Salvator Rosa, “Solider Carrying a Cane, Striding Toward the Left”, c.1656/7

Salvator Rosa (1615–1673)

“Solider Carrying a Cane, Striding Toward the Left” (TIB title) (aka “Soldier with Plumed Hat and Pike on his Shoulder”), c.1656/7, from the series, “Figurine”. Bellini & Wallace (1990) advise that the drawing for this etching, executed in pen and brown ink with brown wash and traces of black chalk, is in the Teylers Museum in Haarlem (inv. E 16).

Etching and drypoint on laid paper (partial watermark) with wide margins. Based on the deckle edges of the sheet and the placement of the image, this is possibly the full sheet when published.

Size: (sheet) 24.3 x 20.8cm; (plate) 15.1 x 19.6cm.

Inscribed in plate with the artist’s monogram: (lower right) “SR”.

State ii (of ii) Note that there is only one impression known of the first state.

TIB 4512.041 [B.33 [280]) S2 (Paolo Bellini & Richard W Wallace [eds.] 1990, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 45 [Commentary], New York, Abaris Books, pp. 386–87, cat. no. [4512].041); Wallace 21.II (Richard W Wallace 1979, “The Etchings of Salvator Rosa”, Princeton, Princeton University Press, p. 152, cat. no. 21/II).

The British Museum offers the following description of this print: “Figurina; a standing warrior in a plumed hat, holding a staff over his shoulder and gesturing to right with his outstretched left arm. c.1656-1657” (https://www.britishmuseum.org/collection/object/P_W-7-22 [BM inv. no. W,7.22]).

Condition: a strong and well-printed impression. The sheet has wide margins around the platemark and is in an excellent (near pristine) condition for its considerable age with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this marvellous etching (with drypoint) by Salvator Rosa—note how the artist has used the upward sweep of the landscape on the right to visually echo/amplify the movement of the figure’s outstretched arm—for the total cost of AU$328 (approximately US$213.50, EUR 182.35 or GBP 157.51), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this superb 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

Christian Wilhelm Ernst Dietricy, “St. William, The Hermit Saint”, 1760

Christian Wilhelm Ernst Dietricy (aka Christian Wilhelm Ernst Dietrich) (1712–1774)

“St. William, The Hermit Saint” (aka “Heiliger Wilhelm”; “Paysage, oit l'on voit S. Guillaume” [Le Blanc]), 1760, etching in the manner of Salvator Rosa (1615–1673). See the brief description of this print offered by the Cleveland Museum of Art: https://www.clevelandart.org/art/1971.288.  

Etching on laid paper with a thread margin around the platemark, backed with a support sheet providing wide margins

Size: (sheet) 18.5 x 13.9 cm; (plate) 18.3 x 13.8 cm

Inscribed in plate: (left of centre on upper edge) “63”; (upper right corner) “Dietricy”.

State ii (of iii) before the number (“63”) is effaced in the third state.

Le Blanc (Charles Le Blanc 1856, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, vol. 2, Paris, P. Jannet, p. 131, cat. no. 109 state ii); Linck 161 (JF Linck 1846, “Monographie der von C. W. E. Dietrich radierten, geschabten und in Holz geschnittenen malerischen Vorstellungen”, Berlin).

Condition: a strong and well-printed (faultless) impression with a thread margin around the platemark and laid onto a support of millennium quality washi paper providing wide margins. The sheet is in a pristine condition with no tears, holes, folds, abrasions or stains.

I am selling this fascinating image of the French hermit who was beatified in 1202 and died in 1157, Saint William (aka William of Maleval; Guillaume de Malavalle; William the Hermit; William the Great), bound against a rock with his upraised arms tied by the wrists to a tree—possibly as an act of penitence for sins committed in his earlier years in the military?— for AU$296 (equivalent to approximately US$186.27, EUR 171.80, or GBP 143.97 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$296).

If you are interested in purchasing this superb etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Salvator Rosa’s etching, “Three Soldiers in Conversation”, c.1656/7

Salvator Rosa (1615–1673)

“Three Soldiers in Conversation”, c.1656/7, from the series, “Figurine”. This is the only print in the series that is not signed in the plate with the artist’s monogram and is based on a brown ink and wash drawing in the reverse direction in the collection of Principe Urbano Barberini in Rome (see Wallace [1997], p. 187, 52a).

Etching with drypoint on laid paper (with partial watermark) with wide margins. Based on the deckle edges of the sheet and the placement of the image, this is possibly the full sheet when published.

Size: (sheet) 25.3 x 20.2cm; (plate) 14.3 x 19.1cm.

State ii (of ii) Note that there is only one impression known of the first state.

TIB 4512.072 [B.55 [284]) S2 (Paolo Bellini & Richard W Wallace [eds.] 1990, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 45 [Commentary], New York, Abaris Books, pp. 400–01, cat. no. [4512].072); Wallace 52 (Richard W Wallace 1979, “The Etchings of Salvator Rosa”, Princeton, Princeton University Press, pp. 186–87, cat. no. 52/II).

The British Museum offers the following description of this print: “Figurine; three warriors at a low wall, one seated on a rock and seen from behind, the other two facing front behind the wall. c.1656-1657/ Etching with drypoint” (https://www.britishmuseum.org/collection/object/P_W-7-80 [BM inv. no. W,7.80]).

Condition: a richly inked and strong impression with signs of wear to the printing plate. The sheet has wide margins around the platemark and is in an excellent condition (even a near pristine condition for its considerable age) with no tears, holes, folds, abrasions, stains or signs of significant handling.

I am selling this marvellous etching (with drypoint) by Salvator Rosa—note how the artist has used the angle of the foreground soldier’s leg and sword to link the two background figures in a flowing rhythm to bind and balance the composition—for the total cost of AU$328 (currently US$213.55/ EUR201.67/ GBP168.53 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$328) as this is my currency.

If you are interested in purchasing this superb 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

Heinrich Guttenberg, “The Pythoness of Endor”, c.1805, after Salvator Rosa

Heinrich Guttenberg (1749–1818)

“The Pythoness of Endor” (aka “La Pythonisse d'Endor”; “The Witch of Endor”), c.1805, after Salvator Rosa (1615–1673) with the intermediary design by Charles Abraham Chasselat (aka Chasselas; Charles Abraham Chasselats) (1782–1843).

Etching with engraving on wove paper backed with a support sheet.

Size: (sheet) 56.1 x 42.5 cm; (plate) 48.7 x 34.3 cm; (image borderline) 34.7 x 24.6 cm.

Lettered below the image borderline: (left) “Peint par Salvator Rosa.”; (centre) “Dessiné par Ch. Chasselat./ LA PYTHONISSE D'ENDOR”; (right) “Gravé par H. Guttenberg.”

The British Museum offers the following description of this print: “Saul consulting the witch of Endor, who summons the ghost of Samuel, after Salvator Rosa. c.1803/18” (BM inv. no. 1853,1008.113).

From my understanding of the scene (and, of course, I may be wrong), the ghost of the prophet Samuel is the glowing shroud-cloaked figure on the right summoned by the bare-breasted sorceress from the village of Endor. Saul, the first monarch of ancient Israel, is shown in the foreground bowing/supplicating to the ghost who has bad news for Saul: Israel’s armies will be defeated and Saul is to die.

Condition: a strong and near faultless impression in an excellent /near pristine condition with wide margins and no tears, holes, folds, abrasions or significant stains. The sheet has been laid onto a support of archival (millennium quality) washi paper.

I am selling this darkly dramatic image of an awakened ghost summoned by a sorceress, for the total cost of AU$263 (currently US$203.89/EUR176.05/GBP161.61 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$263) as this is my currency.

If you are interested in purchasing this superb etching (with 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

Matthias Pfenninger’s etching, “Soldier Wielding a Weapon, Seen from Behind”, 1764, after Philip James de Loutherbourg

Matthias Pfenninger (ala Mathias Pfeninger; Mathias Pfenninguer) (1739–1813)

“Soldier Wielding a Weapon, Seen from Behind” (MET title) (aka “Soldier with Axe and Quiver”; “Soldat mit Beil und Köcher”), 1764, plate 7 from a series of 8 etchings, “Eight Studies of Soldiers", designed by Philip James de Loutherbourg (aka Philipp Jakob Loutherburg; Philippe Jacques de Loutherbourg) (1740–1812) “during his Paris years, 1755–71” (see the description of this print offered by the MET: https://www.metmuseum.org/art/collection/search/775376) in the manner of Salvator Rosa (1615–1673).

Note that the Herzog Anton Ulrich-Museum Braunschweighttps attributes this print to Philip James de Loutherbourg (see https://nds.museum-digital.de/object/79376) from the series “Premier et seconde suites de Soldats”, but from my reading of the documentation regarding these series offered by Henri Béraldi 1-2 (see https://archive.org/details/p2lesgraveursdud02portuoft/page/750/mode/2up); Charles Le Blanc 21–32 (see https://archive.org/details/bub_gb_urJCAAAAYAAJ/page/573/mode/2up) and G K Nagler 14 (see https://archive.org/details/neuesallgemeines08nagl/page/82/mode/2up), advise that both series had six plates only and so this attribution as plate 7 in either series seems doubtful—of course I may be wrong.

Etching on heavy laid paper, trimmed with a small margin around the image borderline.

Size: (sheet) 28.5 x 19.6 cm; (image borderline) 27 x 18.9 cm.

Numbered in plate above the image borderline at upper right: “7.”

Condition: a strong and near faultless impression, trimmed with a small margin around the image borderline, in an excellent condition with no tears, holes, folds or significant stains.

I am selling this arresting—perhaps ever iconic—image of a soldier portrayed in the manner of Salvator Rosa, for AU$287 (currently US$193.72/EUR176.62/GBP153.02 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 finely executed etching portraying the statuesque strength and the rock-solid steadfast spirit of an idealised soldier, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.