Alphonse Leroy, “Young Boy”, c1858, after Agostino Carracci (formerly Annibale Carracci)

Alphonse Leroy (aka Alphonse Alexandre Leroy) (1820–1902)

“Young Boy” (aka “Jeune Garçon”), c.1858, after the chalk study “Portrait de Jeune Homme”, 1585/1592, in the collection of the Musée du Louvre (inv. no. 7381, Recto [see https://collections.louvre.fr/ark:/53355/cl020004306]) by Agostino Carracci (aka Augustin Carrache) (1557–1602), plate 17 (XVII) from the series of 31 plates commissioned under the patronage of Count Alfred Émilien O'Hara van Nieuwerkerke (1811–1892) after old master drawings transcribed as engravings to be used as drawing lesson studies (“Cours de Dessin”) in “Collection de dessins originaux de grands maîtres gravés en fac-simile par Alphonse Leroy; avec texte explicatif par MM. F. Reiset et F. Villot, conservateurs du Musée Imperial du Louvre”, printed by L Eudes (fl.1876–1888) and published in 1857–1859 (for plates 1–20) and 1860 (for plates 21 to 31) by Dusacq & Cie (fl.1864–1869) in Paris.

Note that the inscription in the plate along the lower edge attributes the original drawing to Annibale Carracci with the life dates of 1560–1618 (instead of 1560–1609). This is a former attribution proposed by the renowned connoisseur, Pierre-Jean Mariette (1694–1774), and the drawing is now attributed to Agostino Carracci (see inv. no. 7381, Recto).

Crayon-manner engraving with dot roulette, aquatint and plate tone, printed in a sanguine-coloured ink on buff-coloured chine collé (China paper) on light blue wove paper.

Size: (sheet) 43.5 x 38.5cm; (platemark) 44.5 X 30.8cm; (chine collé unevenly cut) 42.5 x 29cm; (image borderline) 36.5 x 24.9cm.

Lettered and numbered in plate above the image borderline: (centre) “COURS DE DESSIN/ FAC-SIMILE DES GRANDS MAÎTRES.”; (right) “Pl. XVII.”.

Lettered in plate below the image borderline: (left) “Dessiné par Annibal Carrache.”; (left of centre) “Carrache (Annibal) Peintre Bolonais, né en 1560, mort en 1618.”; (centre) “Imp^e. Eudes, Paris.”; (right) “Gravè par Alphonse Leroy./ DUSACQ & C^ie, B^t Poissonnière,14, Paris”.

Guermonprez & Lothe 60 (Paul Guermonprez & José Lothe 2007, “Alphonse Leroy Graveur 1820–1902”, Paris, Héritage Architecturel, p. 154, cat. no. 60).

Condition: a well-printed impression in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this large crayon-manner engraving designed as a study for copying by art students, for AU$245 (currently US$158.37/EUR150.21/GBP125.49 at the time of posting this print) 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$245) as this is my currency.

If you are interested in purchasing this exceptionally beautiful engraving after a chalk study by Agostino Carracci (in the collection of the Louvre), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Pietro Aquila’s engraving, “Apollo's Abduction of Hyacinth; Polyphemus and Galatea”, c1674, after Annibale Carracci

Pietro Aquila (1650–1692)

“Apollo's Abduction of Hyacinth; Polyphemus and Galatea” (aka “The Apotheosis of Hyacinthus by Apollo; Polyphemus and Galatea”; “Hyacinthus ab Apolline in florem conuersus” [plate title]), c1674, plate 1 from the series, “Galeriae Farnesianae Icones”, after a detail of the famous fresco paintings in the Palazzo Farnese in Rome by Annibale Carracci (1560–1609), published by Giovanni Giacomo de' Rossi (aka Jo Jacobus de Rubeis; Giovanni Jacomo de' Rossi) (1627–1691) in Rome.

Etching with engraving on laid paper trimmed along (or close to) the platemark, backed with a support sheet.

Size: (sheet) 45.3 x 60.5 cm.

Lettered on plate: (upper centre) “HYACINTHVS ab APOLLINE in florem conversus”; (lower left) “Annibal Carraccius pinx. in. Ædibus farnesianis”; (lower centre) “Ardet amans, scopuloque sedens POLYPHEMVS acuto,/ Ad numerum inflatis calamis, dat sibila cantu;/ Concomitata choro gaudet GALATEA sub antro,/ Et latitans rauci suspiria ridet amantis.”; (right of lower centre) “Io. Iacob. de Rubeis formis Romæ ad Templ. S. Mariæ de Pace cū. Priu. S. Pont.”; (lower right) “1/ Petrus Aquila delin et sculp.”

State i (of i)

Borea XLII D.5 i/i

The British Museum offers the following description of this print:

“Plate 1: Scene from the vault of the Farnese Gallery: Polyphemus and Galatea; Polyphemus seen at centre, seated in a rock, playing the pipes; Galatea seen to right, approaching in a carriage carried by dolphins and accompanied by two nymphs; above, the scene of Hyacinthus and Apollo; surrounding both scenes, various 'ignudi', putti and other mythological figures; c.1674 Etching with some engraving”

(https://www.britishmuseum.org/collection/object/P_1896-1118-114-4).

See also the descriptions offered by the National Gallery of Victoria (NGV), the Wellcome Collection and the Hamburger Kunsthalle:

https://www.ngv.vic.gov.au/explore/collection/work/34360/; https://wellcomecollection.org/works/ht26382e;

https://www.hamburger-kunsthalle.de/sammlung-online/pietro-aquila-annibale-carracci-giovanni-giacomo-de-rossi/die-apotheose-des#.  

Condition: a strong impression with restored tears, but without significant stains or foxing. The sheet has been laid onto a support of archival (millennium quality) washi paper.

I am selling this huge etching translating a section of Carracci’s fresco in the Farnese Gallery into a composition of line and dot for AU$294 (currently US$215.44/EUR189.95/GBP161.21 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.

If you are interested in purchasing this spectacular masterwork of interpretative printmaking, 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

 

Agostino Carracci’s engravings, “St Matthew”, “St Andrew” and “St John”, 1583

Agostino Carracci (1557–1602)

“Saint Matthew”, “Saint Andrew” and “Saint John” (aka “Matteüs, Andreas en Johannes”), 1583, from the series of 15 engravings, “Christ, the Virgin, John the Baptist, and the Twelve Apostles” (TIB 48–62), published by Orazio Bertelli (aka Oratio Bertelli) (fl. 1570–1592) presumably in Venice.

The Curator of the British Museum explains the format of the prints in this series: “The fifteen prints in this series were made on five plates, each with three figures, but as each has its own border around the image it seems probable that they were intended to be separated” (https://www.britishmuseum.org/collection/object/P_U-2-31). This rare set of engravings is from an uncut impression of the whole plate.

Engraving on laid paper trimmed unevenly around the platemark with a narrow margin and backed with a support sheet

Size: (unevenly cut sheet) 11.3 x 19.9 cm; (borderline of left image) 10.8 x 6.3 cm.

Inscribed on plate on along the lower edge of the right image (“Saint John”): (left) “Oratio Bertelli. Form.”; (right of centre) “1583”.

State i (of i).

TIB 57 (68); 52 (68); 54 (68) (Diane deGrazia Bohlin [ed.] 1980, “The Illustrated Bartsch: Italian Masters of the Sixteenth Century”, vol. 39, New York, Abaris Books, pp. 100–03); Bohlin 115; 116; 117 (Diane deGrazia Bohlin 1979, “Prints and related drawings by the Carracci family, a catalogue raisonné”, Washington, National Gallery of Art, pp. 216–17).

The British Museum offers the following description of this plate:

“St Matthew, St Andrew, St John; three individual prints of apostles printed together on one plate; St Matthew standing reading a book and holding a purse, St Andrew carrying a cross, St John drinking from a chalice from which a serpent emerges. 1583
(https://www.britishmuseum.org/collection/object/P_U-2-82).

See also the description offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.collect.90819.

Condition: well-printed impressions showing no (or minimal) wear to the printing plate, trimmed unevenly around the platemark and laid onto a support of archival (millennium quality) washi paper. The sheet has no significant stains, holes, folds or foxing, but there are restorations (e.g. the upper right edge and the left edge have closed fractures/tears and the lower left corner is abraded).

I am selling this exceptionally rare set of engravings taken from a single printing plate—mindful that the print was arguably designed to be trimmed to separate the image of each saint—for AU$400 (currently US$293.27/EUR246.88/GBP221.39 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.

If you are interested in purchasing this relatively small set of very beautiful engravings by one of the major old master printmakers of the 1500s, 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

Agostino Carracci's engraving, “Allegory of the Four Seasons”, c1590

Agostino Carracci (1557–1602)

“Allegory of the Four Seasons”, title page to “RIME DE I GELATI” (as inscribed on plate), first published in 1590 by Giovanni Rossi (fl.1581–1629) with the title “Ricreationi amorose de gli Academici Gelati di Bologna” (this publication may be viewed online or downloaded free of charge from archive.org: https://archive.org/details/ricreationiamoro00carr/page/n4), from the third edition published by the Academici Gelati di Bologna in 1615, with change to the title (“RIME DE I GELATI”) and trimming of the plate.

Genus Bononiae musei nella città offers a detailed discussion of this print and the following description:

(transl.) “shield with a forest of trees with cartouche containing the motto: NEC LUNGUM TEMPUS. It is surrounded by four figures representing the four seasons of the year. A female figure in the upper right holds a garland in her right hand, the second holds. ears in the left hand. Under two male figures, autumn embraced by a branch of vines and seasonal fruits and on the right winter leaning on a broken trunk and bare branches."

(https://collezioni.genusbononiae.it/products/dettaglio/646#)

Engraving on laid paper with a small margin, an unidentified collector’s stamp at lower right and backed with a support sheet.

Size: (sheet) 13.6 x 7.2 cm; (plate) 13.1 x 6.7 cm.

Inscribed on plate: (upper tablet) “RIME DE I GELATI”; (cartouche banner) “NEC LONGVM TEMPVS”

State ii (of iii) (according to Bartsch) or iii (of iii) (according to DeGrazia Bohlin).

TIB 39 (18). 231 (143) (Diane DeGrazia Bohlin [ed.] 1980, “The Illustrated Bartsch: Italian Masters of the Sixteenth Century”, vol. 39, New York, Abaris Books, p. 271); Bohlin 165 III (Diane DeGrazia Bohlin 1979, “Prints and Related Drawings by the Carracci Family”, Washington, National Gallery of Art, p. 282).

The Metropolitan Museum of Art offers a brief description of this print:

https://www.metmuseum.org/art/collection/search/751297

Condition: strong and well-printed impression with small margins around the platemark and a collector’s stamp on the lower right corner. The sheet is in very good condition (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing) and is laid on a support of archival (millennium quality) washi paper.

I am selling this remarkably fine and rare emblem engraving showing a personification of the four seasons surrounding a grove of leafless trees (gelati) for the total price of AU$398 (currently US$274.09/EUR248.05/GBP213.85 at the time of posting this print) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this fascinating engraving, 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

Agostino Carracci's engraving, ”A Satyr Approaching a Sleeping Nymph", c1590–95

Agostino Carracci (1557–1602)

”A Satyr Approaching a Sleeping Nymph” (aka “Un Satyre surprenant une Nymphe endormie” [Bartsch title]), c1590–95, from the series of fifteen plates, “Lascivie”.

Engraving on buff-coloured laid paper trimmed unevenly with narrow margins around the platmark and backed with a support sheet.

Size: (sheet trimmed unevenly) 16.4 x 11.1 cm; (plate) 15.6 x 10.8 cm; (image borderline) 15.4 x 10.3 cm.

State i (of i) A late impression (18^th century) of the only state.

TIB 39(18).128(108) (Diane deGrazia Bohlin [ed.] 1980, “The Illustrated Bartsch: Italian Masters of the Sixteenth Century” vol. 39, New York, Abaris Books, p. 170); Bartsch: XVIII, 108.128; Bohlin 1979 184 (Diane deGrazia Bohlin 1979, “Prints and related drawings by the Carracci family”, Washington, National Gallery of Art, p. 298).

The British Museum offers the following description of this print:

“A satyr approaching a sleeping nymph; a nymph asleep to right under a tree lying on drapery, with a satyr approaching from left in shadow, his finger to his mouth.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1561356&partId=1&searchText=Agostino+CARRACCI+satyr+nymph&page=1)

Michael Bury (2001) in “The Print in Italy 1550–1620”, published by The British Museum Press offers the following insight into the series, “Lascivie”, of which this print is a part:

 “Explicitly erotic prints are known to have been produced from the fifteenth century on. The survival rate will have been particularly low because of the likelihood that they would be destroyed in outbreaks of moralizing. The most famous sixteenth-century example is the series of “I Modi” or the “Positions”, engraved by Marcantonio Raimondi, of which only a few mutilated fragments remain …. The prints which have conventionally been seen as forming Agostino's “Lascivie” are on the whole less explicitly sexual than Marcantonio's and they represent biblical or mythological subjects, which give them an additional dimension of meaning” (p. 196).

Condition: well-printed but slightly grey impression (clearly a late impression) trimmed with narrow margins around the platemark. The sheet is in near pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of use) and is laid on a support of archival (millennium quality) washi paper.

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

I am selling this sensitively executed engraving that is seldom seen on the art market for the total price of AU$380 (currently US$262.88/EUR235.60/GBP207.96 at the time of posting this print) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this 16^th century engraving that would have been at the time highly erotic and kept under lock and key, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print is available for purchase