Architecture & Ornament

This gallery of prints focuses on images of architecture and ornament that have not been discussed in the blog posts. To revert back to the blog, please click “home” shown above or at the bottom of this listing of prints.
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Wendel Dietterlin (the Elder) (c1550–99)
Plate 92, 1598, from his treatise on architectural ornament, Architectura, published Nurnberg, 1598
Etching (from an iron plate) on laid paper, c. 1674
(sheet) 34.4 x 24.6 cm; (plate) 25.1 x 18.5 cm
Andresen (Peintre-Graveur) 72; Hollstein 213
This print features in the section in Architectura exploring the Doric order of architecture. As with most of Dietterlin’s prints, there is a large conceptual gap between the ornamentation normally associated with the architectural orders that he examines. Adolf K Placzek in his introductory remarks about Dietterlin in the Dover (1968) publication of Dietterlin’s Architectura offers the following insights:
For Dietterlin the five orders [of architecture] are mainly a take-off point, or a framework, for his ungovernable imaginative flights.
Condition: This is an exceptionally rare, crisp and strong impression (i.e. the impression still retains evidence of surface scratches before they were worn away by repeated printing) with full margins and in near flawless condition apart from faint age toning.
I am selling this print for $217 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.  













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Jean-Baptiste Lucien (c. 1748–1806)
(upper image) [A] Ornament plate 3 after Caillouet, 1770
(lower image) [B] Ornament plate 1 after Caillouet, 1770
Both impressions approximately 30 x 45.5 cm (sheet); 24 x 37.5 cm (plate)
Jean-Baptiste Lucien (c. 1748–1806)
(upper image) [C] Ornament plate 4 after Caillouet, 1770
(lower image) [D] Ornament plate 4 after Caillouet, 1770
Impression C: 26 x 39.5 cm (sheet); 24 x 37.5 cm (plate)
Impression D: 30 x 45.5 cm (sheet); 24 x 37.5 cm (plate)

All four prints are crayon-manner stippled engravings printed in sanguine ink on fine laid paper. The National Gallery of Art offers the following description of the crayon manner printing process
“Chalk manner (also called crayon manner) is a printmaking technique that imitates the appearance of chalk lines. Chalk-manner prints were made in as many as three colors--black, red, and white—from one or more copperplates worked either in etching or engraving, or in a combination of the two. Special toothed tools—roulettes, mattoirs (punches), champignons (literally, "mushrooms"), and the like—were used to create dotted patterns on the plate that suggest the grainy appearance of chalk strokes on paper. ” (https://www.nga.gov/exhibitions/clrflimpr-tech.shtm [viewed 28 May 2015])

Condition: all four prints are strong impressions. Impressions marked A, C and D have full margins as published with a binding hole on the left margin. These impressions show signs of handling (i.e. light folds, some chipping to edges, minor staining and dustiness). Impression marked B has trimmed margins and is in excellent condition. I am selling this folio of four crayon-manner stippled engravings for $228 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.



















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Note that this is the second impression of the same print that I have offered previously. The previous impression has been sold (see a much earlier listing in this gallery). All scans and details in the present listing have been taken from the current print on offer.
PIETRO AQUILA (1650-1692)
Galeriae Farnesianae: Captives after Annibale Carracci (1560-1609)
From the series, Galeriae Farnesianae Icones, published by Giovanni Giacomo de' Rossi (1627–91)
Etching and engraving on thick laid paper, c. 1674
Inscribed: (lower-left below the image) “Annibal Carraccius pinx. in. aedibus farnesianis”; (lower-centre below the image) “Captivi qui ... sun / Io. Iacobus de Rubeis formis Romae ad Temp. S. Mariae de Pace cu. Priv. S. Pont.”;
(lower-right corner below the image) “15” / “Petrus Aquila delin et sculp.”
(sheet) 44.8 x 71 cm (plate) 33.3 x 56 cm
Description by the British Museum: “Plate 15: Six details of the telamones from the painted ceiling of the Farnese gallery, Rome; three naked telamones arranged in two registers, divided by door-frames; five seen holding their arms over their heads, all seen crouching, inside a niche 1674 Etching with some engraving” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3299549&partId=1&searchText=Plate+15+GALERIAE+FARNESIANAE+ICONES&people=129967&page=1
[viewed 11 May 2015])
(See also Harvard Art Museums: http://www.harvardartmuseums.org/art/257686  
and other images from the same suite: http://www.harvardartmuseums.org/art/257551
[viewed 13 June 2014])
Condition: Superb impression with full margins and light vertical centrefold as published. The print is in an excellent condition for its age.
I am selling this print for $187 AUD including postage and handling to anywhere in the world. This is a very large print and will be shipped in a tube. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.









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Jacques Le Roy (1728–97)
Acanthus Leaf Ornament after Gilles-Paul Cauvet (1731–88), 1786
Frieze from Recueil D’Ornemens à L'usage des Jeunes Artistes qui se Destinent à la Décoration des Bâtimens, Paris, 1777, and published as a design print.
(See another print by Le Roy from the same publication at Yale University Art Gallery: http://artgallery.yale.edu/collections/objects/31446 [viewed 5th May 2015])
Etching on fine laid paper backed by a support sheet of Japanese paper
Inscribed: (upper-left margin) “14 em Cahier.”; (lower-left border) “Cauvet del 1779”; (upper-right margin) “no. 68.”; (lower-right border) “Jac Le Roy Scul. 1786.”
(sheet) 51.5 x 29.5 cm; (plate) 45.9 x 24.5 cm; (image) 43.1 x 22.1 cm
See discussion and reproduction of this print in Rudolf Berliner (2013), Ornamental Design Prints from the Fifteenth to the Twentieth Century, Hirmer Verlag, Munich, p. 124, plate 91.

Condition: crisp impression with margins. The print has been archivally supported on a thin sheet of the finest millennium quality Japanese paper. There are minuscule fractures in the sheet and light handling marks on the lower-right margin and a tear/fracture in the upper-centre margin outside the plate mark.
I am selling this rare and delicately beautiful etching for $118 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below. 








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Alfred-Louis Brunet-Debaines (1845–1945)
Old Mill and Stone Bridge, c. 1860 (full date concealed under mount),
Black and white chalk on a warm ochre coloured paper
Signed in ink lower-right corner
(sheet) 24.9 x 35.2 cm; (mounted drawing) 39.5 x 49.9 cm
Condition: This is a rare signed drawing by Brunet-Debaines and it is surprisingly fresh for its age with no evident flaws (i.e. there are no signs of foxing, tears, stains or abrasions). The drawing is glued to its passe-partout mount (a complicated matting style designed with a bevel to minimise cast shadows falling on the drawing and to prevent the drawing physically touching the glass of a frame). The mount has signs of use but is still presentable.

I am selling this museum quality signed drawing for $537 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.








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Antoinette Bouzonnet Stella (1641–76)
Plate 15, Cortège de Cavaliers Casqués [Procession of riders wearing helmets], 1675
from the series of 25 plates, Entrance of Emperor Sigismund into Mantua  after drawings by her brother Antoine and after Giulio Romano's (c. 1499–1546) frieze design at the Sala degli Stucchi in the Palazzo del Te, Mantua.
Etching on fine wove paper with 3.5 cm chainlines
(sheet) 26.3 x 43.5 cm (plate) 16.4 x 32.5 cm
LeBlanc 5; Katalog der Ornamentstichsammlung Berlin 4074 
(See description of the series Entrance of Emperor Sigismund into Mantua at the Victoria Albert Museum [with a problematic/incorrect advice that these series consists of 24 rather than 25 plates]: http://collections.vam.ac.uk/item/O1157017/the-triumph-and-entry-of-print-bouzonnet-stella-antoine/ also at: http://www.janjohnsonprints.com/BOUZONNET%20Emperor.html and at: http://romanticagony.com/en/catalogue/detail/6/2/11 [viewed 19 August 2014])
Condition: Marvellously rich impression with no signs of wear to the plate, full margins as published, and in excellent condition for its age.

I am selling this print for $127 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.














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Jean-Claude Thomas Duplessis 
(formerly Giovanni Claudio Ciambellano) (1699–1774)
[Three monumental decorative vases], 1760
From Première Suite de Vases Composés par Duplessis Fils 
Engravings on laid paper
Inscribed: (lower-left) “Duplessis signed inv.”
Condition: Very good impressions, but the first print shown above has thin areas in the paper visible on the back of the sheet but these thin areas cannot be seen on the front. The same print is cut on or within the platemarks whereas the other two prints have narrow margins. The last print shown above has a small loss to the upper left corner and minor offsetting of ink.
Dimensions: (from the first to the last image shown above) 31.5 x 24.7 cm; 
35.2 x 27.4 cm; 33.6 x 26.7 cm
The three vases may be designed for Sèvres as the son of the engraver Jean-Claude Duplessis Thomas Chamberlain (1730–83) worked for Sèvres and followed the neoclassical style during Louis XVI’s reign.
See other prints from this set at the Victoria and Albert Museum: http://collections.vam.ac.uk/name/duplessis-jean-claude-thomas-chambellan-fils/49362/ 
(viewed 17 June 2014)
I am selling these three prints for $165 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.















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PIETRO AQUILA (1650-1692)
Galeriae Farnesianae: Captives after Annibale Carracci (1560-1609)
From the series, Galeriae Farnesianae Icones, published by Giovanni Giacomo de' Rossi (1627–91)
Etching and engraving on thick laid paper, c. 1674
Inscribed: (lower-left below the image) “Annibal Carraccius pinx. in. aedibus farnesianis”; (lower-centre below the image) “Captivi qui ... sun / Io. Iacobus de Rubeis formis Romae ad Temp. S. Mariae de Pace cu. Priv. S. Pont.”;
(lower-right corner below the image) “15” / “Petrus Aquila delin et sculp.”
(sheet) 45.5 x 69.4 cm (plate) 36.5 x 56.2 cm
Description by the British Museum: “Plate 15: Six details of the telamones from the painted ceiling of the Farnese gallery, Rome; three naked telamones arranged in two registers, divided by door-frames; five seen holding their arms over their heads, all seen crouching, inside a niche 1674 Etching with some engraving” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3299549&partId=1&searchText=Plate+15+GALERIAE+FARNESIANAE+ICONES&people=129967&page=1
[viewed 13 June 2014])
(See also Harvard Art Museums: http://www.harvardartmuseums.org/art/257686  
and other images from the same suite: http://www.harvardartmuseums.org/art/257551
[viewed 13 June 2014])
Condition: Superb impression with full margins and light vertical centrefold as published. The print is in an excellent condition for its age.
I am selling this print for $187 AUD including postage and handling to anywhere in the world. This is a very large print and will be shipped in a tube. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.


This print has been sold








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PIETRO AQUILA (1650-1692)
Galeriae Farnesianae: Anchises after Annibale Carracci (1560-1609)
From the series, Galeriae Farnesianae Icones, published by Giovanni Giacomo de' Rossi (1627–91)
Etching and engraving on thick laid paper, c. 1674
Inscribed: (lower-centre below the image)
four verses in Latin: “Hic ille...Romae” with more Latin inscriptions on either side;
(lower-left below the Latin inscription) “Annibal Carraccius pinx. in. aedibus farnesianis”;
(beneath the Latin inscription on the lower-right) “Io. Iacobus de Rubeis formis Romae ad Temp. S. Mariae de Pace cu. Priv. S. Pont.”;
(lower-right corner below the image) “8” / “Petrus Aquila delin et sculp.”;
(lettered on image) “GENUS UNDE LAT.”
(sheet) 45.5 x 70.5 cm (plate) 28.8 x 68.3 cm
Description by the British Museum: “Plate 8: View from one of the painted walls in the Galleria Farnese; at centre, in a squared frame, Venus and Anchises; Venus seen reclining in a bed, Cupid seen leaning on her and Anchises seen seated next to her, to left; to left; in a roundel, Salmacis and Hermaphroditus embracing (Metamporphoses 4:285-388); in another roundel, to right, Pan wrestling with Cupid; c.1674 Etching with some engraving”
(See also Harvard Art Museums: http://www.harvardartmuseums.org/art/257685
and other images from the same suite: http://www.harvardartmuseums.org/art/257551
Condition: Superb impression with full margins and light vertical centrefold as published. There is toning to the far right side otherwise the print is in very clean condition for its age.
I am selling this print for $187 AUD including postage and handling to anywhere in the world. This is a very large print and will be shipped in a tube. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.


This print has been sold





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Giovanni Battista Piranesi (1720-88)
Urne, cippi, e vasi cenerari di marmo nella Villa Corsini di fuori Porta S. Pancrazio [Urns, stelae/memorial stones, and cinerary/funerary marble vases in the Villa Corsini outside Porta S. Pancrazio], c. 1756
Plate LVII from Le Antichità Romane II [The Antiquities of Rome, Volume 2]
From the first Paris edition (? I welcome correction if this information is inaccurate) c.1799–1809
(sheet) 52 x 75.3 cm; (plate with image) 39.8 x 61.8 cm; (plate with text) 5 x 62.5 cm
Etching and engraving of heavy laid paper with 3.2 cm chainlines and the “Fleur-de-lys in a double circle” surmounted with the letters “CB” watermark (?) (the watermark is best seen from the back of the sheet in the position of the foreground vase and is a hallmark of this edition)
Inscribed: (upper-left) “Tom II”; (upper-right) “LVII”;
(titled in plate below image) "URNE, CIPPI, E VASI CENERARI DI MARMO NELLA VILLA CORSINI FUORI DI PORTA S. PANCRAZIO”;
(inscribed in text plate) “Tutti questi sepolcrali Monumenti quali si veggono disposti sopra di un muro accanto al Cosino collo stesso ordine, che qui rappresentati si mirano, insieme con infiniti altri, quá e la sparsi per la Villa furono ritrovati gli anni addietro / nella Villa medesima nel fare gli Scalssati. El'Ortolano Domenico Pasquini asserisce aver veduti in siti diversi molti avanzi di Fabbriche sepolcrali, le quali mostrano di non essere state scavate. Imperciocché in una gran Buca / presso il Pero grosso accanto al boschetto furono trovati degli Scheletri interi, frammenti di marmo, e di terra cotta, tra quali molte pietre d'Anello di varia spezie intagliate, Anelli, monete, e parecchi orecchini d'oro, alcune delle quali cose / da me sono state vedute. Accanto parimenti allo Stanzione degli agrumi a capo del Vialetto entrando nel Filone dieci passi fu scoperto un pezzo di Volta con molti rabeschi dipiniti, e tra questi un bellissimo Pavone al naturale in / campo bianco. Sotto al medesimo Filone un Pozzo cosi profondo, che gittandovi un sasso non si udiva arrivare al basso. Alli due Fichi brusciotti, ove si scarica la Vinaccia fu scoperta ima Sca;a do ,ar,p cpm ima {prta do traverti- / no. La Scala fu ricoperta, e gli Stipiti della Porta si trasportarono accosto al Palazzo. Di quando in quando trovó egli ancora in altri siti de'teschi, e delle ossa umane, delle quali anche al giorno d'oggi se nevede quantitá sopra terra / disperse per il Viale maggiore. A Consimili Buschi osservansi nell'altr'Urne ancora, e ne'Cippi ad ambe le parti. Crano fermati in essi de'ferri, o anelli, col mezzo de'quali chiudeansi a lucchetto le Cenerari ivi riposte, come abbiamo indicato altrove."; 
(signed lower-right) "Piranesi Architetto dis. ed inc."
Taschen 271; Focillon 279; Wilton-Ely 414

Condition: Rare, important and early impression on virtually pristine laid paper with centrefold hinge (verso) as published. I am selling this print for $687 AUD including postage and handling to anywhere in the world. This is a very large print and will be shipped in a tube. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.









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Giovanni Battista Piranesi (1720-88)
Veduta per angolo dello stesso Candelabro [Another view of the same candelabrum (reference to Plate 103: Base of a Candelabrum in the Palance of Cardinal Lante)], 
1778–80
Plate 104 from Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi, Vol. II [Vases, candelabra, grave stones, sarcophagi, tripods, lamps, and ornaments designed and etched by Cavalieri Giovanni Battista Piranesi, Volume 2]
(sheet) 73 x 42 cm; (plate) 52.2 x 38.5 cm
Etching of heavy laid paper with 3 cm chainlines
Taschen 844; Focillon 712; Wilton-Ely 999
(See also Metropolitan Museum of Art description at: http://metmuseum.org/collections/search-the-collections/406242 and a description at: http://www.abebooks.com/Veduta-angolo-Candelabro-G.B-Piranesi-Paris/1246594426/bd [viewed 10 May 2014])
Condition: Rare, early impression on virtually pristine laid paper with centre fold hinge (verso) as published.
I am selling this print for $487 AUD including postage and handling to anywhere in the world. This is a very large print and will be shipped in a tube. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.













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(Signed) Jullien (nineteenth century)
(Note that this artist is not Bernard-Romain Julien (1802–71) spelt with a single “l”)
From L’Ecole de Dessin (6e. année) [School of Drawing (6th year)]
Plate No. 401
Inscribed: (upper-left) “L’Ecole de Dessin (6e. année)”;
(upper-right) “(67e. Livon.) PL 401.”;
(lower-left) “Lith. Becquet frèris. Paris.”;
(lower-right) signature: Jullien
Lithograph on wove paper
(sheet) 30.9 x 23.2 cm

Condition: Near pristine condition (i.e. no foxing, tears or stains). I am selling this print for a total cost of $72 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.





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John Sell Cotman (1782–1842)
Saxon Arches inside the Tower of Castle Rising Church, Norfolk, 1812
(Note that these arches are Norman in style rather than Saxon)
from the series Architectural Antiquities of Norfolk, first edition, 1818, p. 131
Inscribed: (within the image lower-left)”SAXON-ARCHES-INSIDE-THE-TOWER-OF-CASTLE-RISING-CHURCH-NORFOLK”; (within the image lower-left edge) “Norwich Etched & Published by J. S [?] Cotman Jan 1812”; (within the image lower-centre) “To John Gurney Esq / This Print is Respectfully Dedicated by his Obed Humble Servant John Ss Cotman”; (lower-right margin) “XVII”
etching on thick cream wove paper with margins as published
(sheet) 32.5 x 49 cm; (plate); 25.8 x 36.8 cm
(see E Lewis & Daughter, E-Catalogue, Summer 2010:
http://www.pagegangster.com/p/tOUU5/ [plate 45 in the digital catalogue])
Cotman describes his experience when making this print in the following extract from his letter dated 20 September 1811, to Dawson Turner:
Castle Rising is most delightful. And I am so far fortunate to have sketched a range of Arches between the ceiling and the roof, only seen by accident from the light admitted through a small break in the roof, which is now repaired and all is once more dark. As it was I was obliged to sketch by the light of three candles (for my paper) the object itself being lighted from the aperture which did not extend to where I sat. So had anybody come unawares upon me, they must have been startled with the singularity of the scene. (http://www.castle-rising-history.co.uk/Cotman_for_website[Fred's_comments1][1].pdf [viewed 28 February 2014])
Condition: strong impression in superb condition (for its age). The paper is clean (i.e. the print is free of foxing marks or soiling). The upper-right corner is bumped and there is a nick and a 1 cm closed tear on the top edge. I am selling this etching for $120 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you are interested or click the “Buy Now” button below.








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Jean Le Pautre (1618–1682)
Large ceiling design with the Assumption of the Virgin and four variant corner designs, from Deux plafonds, plate 2, bound in Oeuvres. Vol. III (see http://metmuseum.org/Collections/search-the-collections/432858?rpp=20&pg=3&rndkey=20140202&ft=*&who=Jacques+Chereau&pos=56 [viewed 2 February 2014])
Published by Jacques Chereau (1688–1776 Paris)
Etching on laid paper; unidentified state (Préaud)
(sheet) 28.4 x 39.5 cm; (plate) 22.3 x 30.2 cm
Inscribed in the plate (lower left) “Le Potre Invent. et fecit”; 
(lower right) “Jacques Chereau excud Aucc privilege du Roy”
Metropolitan Museum description: “This print is bound in Volume III of Oeuvres. Jombert published his collection of Le Pautre in 1751. Volume III contains ‘desseins d'orfeverie, serrurerie, etc.;’ This print is part of a series of two plates depicting ceiling designs.” (op.cit)

Condition: A large and superb impression with wide margins as published. The paper is free of foxing but there are the remnants of hinges from previous mounting and both the front and the back of the sheet have ink notes and stamps from previous collectors. The sheet is not pasted down. I am selling this print for $92 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.

This print has been sold






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Samuel Prout (1783–1852)
At Ide, 1819
from A Series of Views of the Rural Cottages in the West of England
Soft ground etching on wove paper
(sheet) 27.5 x 38.5 cm; (plate) 24 x 33.8 cm
Signed in the plate (on the gate in the image) with initials “S” and “P” entwined
Inscribed: (lower left) “S.. Prout.”; (lower centre) “London Pub.d Jan.y 1.1819 at R. Ackermann’s Repository of Arts, 101, Strand.”; (lower right) “at Ide.”

Condition: well-inked impression. The paper is lightly foxed and soiled, and with signs of handling especially around the edges of the sheet. At the top edge of the sheet there is a wedge-shaped mark (dust?) touching the plate area. There is a pencil inscribed “8” outside the plate mark on the upper right and there are holes on the left edge of the sheet that may be from the original binding of the print. The sheet is not pasted down.
I am selling this print for $86 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below. If you wish to purchase all three of the Prout etchings shown below please ask for a combined invoice and I will reduce the total cost (including shipping) to AUD 170.








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Samuel Prout (1783–1852)
Near Tavistock, 1819
from A Series of Views of the Rural Cottages in the West of England
Soft ground etching on wove paper
(sheet) 27.3 x 37.8 cm; (plate) 23.8 x 33.7 cm
Signed in the plate (on riverbank rock on the right in the image) with initials “S” and “P” entwined
Inscribed: (lower left) “S.. Prout.”; (lower centre) “ London Pub.d Jan.y 1.1819 at R. Ackermann’s Repository of Arts, 101, Strand.”; (lower right) “near Tavistock.”

Condition: well-inked impression. The paper is lightly foxed and soiled, and with signs of handling especially around the edges of the sheet. At the top-right and the upper-left edges of the sheet there are dark toned marks (dust?). There is a pencil inscribed “2” outside the plate mark on the upper right and there are holes on the left edge of the sheet that may be from the original binding of the print. The sheet is not pasted down.
I am selling this print for $86 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below. If you wish to purchase all three of the Prout etchings shown above and below please ask for a combined invoice and I will reduce the total cost (including shipping) to $170 AUD.







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Samuel Prout (1783–1852)
[Rural Cottages, No. 14], 1813
Soft ground etching on wove paper
(sheet) 37.4 x 27.2 cm
Signed in the plate (on wall of the far right cottage shown in the lower image) with initials “S” and “P” entwined
Inscribed (upper right corner) “14”; (lower centre publication line) “London Pub.d May 1st 1813, at R. Ackermann’s Repository of Arts, 101 Strand.”

Condition: well-inked impression. The paper is lightly foxed and soiled. There are two holes on the top edge of the sheet that may be from the original binding of the print. The sheet is not pasted down.
I am selling this print for $86 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below. If you wish to purchase all three of the Prout etchings listed please ask for a combined invoice and I will reduce the total cost (including shipping) to $170 AUD.







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Giovanni Battista Piranesi (1720-88)
Veduta Interna Del Pronao del Pantheon [Interior View of the Porch of the Pantheon], 1756
Plate XV, figure I of the first volume of the series, Le Antichità Romane
This impression is from the 19th century Papal Calcografia edition printed in Rome.
Titled and numbered; signed at lower right “Piranesi Arch. dis. inc.” Blind stamp of the Papal Calcografia lower right corner of plate mark
(sheet) 30.8 x 42 cm; (plate) 13.5 x 20.2 cm
Etching of heavy wove paper
Taschen 162; Focillon 171; Wilton-Ely 306

Condition: crisp, delicate and well-inked impression on virtually pristine wove paper.

I am selling this print for $286 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.










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Giovanni Battista Piranesi (1720-88)
(British Museum title) Veduta degli Avanzi delle Case de Cesari sul Palatino (View of the remains of the houses of the Caesars on the Palatine), 1756
Plate XXXIIII, figure II of the first volume of the series, Le Antichità Romane
This impression is from the 19th century Papal Calcografia edition printed in Rome.
Titled, numbered and with a key for identification; signed at lower right “Piranesi Arch. dis. inc.” Blind stamp of the Papal Calcografia lower right corner of plate mark
(sheet) 30.8 x 41.8 cm; (plate) 13.5 x 20.2 cm
Etching of heavy wove paper
Taschen 201; Focillon 210; Wilton-Ely 345

Condition: crisp and well-inked impression on virtually pristine wove paper.
I am selling this print for $286 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below. 







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Giovanni Battista Piranesi (1720–78)
Altare antico di marmo ritrovato fra le macerie della Villa Adriana nel sito detto Pantanello [Marble Altar Found in Hadrian’s Villa], published Rome, 1790
From the series "Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi" [Vases, Candelabra, Grave Stones, Sarcophagi]
Etching on thick laid paper with 3 cm chainlines
(plate) 52.5 x 38.4 cm; (sheet) 67 x 48.5 cm
Taschen: 761; Focillon: 629; Wilton-Ely: 916
Condition: crisp impression, slightly dusty with central fold as published and light traces of handling, otherwise in good condition.
I am selling this print for a total cost of $306 AUD including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.







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Sydney Tushingham (1884–1968)
Arco Santa Teresa, Palermo, c.1925
Published by James Connell & Sons, London, in an edition of 75
drypoint
Signed in pencil on the lower-right outside the platemark
(plate) 32 x 31 cm; (sheet) 42 x 37 cm
Tushingham: 53
Condition: superb impression but with minor time darkening from past mounting and signs of handling. There is a light diagonal crease touching the image on the lower-right corner of the sheet
I am selling this print for a total cost of $203 AUD including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.

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Jean Carot (n.d.) (Director of the Municipal School of Drawing du Faubourg Saint-Antoine); printed by Fois Delarue and published by François Delarue
Plate No. 2, Frises a Notre Dame de Paris [Friezes at Notre Dame] 
Inscribed: (upper left) “STYLE GOTHIQUE / (XIIIc. Siécle)”; (upper right) “No. 2.”;
(below centre) “FRISES A NOTRE DAME DE PARIS.”;
(lower left edge) “Paris, publié par FRANÇOIS DELARUE, r, JJ. Rousseau 18.”;
(lower centre edge) “NOUVEAUX MODÈLES D’ORNEMENS / PAR J. CAROT.”;
(lower right edge) “Imp. Fois Delarue, Paris.”
Lithograph in two colours (warm grey and black) on heavy wove paper
39.5 x 52 cm
Condition: strong impression but the top and upper-left-edges are not fully spread with ink. There is also light surface soiling (notably a mark towards the left side) and pin holes.
I am selling this print for a total cost of $138 AUD including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.

This print has been sold



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Jullien (n.d); printed and published by D’Aubert
Plate No. 11, Ornemens aux deux Crayons
Inscribed: (upper left) “Ornemens aux deux Crayons”; (upper right) “No. 11.”;
(lower left edge) “JULLIEN DEL & LITH”;
(lower centre edge) “CHEZ AUBERT & CIE. PL. DE LA BOURSE, 29.”;
(lower right edge) “IMP. D’AUBERT 7 CIE.”
Lithograph in two colours (warm grey and black) on heavy wove paper
31.5 x 48 cm
Condition: strong impression but the top, upper-left and bottom edges are not fully spread with ink. There is also light surface soiling, a 2 cm repaired tear to the left side and bumps to the corners.
I am selling this print for a total cost of $138 AUD including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.

This print has been sold


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Jean Carot (n.d.) (Director of the Municipal School of Drawing du Faubourg Saint-Antoine); printed and published by Fois Delarue
Plate No. 38, Le Portefeuille des Ornemanistes
Inscribed: (upper left) “Style Gothique”; (upper right) “Xlll [c.] Siécle”;
(lower left edge) “Paris, publié par Fois DELARUE 68, r. J.J. Rousseau.”;
(lower middle left) “Dessine Et Lith par Carot” ;
(lower centre edge) “No. 38. / EGLISE STE. CLOTILDE, CHAPITEAUX DU TRNASEPT.”; (lower right edge) “Imp. Fois Delarue, Paris.”
Lithograph in two colours (warm grey and black) on heavy wove paper
39.5 x 52 cm
Condition: strong impression but there is surface soiling, two restored 3cm tears to the left edge, a 3cm restored tear to the top edge and pin holes with traces of rust.
I am selling this print for a total cost of $138 AUD including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.