Jules Jacquemart’s etching, “Moses”, 1875, after Michelangelo

Jules Jacquemart (aka Jules Ferdinand Jacquemart) (1837–1880)

“Moses” (aka “Moïse, Sculpture de Michel-Ange” [title on plate]), 1875, after Michelangelo Buonarroti’s (1475–1564) famous sculpture, “Moses”, in the church of San Pietro in Vincoli in Rome, printed by François Liénard (fl.c1860s–1880s), published in January 1876 in the periodical “Gazette des Beaux-Arts” in Paris.

Etching with pale plate tone on laid paper with watermark with full margins as published.

Size: (sheet) 28 × 20.8 cm; (plate) 23.6 × 15.6 cm; (image borderline) 20.9 x 14.4 cm.

Inscribed on plate within the image borderline: (lower right) "Jules Jacquemart."

Lettered on plate below the image borderline: (left) “Gazette des Beaux-Arts”; (centre) “MOÏSE,/ Sculpture de Michel Ange.”; (right) “Fçois Liénard.Imp.Paris.”

IFF 41 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds Francais Apres 1800”, Paris, Bibliothèque nationale de France, p. 143, cat. no. 41) Beraldi 317 (Henri Béraldi 1885–1892, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. VIII, Paris, Librairie L Conquet, p. 209, cat. no. 317); Gonse 317 (Louis Gonse "Gazette des beaux-arts" Salon de 1874 (2e article). 2nd ser., 10, July 1874, p. 480, cat. no. 317).

The British Museum and The Metropolitan Museum of Art offer descriptions of this print: https://www.britishmuseum.org/collection/object/P_1982-U-1285; https://www.metmuseum.org/art/collection/search/828792

Condition: a well-printed near faultless impression with full margins and binding crease (flattened) on left in pristine condition.

I am selling this remarkably fine etching after Michelangelo’s famous sculpture—shamefully I must point out that Jacquemart has included the crack/creaseline in his rendering of Moses’ knee where a crazy tale has persisted that Michelangelo struck his sculpture with his mallet and told the sculpture to live …(sigh) a good story should never die!—for AU$215 in total (currently US$165.40/EUR139.07/GBP119.15 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this sensitively executed rendering of Michelangelo’s “Moses”—note how this master etcher has not only captured the spirit that makes Michelangelo’s sculpture so full of life, but has also made real the physical substance of the marble itself in terms of its polished sheen, texture and solidity—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

Two Adriaen van Ostade’s etchings of peasants, c1647

Adriaen van Ostade (1610–1685)

(left) “Peasant with his hands behind his back” (TIB title), c1647, and

(right) “Peasant Wrapped in a Cloak” (TIB title), c1647, printed from the original plate by McCreery in his 1816 edition of “200 Etchings”.

Etchings with light plate tone on separate sheets of fine wove (China) paper trimmed with a small margin around the platemark and backed with separate support sheets.

Size of left plate: (sheet) 9.2 x 6.7 cm; (plate) 8.6 x 6.2 cm.

Size of right plate: (sheet) 9.1 x 6.8 cm; (plate) 8.6 x 6.4 cm.

Both plates are inscribed on plate with the artist’s monogram: (lower left) "AvO"

(left) TIB 1 (1). 21.II (361) (Leonard J Slatkes [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 1, Abaris Books, New York, p. 338); Hollstein 21; Bartsch I.361.21; Davidsohn 21; Godefroy 21; Boon-Verbeek 21.

(right) TIB 1 (1). 22.II (362) (Leonard J Slatkes [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 1, Abaris Books, New York, p. 338); Hollstein 22; Bartsch I.361.22; Davidsohn 22; Godefroy 22; Boon-Verbeek 22.

The British Museum and the Rijksmuseum offer descriptions of the left print (https://www.britishmuseum.org/collection/object/P_1877-1013-296; http://hdl.handle.net/10934/RM0001.COLLECT.38874) and the right print (https://www.britishmuseum.org/collection/object/P_2006-U-178; http://hdl.handle.net/10934/RM0001.COLLECT.38880.

Condition: well-printed impressions (the left print has a minor printer’s crease at upper right) with both etchings having a narrow margin around the platemark and in excellent condition. Both prints are laid onto separate support sheets of archival (millennium quality) washi paper.

I am selling this superb pair of etchings that are full of life and spirit from Van Ostade’s middle period, for AU$426 in total (currently US$327.97/EUR275.76/GBP236.04 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing these visually engaging etchings executed by one of the truly great masters of the 17^th century showing individual studies rural peasant men—note that the figure on the right meets the convention of the time for showing suspiciously fishy looking folk as looking  furtively over their shoulder while covertly hiding something—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This pair of prints has been sold 

Étienne Delaune’s engraving, “The Separation of Abraham and Lot”, c1560

Étienne Delaune (aka Stephanus) (c1518–83) Note: Delaune signed his prints “Stephanus” or “S. Goldsmith”, hence the name “Stephan[u]s” inscribed on this plate at lower right.

“The Separation of Abraham and Lot” (aka “La Séparation de Loth et d'Abraham”), c1560 (1550–1572), plate 15 from the series of 36 engravings, “The Genesis” (aka “Histoire de la Genèse”).

Engraving on fine laid paper trimmed with a thread margin around the platemark.

Size: (sheet) 7.9 x 10.6 cm; (image borderline) 6.9 x 10.4 cm

Inscribed on plate within the image borderline: (lower left) “STEPHANVS F CV PRI REGIS”;

Lettered on plate in three lines below the image borderline: (centre) “GENESIS, 13./ SEPARATANTVR ABRAHAM ET LOTH ALTER AB ALTERO,/ EO QVOD REGIO PECORIBVS VTRIVSQZ NON SVFFTCERET” ([Transl.] “Abraham and Lot separate, because the region is not enough for their different herds.” [see https://www.pop.culture.gouv.fr/notice/joconde/00130129656]).

State i (of ii)

Robert-Dumesnil 38 (A P F Robert-Dumesnil 1835, “Le Peintre-Graveur Français”, Paris, G Warée, vol. 9, p. 31, cat. no. 38); IFF 39 (André Linzeler 1932, “Inventaire du Fonds Français. Graveurs du XVIe Siècle”, Paris, Bibliothèque Nationale, Département des Estampes, vol. I, p. 225, cat. no. 39); Le Blanc 36 (Ch. Le Blanc 1856, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations”, Paris, vol. 2, p. 503, cat. no. 36).

The British Museum offers the following description of this print:

“Plate 15: Lot parting from Abraham, taking his flock and people with him”

(https://www.britishmuseum.org/collection/object/P_1834-0804-125).

See other prints by Delaune along with excellent explanations offered by Spaightwood Galleries: http://spaightwoodgalleries.com/Pages/Delaune.html.

See also the insights about Delaune offered by the Victoria and Albert Museum: https://www.vam.ac.uk/blog/engraved-ornament-project/life-and-work-etienne-delaune-1.

Condition: a very delicate lifetime impression trimmed with a narrow margin around the platemark in very good condition.

I am selling this lifetime impression of a small and finely crafted engraving—executed when Michelangelo was sculpting his “Rondanini Pietà” (1552–1564)—for the total cost of AU$298 (currently US$228.26/EUR192.24/GBP164.98 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.

If you are interested in purchasing this sensitively rendered masterpiece of engraving showing two episodes from Genesis (Old Testament)—the foreground illustrates the parting of Abraham and Lot [Genesis 13:11]; the background illustrates the shepherds arguing [Genesis 13:7]—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 

Georg Andreas Wolfgang’s engraving with etching, “The Wild Boar Hunt”, c1660

Georg Andreas Wolfgang (1631–1716)

“The Wild Boar Hunt”, c1660, presumably published by the artist in either Augsburg or Nuremberg. The only other copy that I could find of this rare print is held by the Duke Anton Ulrich Museum, Braunschweig (https://nds.museum-digital.de/index.php?t=objekt&oges=76432) and neither the museum's impression not this impression is lettered with publication details, but possibly they are both pre-publication proof impressions. The possibility that this impression is a proof-state impression is supported by the exceptionally strong quality of the lines.

Engraving and etching on laid paper trimmed with a small margin around the image borderline.

Size: (sheet) 21.7 x 15.9 cm; (image borderline) 20.7 x 15.5 cm.

Condition: a strong and richly inked impression, trimmed with a small margin around the image borderline and in an excellent condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this startlingly strong impression—the raven black of the printing ink is a good example of German printmakers’ use of mineral black at the time as opposed to the Italian printmakers who (arguably) used slightly greyer carbon-based inks—for AU$241 (currently US$185.10/EUR155.34/GBP133.80 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.

If you are interested in purchasing this romantic and very dramatic etching of a lynx(?) attacking a wild boar by “the first practitioner of mezzotint in Augsburg” (see BM’s biographical details for Wolfgang), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jules de Goncourt’s etching, “Profil d'homme”, c1861, after Paul Gavarni

Jules de Goncourt (aka Jules Alfred de Goncourt) (1830–1870)

“Profil d'homme”, c1861, after a sketch drawn with a toothpick by Paul Gavarni (aka Hippolyte Guillaume Sulpice Chevalier) (1804–1866), proof impression before numbering as plate 17 for publication in an edition of 2 impressions on vellum, 100 impressions on Japanese paper and 200 impressions on laid paper, printed by François Liénard (fl.c1860s–1880s) in Paris. Philippe Burty in his catalogue raisonné for (1876) advises: (transl.) “This etching appeared at the Salon of 1864” (p. 12).

Regarding Paul Gavarini, whose drawing this etching is based, in 1873 Jules de Goncourt and his brother, Edmond de Goncourt (1822–1896), published an account of Gavarni’s life and artworks, “Gavarni, l'homme et l'oeuvre” (see on online view of this publication offered by archive.org: https://archive.org/details/1873gavarnilhomm00gonc/page/310/mode/2up; and a later [1900] illustrated edition, “Gavarni, der Mensch und das Werk”: https://archive.org/details/gavarnidermensch02gonc/page/n7/mode/2up).

Etching with pale plate tone on tissue-thin Japanese paper, proof impression before the addition of publication details (viz. plate number and the printer’s address), backed with a support sheet.

Size: (sheet) 26.8 x 19.2 cm; (plate) 24x 15.6 cm.

Inscribed on plate within the image borderline; (upper left) “J. G. 42”; (upper left) “dessiné au cure dent/ par Gavarni”.

Burty 45 (Philippe Burty 1876, “Eaux-fortes de Jules de Goncourt”, Paris, Librairie de L’Art, p. 10, cat. no. 45; see https://archive.org/details/gri_33125008529303/page/n39/mode/2up and illustration https://archive.org/details/gri_33125008529303/page/n85/mode/2up); IFF 44 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes); Beraldi 45 (Henri Beraldi 1887, “Les graveurs du 19e siècle; guide de l'amateur d'estampes modernes”, vol. 7, Paris, L Conquet, p. 173, [see, “Reproductions de dessins de Gavarni”], cat. no. 45).

The British Museum offers the following description of this print:

“Portrait of a man with tousled hair and m[o]ustache, head and shoulders, in profile to left, after Gavarni c.1861 Etching with surface tone”

(https://www.britishmuseum.org/collection/object/P_1876-1111-419).

Condition: a richly inked proof-state impression laid onto a support of archival (millennium quality) washi paper (because the sheet is tissue thin). The sheet is in an excellent condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this remarkably fine etching by Jules de Goncourt of the exceptionally famous and inseparable brothers known for their literary work and diaries centred on the social life around them, for the total cost of AU$256 (currently US$196.70/EUR164.95/GBP142.25 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.

If you are interested in purchasing this boldy executed portrait study after the famous French illustrator, Paul Gavarni, noted for his prints of everyday folk and their foibles (see https://www.gutenberg.org/files/64526/64526-h/64526-h.htm), 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