Félix Bracquemond, “La Toilette”, 1873, after Corot

Félix Bracquemond (aka Joseph Auguste Félix Bracquemond) (1833–1914)

“La Toilette” (The Bath), 1873, after Jean-Baptiste-Camille Corot’s (1796–1875) painting, “Landscape with Figures” (aka “La Toilette”) (1859) in a private collection (see https://commons.wikimedia.org/wiki/File:Corot_-_La_Toilette,_1859.jpg), published with the cover sheet showing this etching (with drypoint) as plate XXXII (32) in “Galerie Durand-Ruel”.

Etching with drypoint printed with pale plate tone on fine cream laid paper with full margins as published along with the original cover sheet.

Size: (sheet) 29.4 x 19.3 cm; (platemark [soft]) 17.9? x 10.3? cm; (image borderline) 15 x 7.7 cm.

Numbered in plate above the image borderline: (right) “32”.

State iii (of iii) as published under number 32 of the Durand-Ruel Gallery (see Beraldi, vol III, p. 108).

IFF 345 (Jean Laren 1942, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, pp. 379-80, cat. no. 345, no. 32 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488545z/f388.item]): Beraldi 337.III (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: BRACQUEMOND”, vol. III, Paris, Librairie L. Conquet, p. 108, cat. no. 337.III).

The British Museum offers the following description of this print: “In a wood, at the foot of tall trees, a woman stands, dressing a young woman who has just bathed; both women sit before a small river; both women are engaged with arranging the naked woman's hair; beyond at right, a third woman leaning against a tree, reading; after Corot. 1873/ Etching and drypoint” (https://www.britishmuseum.org/collection/object/P_1924-1126-84).

Condition: a strong and well-printed (faultless) impression with full margins as published and the original cover sheet. Both sheets are in a pristine condition with no tears, holes, folds, significant stains or signs of handling.

I am selling this superb etching showing Bracquemond’s translation of Corot’s painting into line for AU$278 in total (currently/approximately US$183.76/ EUR170.48/ GBP146.79 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$278) as this is my currency.

If you are interested in purchasing this small but dazzlingly beautiful etching with its original cover sheet in a pristine condition, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Conrad Faber von Kreuznach, “Siege of Tarentum”, c.1530–33

Conrad Faber von Kreuznach (aka Konrad Faber von Creuznach; [formerly] “Master of the Holzhausen Portraits”) (1495–1558)

“Siege of Tarentum”, c.1530–33, woodcut illustration to page 153 (verso shows page CLII [152]) published in 1533 in Mainz in the German edition of the Roman Historian, Livy’s (aka Titus Livius) (59/64 BC–17 AD) “Römische Historien” (Roman Histories), edited by Johannes Schoeffer (c1475–1531), and translated from Latin by Bernhard Schöfferlin (c.1436–1501) and Ivo Wittich (1456–1507) with contributions by Nicolaus Carbach (aka Nicolaum Carbachium) (1485–c1534) and Jakob Micyllus (aka Jacobum Micyllum) (1503–1558).

Archive.org offers an online view of an edition of this publication from 1538; see https://archive.org/details/gri_33125011080492/page/n335/mode/1up.

Woodcut with letterpress German text recto and verso on fine laid paper with full margins as published.

Size: (uneven sheet) 30.6 x 19.7 cm; (image borderline) 12.2 x 14.8 cm.

For those unfamiliar with the portrayed siege of Tarentum in 209 BC, the Roman general, Quintus Fabius Maximus Verrucosus (c.280–203 BC)—I understand that the latter part of his name, Verrucosus ([transl.] “warty”), is an unfortunate and unflattering nickname to differentiate him from the rest of his family based on a wart on his upper lip—arranged for his army to launch an attack on the walls of the city on the sixth day of the siege, but this attack was a ruse as the general was meanwhile entering the city through the treachery of insiders within the city. The treachery was either facilitated by the lover of the city commander, Carthalo, who Hannibal had left in charge of the city, or the treachery was linked to the seductive abilities of the Roman general’s wife who had compromised Carthalo (see https://en.wikipedia.org/wiki/Battle_of_Tarentum_(209_BC)). 

Condition: a strong and well-printed lifetime impression (based on the quality of the printed line showing no sign of wear to the printing plate). The sheet in in an excellent condition for its considerable age with no tears, holes folds, abrasions or significant stains, nevertheless, there are brown ink notations (verso) in the margins from an old hand and the paper has a scallop in the left edge which is possibly an inherent part of the paper rather than a misadventure in the life of the leaf.

I am selling this superb Renaissance period woodcut for AU$298 in total (currently/approximately US$196/ EUR182.40/ GBP156.91at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $298) as this is my currency.

If you are interested in purchasing this superb woodcut of extraordinary quality in an excellent condition, 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 

Claude Lorrain’s etching, “The Four Goats”, c.1630–33

Claude Lorrain (aka Claude Gellée; Le Lorrain; Claudio di Lorena) (1600–1682)

“The Four Goats” (aka “Les Quatre Chèvres”), c.1630–33, printed from the original plate and published in 1816 by J. McCreery in the “200 Etchings” folio. Interestingly this is the left side of a larger etching, “The Goats” (aka “Les Chèvres”), which Lorrain divided into two sections with the right side titled, “The Three Goats” (aka “Les Trois Chèvres”).

Etching on fine wove paper, trimmed around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 19.5 x 12.8 cm.

State iv (of iv) as published in the 1816 with the dark spots showing in the sky in the upper right corner. Note that there are impressions from this state where these spots and the horizontal lines in the sky are wiped clean in leaving a noticeable white area.

Mannocci 8 iv (Lino Mannocci 1988, “The Etchings of Claude Lorrain”, New Haven, Yale University Press, pp. 60–72, cat. no. 8, fourth state); Blum 5; Robert-Dumesnil 26; Russell 19 (H. Diane Russell 1982, “Claude Lorrain 1600–1682), Washington, National Gallery of Art, p. 328, cat. no. 19).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1870-0514-408.

Regarding the plate for this etching (and the others printed by McCreery), Andrew Brink (2013) in “Ink and Light: The Influence of Claude Lorrain’s Etching on England” (McGill Queen’s University Press) offers the following insight: “The plates of Claude’s etchings disappeared without trace as mysteriously as they had first come to London” (p. 74). From my very unreliable memory, I recall being told in a chat with a “knowledgeable friend” who was told by another “knowledgeable friend” that the plates were discovered as ballast on a ship, but this information may be far from the truth.

Condition: a strong and well-printed impression, trimmed around the image borderline in an excellent condition with no losses, holes, folds or stains. The sheet is laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this very strong impression of a freely inscribed etching by Claude Lorrain, for AU $398 in total (currently/approximately US$261.53/ EUR243.42/ GBP209.59 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $398) as this is my currency.

If you are interested in purchasing this superb etching by one of the most famous of all landscape artists, 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

Cornelis Bloemaert, “A Woman with Poultry”, c.1625, after Abraham Bloemaert

Cornelis Bloemaert (1603–1692)

“A Woman with Poultry” (aka “Reclining Peasant Girl”), c.1625, plate 2 from a series of sixteen engravings, “The Praise of Sloth” (aka “The Leisure Series” [BM title]; “The Delight of Leisure”; “Otia Delectant”), published by Cornelis Bloemaert, after a pen drawing in the reverse direction (in Dessau) by Cornelis’ father, Abraham Bloemaert (1564-1651) with two lines of Latin verse by Hendrik de Roij (1598–1678).

Engraving on fine laid paper, trimmed along the image borderline and writing edge, backed with a support sheet.

Size: (sheet) 10.8 x 15.4 cm.

Lettered in plate below the image borderline: (centre) “Me veniente die merx rustica mittit ad urbem;/ Nec gravor: id lucri spes mihi dulce facit” (The rural merchandise leads me early towards town. But I do not complain; the expectation of the rewards is sweet to me); (right) “2”.

Roethlisberger 298 (Marcel G. Roethlisberger 1993, “Abraham Bloemaert and His Sons: Paintings and Prints”, vol. 1, Davaco, Doornspuk, p. 232, cat. no. 298).

Roethlisberger (1993) offers the following insights about this print: “Taking produce to market is a motif recurring in other prints by Bloemaert and in some genre paintings of the mid-thirties. It will be remembered that dairy farmers were among the most prosperous peasant of the time […] on the right are the rays of the rising sun” (p. 232). See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_D-7-199.

Condition a strong and well-printed impression trimmed along the imagd borderline and retaining the writing edge. There are restored fractures to the left edge, otherwise the sheet is in a good condition with no significant stains and is laid onto a support sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this very beautiful engraving for AU $251 in total (currently/approximately US $166.29/ EUR 154.42/ GBP 132.41 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $251) as this is my currency.

If you are interested in acquiring this marvellous image of country-life in the early 1600s, where a resting farm worker is shown holding the legs of two surprisingly calm chickens next to a market-basket and cane, 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

Jost Amman’s woodcut, “The Tanner”, 1568

Jost Amman (aka Jost Ammon) (1539–1591)

“The Tanner” (aka “Der Gerber”), 1568, woodcut illustration to Hans Sachs’ (1494–1576) “Eygentliche Beschreibung Aller Stände auff Erden” (Actual description of all classes on earth) and to Hartman Schoppper’s (1542–[after] 1595) “Panoplia omnivm illiberalivm mechanicarvm ...” (aka “Book of Trades”; “A Panoply of all practical mechanical or sedentary trades which were ever devised by the ancients or by various men of our time, briefly and clearly set forth.”). Both publications were published in Frankfurt am Main in 1568 by Sigmund Feyerabend (aka Sigismund Feyrabend; Sigmund Feierabend) (1528–1590).

Woodcut on fine laid paper, trimmed with a narrow margin around the image borderline and backed with a support sheet.

Size: (sheet) 8.3 x 6.5 cm; (plate) 8 x 6.1 cm.

TIB 20.8.100 (Jane S Peters [ed.] 1985, “The Illustrated Bartsch: German Masters of the Sixteenth Century: Jost Amman: Woodcuts, continued”, vol. 20, Part 2, New York, Abaris Books, p. 692, cat. no. 8.100 [371]); New Hollstein 51.100.

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1904-0206-103-99.

Condition: a strong and well-printed early/lifetime impression (based on the impression showing no signs of wear to the printing plate). Beyond a restored nick to the margin at the lower left corner and a small hole above the worker on the left, the sheet in an excellent condition for its considerable age with no tears or significant stains.

I am selling this woodcut of outstanding quality showing the tanning process in a stream with tanner at work scraping a hide that has been prepared by another worker further away—note the cow hide with its horned head and long tail still attached draped over a beam at right suggesting that it’s leather being processed—for AU $268 in total (currently/approximately US $177.55/ EUR 164.89/ GBP 141.22 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $268) as this is my currency.

If you are interested in purchasing this amazing German woodcut from the late Renaissance, 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