Monday, 25 November 2019

Stefano della Bella's etchings. "The Four Seasons", c.1641


Stefano della Bella (1610 - 1664)
Four plates (“L’Esté” [Summer]; “L'Automne” [Autumn]; “L'Hyver” [Winter]; “Printemps” [Spring]) to the series, “The Four Seasons”, c.1641, published by Israël Henriet (c.1590–1661)
The Curator of the British Museum offers the following insights about the series in which these prints feature:
“Series of four prints representing the seasons …. It was thought by De Vesme that only the human figures in each print were the work of Stefano della Bella, and that the ornament work was done by Abraham Bosse” (see BM no. 1871,0513.641).
Etchings on fine laid paper, trimmed with narrow margins around the image borderline and backed with individual support sheets.
Size of each print with slight variations: (sheet) 9.5 x 5.2 cm; (image borderline) 9.2 x 4.9 cm.
Inscribed on each plate: (within lower cartouche) the title and "Israel excud." or ”Israel. ex.”; (below cartouche at left) "Avec privil.”; (below cartouche at right) “du Roy.”
Condition: well-printed impressions in excellent condition, trimmed close to the image borderline and laid upon an archival support sheet of millennium quality washi paper.
I am selling this very rare set of four etching executed by one of the major old masters, for AU$500 in total for the four prints (currently US$339.05/EUR307.93/GBP263.36 at the time of this listing) 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 these small but graphically strong etchings featuring classical figures personifying the four seasons, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.
This series of etchings has been sold




“L'Esté” (Summer)
De Vesme/Massar 1971 84 (A de Vesme [revised by Phyllis D Massar] 1971, “Stefano della Bella”, New York, Collectors Editions Ltd.)
Summer; a woman standing in a cornfield crowned with ears of corn, holding a sheaf of corn in her right hand and a scythe in her left hand, within a cartouche surmounted by corn”




“L'Automne” (Autumn)
De Vesme/Massar 1971 85
“Autumn; a satyr to left leaning against a tree with a vine wrapped around it, the satyr holding a bunch of grapes in his hand; within a cartouche surmounted by bunches of grapes”




“L'Hyver” (Winter)
De Vesme/Massar 1971 86
“Winter; an old cloaked man standing in centre warming his hands above a brazier on the ground to left; within a cartouche surmounted by bare branches”




“Printemps” (Spring)
De Vesme/Massar 1971 83
The British Museum offers the following description of this print:
“Spring; a young woman standing facing front crowned with a garland of flowers and holding a garland in each hand, within a cartouche ornamented with flowers”

Sunday, 24 November 2019

Bernard Lépicié's engraving, “Jupiter and Lo”, 1729


Bernard Lépicié (aka François Bernard Lépicié; Bernard L'Epicie; Bernard Lépicier) (1698–1755)
“Jupiter and Lo”, 1729, after Perino del Vaga (aka Piero Buonaccorsi) (1501–1547), formerly (as inscribed on plate) attributed to Giulio Romano (aka Giulio Giannuzzi; Giulio Pippi) (1499–1546), plate 58 (as inscribed on plate) from the series of 140 plates commissioned by Pierre Crozat (1665–1740) to reproduce “famous paintings and drawings of the era” (see BM no. 1907,1121.14 for a discussion of this series), “Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France” (Collection of prints from the most beautiful paintings and the most beautiful designs that are in France) (aka “Recueil Crozat”; “Cabinet Crozat”) published in 1729.
Regarding the attribution of the original design of this plate, the Curator of the British Museum offers the following insight:
“The first of five plates from the 'Cabinet Crozat' … after the cartoons of the 'Loves of Jupiter'. These used to be attributed to Giulio Romano, and were first recognised as being Perino's documented designs of c.1531/2 for the tapestries in the salone di Giove in the Palazzo Doria in Genoa by Davidson in 1988” (see BM no. 1855,0609.138).
Engraving with etching on heavy laid paper with wide margins as published and backed with a support sheet.
Size: (sheet) 53.7 x 41 cm; (plate) 35 x 31 cm; (image borderline) 26.6 x 27.6 cm.
Lettered on plate below the image borderline: (centre) “Jupiter et Lo./ d'Après le Carton de Jules Romain, qui est dans le Cabinet de Monseigneur le Duc d'Orleans/ haut de 8. pieds, 6. pouces, large de 8. pieds 11. pouces, gravé par Bernard L'Epicier”; (right corner) “58”.
IFF, vol. XIV, no. 13, p. 373 (Département des Estampes 1930, “Inventaire du Fonds, Français: graveurs du XVIIe siècle”, Paris, Bibliothèque Nationale); LeBl. 8 (Charles Le Blanc 1854, “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”, Paris).
The British Museum offers the following description of this print:
“Jupiter reaching forward towards the nymph Io, after the cartoon by Perino del Vaga for the tapestries of the Loves of Jupiter.”
See also the description of this print offered by Harvard Art Museums:
Condition: well-printed early impression with full margins (as published?). There are a few small tears to the margin edges of the sheet otherwise it is in excellent condition and laid upon an archival support sheet of millennium quality washi paper.
I am selling this superbly executed engraving showing Jupiter’s seduction (manhandling) of the lovely Lo before she “transformed into a beautiful heifer and wandered the world, tormented by a gadfly” (as explained in the BM’s biography for Lo), for AU$205 (currently US$139.34/EUR126.40/GBP108.42 at the time of this listing) 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 mythological scene rendered with sublime skill—note, for example, how the engraver is able to describe the slightly darker skin tone of Jupiter’s tanned body compared to Lo’s paleness and how the skin of the figures is slightly more matte than the sheen of the eagle’s feathers that Lo rests her hand upon (mindful that the eagle is a symbol of Jupiter)—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











Saturday, 23 November 2019

Jost Amman's woodcut, “Battle of the Romans and the Bavarians, 1565


Jost Amman (aka Jost Ammon) (1539–1591)
“Battle of the Romans and the Bavarians, 1565, illustration to Johannes Aventinus’ (aka Johann Georg Turmair [or Thurmayr]) (1477–1534) “Des hochgelerten weitberümbten Beyerischen Geschichtschreibers Chronica“ (The highly acclaimed Beyer historical writer chronical) and “Chronica des uralten Haus Bayern und der alten Deutschen” (Chronical of the ancient house of Bavaria and the old Germans), published in 1566, p. 216. The latter publication may be viewed online or downloaded free-of-charge from archive.org and the following URL shows the print in its context in the publication:
This plate was also used to illustrate “Biblia” with the title “Israel Conquers Shion”, plate number 21 (see TIB 20 [Part 1] [9].1.28 [365]; p. 262), published in 1565 in Frankfurt (see discussion about Amman’s prints in the “Biblia”, including this publication’s full title in TIB, vol. 20 [Part 1], p. 244).
This plate was also used to illustrate “Opera Josephi” with the title “The Pillage of Jerusalem and the Temple” (see TIB 20 [Part 2] [9].12.52 [374]; p. 768) published in 1580 in Frankfurt. Note that the impressions from this publication show significant wear to the printing plate and Bartsch employed earlier impression from previous publications as representative illustrations for his catalogue raisonné (see discussion about Amman’s prints in the “Opera Josephi” in TIB, vol. 20 [Part 2], p. 740).
Woodcut on fine laid paper with a narrow margin around the image borderline, German letterpress text verso (as published in 1566), Amman’s monogram on the foreground shield and backed with a support sheet.
Size: (sheet) 11.1 x 5.5 cm; (image borderline) 10.8 x 15.2 cm.
TIB 20 (Part 1) (9).1.28 (365) (Jane S Peters [ed.] 1985, “The Illustrated Bartsch: German Masters of the Sixteenth Century: Jost Amman: Intaglio Prints and Woodcuts”, vol. 20 [Part 1], New York, Abaris, p. 262, cat. no. 1.28 [365]); TIB 20 (Part 2) (9).12.52 (374).
Condition: early impression of museum quality—note that there is one worm hole below the hooves of rearing horse on the right—showing minimal wear to the printing plate, trimmed with narrow margins around the image borderline and laid upon an archival support sheet of millennium quality washi paper.
I am selling this high quality woodcut from 1565 monogramed on plate by one of the most famous of the German old master printmakers, for AU$170 (currently US$115.45/EUR104.75/GBP89.93 at the time of this listing) 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 small woodcut masterpiece executed with the finest of detail, 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











Kathe Kollwitz's etching, "Inspiration", 1905


Kathe Kollwitz (1867–1945)
“Inspiration”, 1905, a supplement to the series “Peasants’ War” (but not part of the series), published posthumously by Johanna and Bernhard von der Becke, Munich (1963–1972).
Soft and hard ground etching with sugar-lift aquatint and drypoint in warm black (umber) ink on cream-coloured wove paper with margins and the “MUENCHEN-22” von der Becke blindstamp at lower-right corner of the impression.
Size: (sheet) 78 x 45.5 cm; (plate) 56.4 x 29.7 cm.
State ix (of ix).
Klipstein 1955 91.IXb (August Klipstein 1955, “Käthe Kollwitz, Verzeichnis des graphischen Werkes”, Bern, Klipstein & Co, pp. 118–19); Knesebeck 2002 86 (Alexandra von dem Knesebeck 2001, “Käthe Kollwitz, Werkverzeichnis der Graphik”, Bern, Kornfeld).
The Käthe Kollwitz Museum (Köln) offers the following excellent insights about this print:
“Behind the peasant woman, we see a crouching, allegorical male figure. The wings of the figure indicate that he is in the tradition of inspiration personified for which there are models in both Christian and secular art. Käthe Kollwitz’s etching shows the figure whispering into the peasant woman’s ear. His left hand, clenched into a fist, is pressed down on the woman’s shoulder. His right hand is placed on the woman’s hand that clutches the shaft of the scythe as if she wanted to use it herself in the battle. Käthe Kollwitz intended to demonstrate that the peasant woman had had an inspiration.
The scarily sinister aspect of the figure may later have made the artist decide to leave it out as she wanted to represent the Peasants War as the legitimate struggle of an oppressed group of people. Kollwitz eventually decided not to use allegorical figures in her ‘Peasants War’ cycle.”
The British Museum offers the following description of this print:
“Nude male figure leans over seated female figure to help her hold scythe”
Condition: richly inked and near faultless impression with wide margins in almost pristine condition.
I am selling this very large and graphically powerful etching by one of the most famous of the German artists at the turn of the 19th and 20th centuries, for AU$840 (currently US$429.65/EUR388.54/GBP333.08 at the time of this listing) 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 impressively strong allegorical etching showing grim determination guided by divine inspiration, 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











Thursday, 21 November 2019

Johann Elias Ridinger's etching, “Die wilden Schweine” (Wild boars), c.1740


Johann Elias Ridinger (aka Johann Elias Riedinger) (1698–1767)
“Die wilden Schweine” (Wild boars), c.1740, plate 2 from the series of eight plates, “Gründliche Beschreibung und Vorstellung der wilden Thiere nach Ihrer Natur, Geschlecht, Alter und Spur” (Thorough description and presentation of the wild animals according to their nature, sex, age and tracks), published in Augsburg by the artist.
Note: the letters “A.V.” inscribed in the publication details on this plate do not refer to the name of a publisher (often given as a fictitious publisher, “August Vindel” or “Aug. Vindel.”). Instead, the letters are an abbreviation of “Augusta Vindelicorum”—the Latin name for Augsburg.
Etching on cream laid paper with generous margins backed with a support sheet.
Size: (sheet) 71.3 x 51.1 cm; (plate faint) 63.4 x 46.5 cm; (image borderline) 55.5 x 44.5 cm.
Inscribed on plate below the image borderline: (left) “Cum Priv. Sac. Cæs Majest.”; (left of centre) “Sau Fährte im Trab” (Sow track at a trot)/ “Gefährte einer Trächtigen Bache” (Companion of a pregnant wild sow); (right of centre) “Sau Fährte flüchtig” (Sow track fleeting)/ “Gefährte von einer Bachen” (Companion of a wild sow); (right) “Ioh. El. Ridinger inv pinx. Sculp. et excud. A. V./ 2.”
Thienemann 1856 188 (Georg Thienemann, 1856, “Leben und Wirken des ... Thiermalers und Kupferstechers Johann Elias Ridinger, mit ... Verzeichniss seiner Kupferstiche, Schwarzkunstblätter”, Leipzig, Rudolph Weigel, p. 47, cat. no. 188).
This publication may be viewed online or downloaded free-of-charge from archive.org: https://archive.org/details/lebenundwirkende00thie/page/46
Thienemann (1856) offers the following description of this print (abridged):
[transl.] “The wild pigs. One of the most magnificent leaves of this magnificent collection. They [the five featured pigs] lie in comfortable tranquility … but each one is different, it is, as they say, pig-friendly. … a smaller pig looks out … four strong pigs … [are at] peace … One lies, as if lost in death's sleep, quite frizzy, the other leans his head comfortably against the third, which raises his head somewhat with an expression of well-being, while the fourth sits more than lies” (p. 47).
The British Museum offers the following description of this print:
“A herd of wild boars sleeping in the mud surrounded by lush trees; boar footprints and explanatory remarks below.”
Condition: richly inked and well-printed impression showing no sign of wear to the plate and with generous margins. The sheet has numerous restored tears and minor water stains in the margins and is laid upon an archival support sheet of millennium quality washi paper.
I am selling this superb and large etching, described in the catalogue raisonné for Ridinger as one of the best in the series, for AU$210 (currently US$142.54/EUR128.77/GBP110.30 at the time of this listing) 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 masterpiece of etching that seems to be held only in the collection of the British Museum (based on my search of the major art museums' collections), 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