Gérard de Lairesse, “Venus Fills Cupid's Quiver”, c.1677–80

Gérard de Lairesse (1640–1711)

“Venus Fills Cupid's Quiver” (aka “Venus Replenishing Cupid's Quiver with Arrows”; “Venus and Cupid at the Forge of Vulcan”), c.1677–80, plate three from the series, of four plates, “The Life of Venus” (aka “Venus and Cupid”), published by Nicolaes Visscher II (aka Nicolai Vischer; Claes Claesz Visscher) (1649–1702). Based on the number inscribed at lower right (“56”), this impression is from the “Opus Elegantissimum” edition of 104 plates, published in Amsterdam by Gerard Valck (aka Gerard Valk) (1651/2–1726) (see the Curator of the British Museum’s comment about this edition regarding the title plate to the edition: https://www.britishmuseum.org/collection/object/P_1929-1112-2-1).

Etching on laid paper, trimmed along the platemark and backed by a support sheet.

Size: (sheet) 24.1 x 16.6cm; (plate) 21.4 x 17.2cm; (image borderline) 20.8 x 16.6cm.

Lettered in plate below the image borderline: (left) “3”; (centre) “Per Gerardum de Lairesse inv: et sculp: et per Nicolaum Visscher edit: cum Privil: Ord: General: Belgii Fæderati.”; (right) “56”.

Hollstein Dutch 29; Timmers 29

The British Museum offers the following description of this print (not reproduced): “Venus filling the quiver of Cupid with arrows which are being forged behind her; a plate from a series of four on Venus and Cupid. c.1677/80” (https://www.britishmuseum.org/collection/object/P_1929-1112-2-52).

See also the descriptions of this print offered by the Rijksmuseum and Harvard Art Museums: https://id.rijksmuseum.nl/200528267; https://hvrd.art/o/339704.

Condition: a well-printed impression with narrow margins around the image borderline and laid onto archival (millennium-quality) washi paper that provides generous margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions or stains.

I am selling this very beautiful etching that to my eyes seems sculpted by light, for the total cost of AU$333 (approximately US$217.87, EUR 186.35, or GBP 161.37), this includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the responsibility of the buyer.

If you are interested in purchasing this sensitively executed 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

Paul Huet, “Les Ormeaux”, 1829

Paul Huet (aka Paul Hüet) (1803–1869)

“Les Ormeaux” (aka. “Young Elm Trees”), 1829, plate 5 from the series of 12 lithographs, “Paysages”, published in Paris and London in 1830 with the blindstamp of the publisher/printer, Charles Motte (aka Charles Étienne Pierre Motte) (1784–1836).

Interestingly, Henri Beraldi (1889) in his catalogue raisonné for Paul Heut cites the famous art critic Philippe Burty’s (1830–1890) advice that “each [plate in the series] is more beautiful than the last …” and adds Burty’s assessment that: “Paul Huet gave a very particular character of strength and eloquence, colour and poetry to his lithographs. … For a long time they [the series] lingered in boxes on the quays. … [but] today they are almost impossible to find and amateurs are fighting over them.” (Henri Beraldi 1889, p. 131).

Lithograph on buff coloured chine collé on wove paper backed with a support sheet.

Size: (sheet) 28.6 x 23.4cm; (chine collé) 23.3 x 18.7cm; (image borderline) 16.7 x 14cm.

Inscribed in plate/stone above the image borderline: (left) “A”; (right) “5”.

Lettered in plate/stone below the image borderline: (left) “Huet del^t”; (centre) “LES ORMEAUX./ à Paris rue des marais n^o 13 Faub Saint Germain./ Pub in 1830 by C. MOTTE, London 19 Bedford Street, Convent Garden.”; (right) Lithog de C. Motte”.

State ii (of iii) —before Chales Motte’s name is replaced with the printer, Caboche.

Delteil 46 (Loys Delteil 1911, “Le Peintre-Graveur Illustré: Paul Huet”, vol 7, Paris, n.p., cat. no. 46); Beraldi 6–18 (Henri Beraldi 1889, “Les Graveurs du XIX^e Siècle”, Paris, Librairie L. Conquet, vol. 8, p. 131, cat. nos. 6–18 [plate 5]).

See also the descriptions of this print offered by the Cleveland Museum of Art and the British Museum: https://www.clevelandart.org/art/1940.1126;  https://www.britishmuseum.org/collection/object/P_1999-0926-24.

Condition: a strong and well-printed impression with the blindstamp of the publisher at lower left. Beyond faint age toning to the edges of the sheet, the sheet is in a near pristine condition with no tears, holes, folds, abrasions or stains and has been laid onto archival (millennium-quality) washi paper that provides generous margins.

I am selling this masterwork of lithography—note the artist’s skill in employing the full range of tones from pure white to velvety blacks— for the total cost of AU$273 (approximately US$178.62, EUR 152.77, or GBP 132.29), this includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the responsibility of the buyer.

If you are interested in purchasing this very beautiful lithograph, 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

Noël François Bertrand, “Plate 1: Study of the Nose from Above and Below”, c.1830, after Gédéon François Reverdin

Noël François Bertrand (1784–1852) “Plate 1: Study of the Nose from Above and Below” (descriptive title only), c.1830, crayon-manner stipple engraving after a drawing by Gédéon François Reverdin (1772–1828), published in Paris in 1830 by G.F. Reverdin as an illustration to “Cours complet d'études pour la figure: d'après les plus beaux modèles de l'antiquité et les tableaux des grands maîtres” (Complete course of studies for the figure: based on the most beautiful models of antiquity and the paintings of the great masters) (see https://archive.org/details/gri_33125009329638/page/n41/mode/2up).

Crayon-manner stipple engraving on laid paper.

Size: (sheet) 31.5 x 45cm; (plate) 25.6 x 32.4cm.

Inscribed in plate: (upper left) “H^E. C^R.”; (upper right) “Pl. 1.”; (lower left) “G. Reverdin del^t”; (lower centre) “A Paris, chez Reverdin Rue du Sentier N^o.15. Et chez les principaux M^ds. d’Estampes. Déposé a la Bibliothèque. Imp^le.”; (lower right) “N Bertrand Sc^t”.

Condition: a strong and well-printed impression with wide margins. Beyond minor surface marks and spots of thinness to the paper, the sheet is in an excellent condition with no tears, holes, folds or stains.

I am selling this finely executed stipple engraving designed as a drawing model for art students in the early 1800s to copy, for the total cost of AU$222 (approximately US$145.16, EUR 124.41, or GBP 107.56), this includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the responsibility of the buyer.

If you are interested in purchasing this sheet of very beautiful classical studies, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Martin Elias Ridinger, “A White Badger in a Rocky Landscape”, c.1750s

Martin Elias Ridinger (1730–1780) after the design by his father, Johann Elias Ridinger (1698–1767). Note that the British museum has attributed this print to Johann Elias Ridinger (see https://www.britishmuseum.org/collection/object/P_1917-1208-395), but the inscribed production details on the plate advise that the father designed and published the print and his son executed it.

“A White Badger in a Rocky Landscape”, c.1750s, plate 74 in the series, (transl.) “Marvellous Deer and other Strange Animals” (see Georg Aug. Thienemann 1856, p. 276 [https://archive.org/details/lebenundwirkende00thie/page/276/mode/2up]), published posthumously by Johann Elias Ridinger in 1768 in Augsburg.

Regarding the series in which this etching features (“Marvellous Deer and other Strange Animals”), Thienemann (1856) offers the following expanded description of the animals portrayed: (transl.) “Exact and correct representations of the most wondrous deer, as well as other unusual animals, hunted, shot, captured alive, or kept by great men themselves, conceived and produced with the high trust and pleasure of all friends and admirers of rarities found in nature” (p. 62 [https://archive.org/details/lebenundwirkende00thie/page/62/mode/2up]).

Etching on laid paper with a small margin around the image borderline and writing edge backed with a support sheet.

Size: (sheet) 33.6 x 25.6cm; (image borderline) 28.5 x 24.4cm.

Numbered in plate above the image borderline: (right) “74”.

Lettered in plate below the image borderline: (left) “Joh. El. Ridinger inv. del. et exc. Aug. Vind.”; (centre) “Diser sehr rare weisse Dachs, welcher mit gelb röthlichten und dun-/ ckel castanien flecken gespringet war, ist A^o. 1724. den 5. gtoris im/ Parck beÿ S^t. Hubertsburg ausgegraben und behaezt worden.” ([transl.] “This very rare white badger, which was spotted with yellow, reddish and dark chestnut, was dug up and kept in the park near St. Hubertsburg on the 5th of August 1724.”); (right) “Mart. El. Ridinger sculpsit.”

Thienemann 316 (Georg Aug. Thienemann 1856, “Leben und Wirken des ... Thiermalers und Kupferstechers Johann Elias Ridinger ….”, Leipzig, Rudolph Weigel, p. 75, cat. no. 316 [https://archive.org/details/lebenundwirkende00thie/page/74/mode/2up]).

Condition: a strong and well-printed impression trimmed with a small margin around the image borderline and writing edge, laid onto archival (millennium-quality) washi paper that provides generous margins. Beyond restoration to the chipped upper right corner, the sheet is in excellent condition, free of tears, holes, folds, or significant stains.

I am selling this marvellously endearing etching of white badger enjoying the first rays of morning sun, for the total cost of AU$302 (approximately US$194, EUR 171.82, or GBP 145.63), this includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the responsibility of the buyer.

If you are interested in purchasing this superb representation of a rare white badger sporting its assortment of spots—note the considerable and subtle skill of the artist to denote that the badger’s hair is unmistakably white with mid-toned spots—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.