vives i Piqué 13 (Rosa Vives i Piqué, 1991, “Fortuny, gravador: Estudi crític i catàleg raonat”, Associació d'Estudis Reusencs, cat. no. 13).

See also the description of this print offered by the British Museum: “A man with a cloak around his lower half searching in the folds for fleas. c.1862” (https://www.britishmuseum.org/collection/object/P_1932-0312-101).

Condition: a well-printed impression. Beyond unevenness on the left edge, the sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this rare and very beautiful etching before lettering for publication, for AU$304 (approximately US$195.95, EUR 171.30, or GBP 147.87), including express mail shipping worldwide.  Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this sensitively executed representation of a man who is down on his luck—note the almost shimmering effect produced by the artist’s use of small strokes to render the figure—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Gaston Jean Coindre, “Le Saut du Doubs”, 1874

Gaston Jean Coindre (1844–1914)

“Le Saut du Doubs”—a 27-meter-high waterfall on the river Doubs (see https://www.myswitzerland.com/en-au/experiences/saut-du-doubs/), 1874.

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

Size: (sheet) 36.1 x 26.4 cm; (plate) 25.7 x 17.3 cm; (image borderline) 25.3 x 16.6 cm.

Inscribed in plate: (lower right corner) “G. C. 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 in an excellent/near pristine condition with no tears, holes, folds, abrasions or significant stains (there is minor age-toning on the edges of the sheet).

I am selling this bold 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 of the highest waterfall in the Jura Mountains and a part of the Swiss–French border, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Joseph Félon, “Infant Sleeping”, 1853

Joseph Félon (1818–1896)

“Infant Sleeping” (descriptive title only), 1853, plate 6 from the series of six lithographs, “Petits Études pour le Genre et la Figure”, that is part of a larger set of twenty-four lithographs by the artist, printed in Paris by Lemercier & Cie (fl.1827–1899) and published in Berlin, Paris, London and New York by Goupil & Cie (fl.1827–1919) in 1953 with the Goupil blindstamp at lower centre.

Lithograph on buff tinted heavy wove paper with full margins as published.

Size: (sheet) 33.3 x 51.8cm.

Lettered in the stone/plate below the image: (left) “Berlin_Verlag von GOUPIL C^ie”; (centre) “PETITS ÉTUDES POUR LE GENRE ET LA FIGURE/ N^o 6/ Entered According to Act of Congress in the year 1853, by M Knoedler, in the clerk's Office of the district Court of the United States of the Southern district of New York/ [Goupil blindstamp]”; (right) “Imp Lemercier, Paris/ Paris, GOUPIL & C^ie.”

Condition: a strong and well-printed (near faultless) impression with full margins as published. Beyond a 1cm closed tear in the centre of the lower edge, the sheet is in an excellent condition with no holes, folds, abrasions or stains.

I am selling this large and exquisitely drawn lithograph for the total cost of AU$258 (approximately US$168.21, EUR 145.24, or GBP 126.11), with worldwide express shipping included. Please note that any applicable import duties are the buyer’s responsibility.

If you are interested in this superb depiction of a sleeping infant—bearing in mind that in the early 1800s, an emphasis on sentimentality in art was often regarded as a true reflection of beauty—please contact me at oz_jim@printsandprinciples.com. I will then send you a PayPal invoice to make the payment process smooth and easy.

Workshop of Hendrik Goltzius’ engraving, “Arcas Aims his Arrow at Callisto”, 1590 (2nd copy)

Workshop of Hendrik Goltzius (aka Hendrick Goltzius) (1558–1617) and executed under Goltzius’ direction. (Note that amongst the students in Golzius’ workshop were the highly distinguished artists: Jacob Matham, Jan Saenredam, Jan Muller, Jacob de Gheyn II and Pieter de Jode.)

“Arcas Aims his Arrow at Callisto” (Rijksmuseum title) (aka “Arcas Preparing to Kill his Mother, Changed into a Bear” [TIB title]), 1590, a first state impression of two states (before the addition of the plate number “29” at lower right) from the series of fifty-two prints (of an originally planned 300), “Metamorphoses from Ovid”, initially published in Haarlem in 1589 by Hendrik Goltzius/Claes Jansz. Visscher (1587–1652) and later by Hendrik Bosch (Bos) (fl.1717–1729) in Amsterdam in “Metamorphoses Book II”, lettered with Latin verses by Franco Estius (fl.1580s–1594).

Engraving on fine laid paper backed with a support sheet.

Size: (sheet) 20.7 x 28.5cm; (plate) 17.8 x 25.9cm; (image borderline) 16.6 x 25.4cm.

Numbered on plate below the image borderline in the lower corners: (left) “9”.

Lettered on plate below the image borderline with four lines of Latin in two columns: “Diclynne dilecta comes .../ ...// …/ …in axe locat.”

State i (of ii) before the addition of the plate number, “29”, at lower right.

TIB 3.59 (Walter L Strauss [ed.] 1980, “The Illustrated Bartsch: Netherlandish Artists: Hendrik Goltzius”, vol. 3, p. 327, cat. no. 59); New Hollstein Dutch 560-1(2).

The British Museum offers the following description of this print:

“Plate 29: Landscape with Callisto as a bear on a river-bank at right, her son Arcas standing at left and pointing an arrow at her in order to kill her; after Hendrik Goltzius” (https://www.britishmuseum.org/collection/object/P_1947-0412-3-29).

See also the description of this print offered by the Rijksmuseum: (transl.) “Arcas, the son of Jupiter and Callisto, aims his arrow at a bear, unaware that it is his mother. She had been transfigured fifteen years earlier. In the background on the right, Jupiter, before Arcas can shoot, places mother and son in the sky like constellations. Below the image are two sets of two lines of verse in Latin” (https://id.rijksmuseum.nl/200622193).

Condition: a strong and well-printed (near faultless) impression with small margins and laid onto a sheet of archival (millennium quality) washi paper providing wide margins. The corners have been replenished and the lower margin has marks including a brown stain in the writing edge, otherwise, there are no tears or holes or significant stains.

I am selling this very beautiful engraving in a remarkably good condition considering its considerable age from Goltzius’ workshop, for the total cost of AU$366 (approximately US$240.76, EUR 204.60, or GBP 179.01), with worldwide express shipping included. Please note that any applicable import duties are the buyer’s responsibility.

If you are interested in purchasing this 16^th century interpretation of the mythological story where Callisto—a nymph turned into a bear by the wife of Zeus after discovering Zeus had made the nymph pregnant—is about to be shot by her fully grown-up son, Arcas, but escapes being killed by rising into the heavens to become the constellation Ursa Major (“the Great Bear"), 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

Robert van Audenaerde, “The Descent from the Cross”, 1743, after Daniele da Volterra

Robert van Audenaerde (aka Robert van Audenard; Robert van Oudenaerde; Robert van Auden Aerd) (1663–1743)

“The Descent from the Cross” (aka “The Deposition”; “Deposizione dalla Croce”; “Descente de Croix”), 1743, after Daniele da Volterra’s (aka Daniele Ricciarelli) (1509–1566) painting, “The Disposition”, 1545, in the Santa Trinità dei Monti in Rome (see https://commons.wikimedia.org/wiki/File:Descentfromthecross.jpg), published in Rome by Vincenzo Billy (aka Vincenzo Belli; Vincenzo Billi) (early 1700s) (see British Museum: https://www.britishmuseum.org/collection/object/P_V-1-117) or by Arnold van Westerhout (1651–1725) (see Istituto Centrale per la Grafica:  https://www.calcografica.it/stampe/inventario.php?id=S-FC122156).

Interestingly, Daniele da Volterra is the artist who added strategically placed drapery over the nude figures in Michelangelo’s “The Last Judgement”, earning him the nickname "il braghettone" (the breeches-maker).

Engraving with etching on buff laid paper trimmed with a narrow margin around the image borderline and backed with a support sheet.

Size: (sheet) 41.4 x 28.8cm; (image borderline) 41 x 28.4cm.

Lettered in plate: (lower left corner) “[Dani]el da Voltera pinxit”.

Le Blanc (Charles Le Blanc 1854, “Manuel de l'Amateur d'Estampes”, vol. 1, Paris, Emile Bouillo, p. 68, cat. no. 28 [see https://archive.org/details/manueldelamateur01lebl/page/68/mode/2up]).

Condition: a strong and well-printed impression with a narrow margin around the image borderline and laid onto a sheet of archival (millennium quality) washi paper providing wide margins. The lower left corner has been replenished and there are minor areas of staining.

I am selling this magnificent engraving (with etching) for AU$336 (approximately US$220.70, EUR 187.93, or GBP 164.23), with worldwide express shipping included. Please note that any applicable import duties are the buyer’s responsibility.

If you are interested in this light-filled translation of Daniele da Volterra’s painting into line, 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