Charles Courtry, “Forest with Cows near a Stream”, c.1870, after Paul Huet

Charles Courtry (aka Charles Jean Louis Courtry) (1846–1897)

“Forest with Cows near a Stream” (descriptive title only), c.1870, etching after a painting by Paul Huet (1803–1869).

Etching on laid paper backed with a support sheet.

Size: (sheet) 17 x 21.2cm; (plate) 12.7 x 17.2cm; (image borderline) 9.5 x 14.7cm.

Inscribed in plate below the image borderline (left) “PAUL HUET PINX”; (right) “CH. COURTRY. Sc”.

Beraldi 82–201 (Henri Béraldi 1886, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: CHERRIER–DIEN”, vol. 5, Paris, Librairie L. Conquet, p. 66 [mentioned with Huet’s name, but without catalogue number, in a diverse group of prints reproducing old and modern paintings in catalogues published by “Durand-Ruel, Francis Petit, Haro, Sedelmeyer, etc.], cat. nos. 82–201).

Condition: a strong and well-printed impression laid upon a support of archival (millennium quality) washi paper providing wide margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this small and insightfully executed etching that not only captures the sparkling effects of  light on foliage, but also explores the open spaces between trees as a flow of rhythms represented with curved aligned strokes as if the spaces were chiselled—from my way of looking, this interest in light and space pre-empts the Impressionists’ fascination with the effects of light and how to portray the intangible optical experience—for AU$192 in total (currently US$123.58/ EUR117.40/ GBP97.23 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$192) as this is my currency.

If you are interested in purchasing this marvellous etching that I would describe as a true printer’s print because it is so interesting in all its subtleties, 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

Louis Surugue, “The Philosopher in Contemplation”, 1754, after Salomon Koninck

Louis Surugue (c.1686–1762)

“The Philosopher in Contemplation” (aka “Le Philosophe en Contemplation”), 1754, after a painting by Salomon Koninck (aka Salomon Coninck; Salomon Koning; Salomon Konink) (1609–1656) in the Musée du Louvre, Paris (inv. no. 1741), formerly attributed to Rembrandt (aka Rembrandt Harmensz van Rijn) (1606–1669), published in Paris by Louis Surugue with royal privilege (as inscribed in the plate).

Etching with engraving on fine laid paper backed with a support sheet.

Size: (sheet) 27.1 x 29.5cm; (plate) 25.4 x 28.1cm; (image borderline) 21.4 x 26.2cm.

Lettered in plate below the image borderline: (left) “Rembrant Pinxit.”; (left of centre) “LE PHILOSOPHE/ Gravé d'aprés le Tableau Original de Rembrant Peint sur/ Tiré du Cabinet de Monsieur le Comte de Vence/ A Paris chez L. Surugue rue des Noyers attenant”; (centre) [Comte de Vence coat-of-arms]; (right of centre) “EN CONTEMPLATION/ bois haut de 10 pouces 3 lignes sur 12 et demi de large/ Marechal de Camp des Armées du Roy./  and "A Paris chez L. Surugue, Graveur du Roy./ le Magazin de Papier vis à vis S^t. Yves avec Privil. du Roy”; (right) “Lud.^us Surugue Sculp.1754.”

Nagler 54 (G.K. Nagler 1847, “Neues allgemeines Künstler-Lexicon oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Kupferstecher, Formschneider, Lithographen, Zeichner, Medailleure, Elfenbeinarbeiter, etc. Sole, G. G.– Surugue, L.”, vol. 17, Munich, E A Fleischmann, p. 572).

Note that Nagler (1847) advises that there are two related prints with the same title: (Transl.) “[cat. no.] 54) Le philosophe en contemplation, after the picture by Rembrandt in the Cabinet Vence, beautifully etched and engraved.” and “55) Le philosophe en meditation, after Rembrandt's picture from the same collection, and counterpart to the above.” (see vol. 17 p. 572).

The British Museum offers the following description of this print: “Interior of a Dutch vaulted room, with an old bearded philosopher sitting at a desk in front of a window at left, wearing a soft cap and fur-trimmed robe, his chin resting on right hand, a large book open before him, a curved staircase at right and a globe and crucifix beside the table; after Salomon Koninck but formerly attributed to Rembrandt; coat of arms of Comte de Vence in lower margin” (https://www.britishmuseum.org/collection/object/P_F-6-168 [BM inv. no. F,6.168]).

Condition: a strong and well-printed life-time impression with small margins around the platemark and laid upon a support of archival (millennium quality) washi paper providing wide margins. Beyond minor handling marks in the margins, the sheet is in an excellent condition with no significant stains or other issues.

I am selling this curiously wonderful composition with a spiral staircase and two opposing light sources separating a woman attending to a fireplace hearth with another lady watching her, shown on the left, and a window-lit man (the philosopher) deeply engaged in thought, shown on the right, for AU$282 in total (currently US$181.76/ EUR172.76/ GBP143.21 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. Note that payment is in Australian dollars (AU$282) as this is my currency.

If you are interested in purchasing this extraordinary etching capturing in a very graphic way the tight spaces and dark interiors that were a part of everyday life in the time of Rembrandt, 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

Prince Arisugawa Taruhito, brushed ink calligraphy, c.1850–95

Prince Arisugawa Taruhito (有栖川宮熾仁親王, Arisugawa-no-miya Taruhito-Shinnō) (1835-1895)—a well-documented Japanese Imperial Prince and heir to the throne.

Brushed ink calligraphy on washi paper laid onto a support sheet, c.1850–95.

Size: (without support sheet) 32 x 114cm.

Regarding a translation of the calligraphy, I may be far from correct, but I suspect that the meaning relates to the Chinese adage for military folk: “Live in the camp of Cao, but one’s heart still longs for the camp of Han”. In short, wherever you are you will long for a different place, or, “the grass is always greener on the other side”. My sincere apologies if I’m completely wrong about this.

Condition: there are fractures, tears and stains (mainly at the far edges), otherwise the sheet is in a good condition for its considerable age and size.

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A brief biography of Prince Arisugawa Taruhito

Born as an Imperial Prince and adopted by Emperor Ninkō, as a potential heir to the throne. His military career began with his participation in the pivotal Battle of Toba–Fushimi, a conflict that played a crucial role in the upheaval of the Tokugawa shogunate.

In recognition of his leadership and contributions, he was awarded the honorary rank of general in 1878 after successfully commanding the central government army against the insurrection led by Saigō Takamori during the Satsuma Rebellion of 1877. His military prowess continued to be evident when he served as the commander-in-chief of Japanese forces in the First Sino-Japanese War.

In addition to his military accomplishments, Prince Arisugawa Taruhito was recognized for his diplomatic efforts, notably meeting with Tsar Alexander III in St. Petersburg, Russia, as the official envoy representing Emperor Meiji. This engagement reflected his significant role in forging international relations during a transformative period for Japan.

Posthumously, his contributions were honoured when Emperor Meiji awarded him the prestigious Collar of the Supreme Order of the Chrysanthemum, solidifying his legacy in Japanese history.

For more detailed information, please refer to the sources from [Wikipedia](https://en.wikipedia.org/wiki/Prince_Arisugawa_Taruhito) and [Invaluable Auctions](https://www.invaluable.com/auction-lot/prince-arisugawa-taruhito-1835-1895-and-yamagata--195-c-d974bb3898).

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I am selling this unique sheet of confidently bold calligraphy by an historically significant, Japanese prince, military leader and the official envoy representing Emperor Meiji in talks with Tsar Alexander III in St. Petersburg, for AU$325 in total (currently US$210.71/ EUR200.60/ GBP166.39 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. Note that payment is in Australian dollars (AU$325) as this is my currency.

If you are interested in purchasing this extraordinary piece of calligraphy of exceptional rarity, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Conrad Faber von Kreuznach, “Hannibal Refused to Accept the Surrender of his People”, c.1530-33

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

“Hannibal Refused to Accept the Surrender of his People” (title based on my reading of the introductory lines), c.1530, original leaf with woodcut (printed recto and verso), page 117 (CXVII), published c.1533 in Mainz in the German edition of the Roman Historian, Livy’s (aka Titus Livius) (59/64 BC–17 AD) “Roemische Historien” (Roman Histories), edited by Johannes Schoeffer (c1475–1531), and translated from Latin by Bernhard Schöfferlin (c1436–1501) and Ivo Wittich (1456–1507) with contributions by Nicolaus Carbach (aka Nicolaum Carbachium) (1485–c1534) and Jakob Micyllus (aka Jacobum Micyllum) (1503–1558).

Note that the later 1538 edition of the same publication has the two images printed on this leaf separated on different pages: the upper image is shown facing page 114 (CXIIII) (see https://archive.org/details/gri_33125011080492/page/n255/mode/2up) and the lower image is shown facing page 117 (CXVII) (see https://archive.org/details/gri_33125011080492/page/n261/mode/2up).

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

Size: (sheet) 30.6 x 19.3cm; (image borderline) 15.4 x 14.6cm.

Condition: a strong and well-printed lifetime impression (based on the quality of the printed line). The sheet is in an excellent condition for its considerable age with no tears, holes folds, abrasions or significant stains.

I am selling this superb leaf of Renaissance period woodcuts for AU$308 in total (currently US$200.14/ EUR190.13/ GBP157.74 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$308) as this is my currency.

If you are interested in purchasing this superb leaf with a double panel woodcut of extraordinary quality and 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 leaf has been sold

Abel Jamas, “Triumph of Pan”, 1925, after Nicolas Poussin

Abel Jamas (1862– fl.c.1941)

“Triumph of Pan”, 1925, a pencil-signed artist’s proof, inscribed as the first impression (of two), after Nicolas Poussin’s (1594–1665) painting (1636) in the collection of the National Gallery in London (inv. no. NG6477; see https://www.nationalgallery.org.uk/paintings/nicolas-poussin-the-triumph-of-pan).

Etching on thin laid paper with wide margins, pencil-signed with the edition number (1 of 2) and an inscribed note advising that the impression is from the 4^th (?) state, backed with a support sheet.

Size: (sheet) 53 x 50.5cm; (plate) 43 x 47.9cm; (image borderline) 34.5 x 39.8cm.

Inscribed in pencil below the image borderline: (right) “4[?] ^e Etat 1/2/ [artist’s signature] Abel Jamas”.

Condition: a strong and well-printed impression with generously wide margins laid onto a support of archival (millennium quality) washi paper. Beyond minor marks and tears in the margin, the sheet is in an excellent condition for its huge size with no significant stains.

I am selling this large and very beautiful etching after Poussin’s painting showing an unruly Bacchanalian festival with gavotting dancers, trumpets blaring, tambourines jingling and lots of nudity overseen by an armless statue of Pan, for AU$302 (currently US$196.73/ EUR185.93/ GBP154.45 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$302) as this is my currency.

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

Note that I have previously listed another large etching by Abel Jamas that is currently still available: “Portrait of Chopin”, c.1938, after Delacroix (see https://www.printsandprinciples.com/2024/04/abel-jamas-portrait-of-chopin-c1938.html).

This print has been sold