Anthonie Waterloo’s etching, “Landscape with Alpheus and Arethusa”, c1647

Anthonie Waterloo (aka Anthoni Waterloo; Antoni Waterlo) (1609–1690)

“Landscape with Alpheus and Arethusa” (TIB title) (aka “Alphée et Arethusa”), c1647 (1630–1663 [Rijksmuseum]), plate 1 from the series, “Six Upright Landscapes with Scenes from Ovid's Metamorphoses,” published in Paris by Pierre François Basan (1723–1797).

Etching on laid paper trimmed with a thread margin around the image borderline.

Size: (sheet) 29.2 x 24.2 cm; (image borderline) 29 x 24 cm.

Inscribed on the plate at upper left corner: "1 Antoni Waterlo in. et f.”

State iii (of iii) with the addition of slight “diagonal (\\) and horizontal shading in the lower right corner, filling the corner with cross-hatching” (Morse [1992], p. 154).

TIB 2 (2).125 (128) S3 (Peter Morse [ed.] 1992, “The Illustrated Bartsch: Antoni Waterloo”, vol. 2, Commentary, Part 1, New York, Abaris Books, p.154); Hollstein Dutch 125-3 (3) (Christiaan Schuckman 1997, “Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Antoni Waterloo,” vol. 50, Rotterdam, Sound and Vision, p. 291, cat. no. 125).

The British Museum offers the following description of this print:

“Plate 1: Alpheus and Arethusa; a nude female figure on the wooded bank of a river, fleeing to right as she is pursued by the male figure in the water at left; from a series of six plates” (https://www.britishmuseum.org/collection/object/P_F-3-7).

See also the description offered by the Rijksmuseum:

https://www.rijksmuseum.nl/en/collection/RP-P-1936-611.

Condition: a superb, richly inked and well-printed impression trimmed close to the image borderline in excellent/museum quality condition (i.e. there are no tears, holes, folds, abrasions or stains, foxing or significant signs of handling).

I am selling this marvellous impression of a large etching by Waterloo—one of the well-known masters from the 17th century—for the total cost of AU$548 (currently US$394.74/EUR334.03/GBP300.36 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this large and very beautiful 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

Jan Collaert I’s engraving, “Elisha Reviving the Son of the Shunammite Woman,” c1579

Jan Collaert I (aka Hans Collaert) (c1525/30–1580)

“Elisha Reviving the Son of the Shunammite Woman,” c1579 (published 1643), plate 6 from the series of 6 plates (Hollstein 122–127 [de Vos]), “The Story of Elisha,” after the design by Maarten de Vos (aka Maarten de Vos; Maerten de Vos) (1532–1603), initially published by Volcxken Diericx (Volcxken Dierickx; Volcxken Diericx) (fl.1570–1600) and later (as inscribed on this impression) by Claes Jansz. Visscher (aka Nicolaes Jansz.Visscher; Piscator) (1587–1652) in 1643 (possibly in “Thesaurus Sacrarum Historiarum Veteris Testament”).

Engraving on laid paper with small margins backed with a support sheet.

Size: (sheet) 23.8 x 31.3 cm; (plate) 20.8 x 28.9 cm; (image borderline) 19.1x 28.5 cm.

Inscribed on plate within the image borderline along the lower edge: (left) “M.de vos. Inue.”; (right of centre) “CVisscher [ligature of initials monogram] excud.”; (below table leg at right) “HC. F”.

Numbered and lettered on plate below the image borderline: (left) “6”; (centre in two columns of Latin in two lines) “Protinus ingressus tunc est Sunamitidos edes,/ Membraq[ue] sopite videt vt sine lumine vite// Extincti pueri, componens arubus artus,/ Restituit viue puerum vt numinis, aure.”; (right) 2.Regum  cap.4 ver 34./ 6”.

State iv (of iv)

Hollstein 127 (Christiaan Schuckman [comp.] 1996, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Maarten de Vos,” vol. 44, Rotterdam, Sound and Vision Rijksprentenkabinet, p. 37, cat. no. 127); New Hollstein (The Collaert Dynasty) 64–4(4) (Ann Diels & Marjolein Leesberg [comp.] 2005–2006, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: The Collaert Dynasty,” vol. 8, Ouderkerk aan den Ijssel, Sound and Vision, p. 76, cat. no. 64); Riggs 196 (Timothy A. Riggs 1977, “Hieronymus Cock: Printmaker and Publisher,” New York, Garland Publishing).

The Rijksmuseum offers the following description of this print:

(Transl.) “When Elisha has arrived, Gechazi closes the door to the room on the right. The parents of the dead boy remain outside the room. On the left, Elisha prays with raised arms to God. In the centre, he stretches out over the [dead] boy with his mouth on his mouth and his palms on the boy's palms. This is how Elisa brings the boy to life. Below the scene a reference in Latin to the Bible text in 2 Kgs. 4:34.”

(http://hdl.handle.net/10934/RM0001.COLLECT.616145).

See also the description of this print offered by the British Museum and the Museum of Fine Art (Boston):

https://www.britishmuseum.org/collection/object/P_1937-0915-90;

https://collections.mfa.org/objects/171058.

For those unfamiliar with the biblical event portrayed in this engraving, the following link offers an explanation: https://www.gotquestions.org/Elisha-Shunammite-woman.html.

Condition: well-printed strong impression with small margins laid onto a sheet of archival (millennium quality) washi paper. There are closed tears in the margins and an ink inscription by an old hand at lower right in the margin (recto), otherwise the sheet is in a good condition for its age with no folds, losses, abrasions, significant stains or foxing.

I am selling this event-filled engraving exemplifying the Flemish Mannerist leaning towards lively rhythms, theatrical gestures and spatial ambiguity for AU$289 (currently US$206.89/EUR175.06/GBP158.13 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 superb engraving of fascinating complexity, 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

Jules Jacquemart’s drypoint, “Vase en Ancienne Porcelaine de Sèvres,” 1860

Jules Jacquemart (aka Jules Ferdinand Jacquemart) (1837–80)

“Vase en Ancienne Porcelaine de Sèvres,” 1860 (date by Beraldi [1889]), from the series, “Vingt-Six Planches à l'Eau-Forte Gravées pour l'Histoire de la Porcelain” (Twenty-Six Engraved Etchings for the History of Porcelain), printed by François Liénard (fl.1860s–1880s) and published in 1862 (?) in "La Gazette des Beaux Arts" and (as inscribed on this impression) in “L’Art” in Paris.

Drypoint with pale plate tone on cream laid paper with full margins as published.

Size: (sheet) 42.9 x 30.1 cm; (plate) 24.8 x 16.7 cm; (image borderline) 20.8 x 14.7 cm.

Inscribed on plate within the image borderline: (lower left) “Jules Jacquemart”.

Lettered on plate below the image borderline: (left) “L’Art.”; (centre) “VASE EN ANCIENNE PORCELAINE DE SÈVRES/ Pâte Tendre, Fond Bleu de Vincennes/ (Collection de M. Léopold Double)”; (right) “J. Jacquemart, aquaf./ F. Liénard, Imp, Paris.”

Beraldi 31–59 (Henri Beraldi 1885, “Les graveurs du XIXe siècle: Guide de l'amateur d'estampes modernes,” vol. VIII, Paris, Librairie L. Conquet, p. 201, cat. nos. 31–59; see https://archive.org/details/lesgraveursdu19e08berauoft/page/200/mode/2up); Gonse (Jules Jacquemart) 58 (Louis Gonse, "Gazette des Beaux-Arts" Salon de 1874 (2e article). 2nd ser., 10, July 1874, cat. no. 58).

The British Museum offers a description of this print:

https://www.britishmuseum.org/collection/object/P_1865-0114-36.

Condition: richly inked, superb impression with generously wide margins as published. There is a flattened crease at the upper edge of the image and there are a few nicks on the margins (e.g. binding marks on the right edge, otherwise the sheet is in an excellent/near pristine condition for its considerable age with no significant stains or foxing marks.

I am selling this exceptionally fine illustration of an antique Sèvres (soft paste) porcelain vase—note how the artist has reproduced the Vincennes blue background of the original vase using velvet-like drypoint strokes aligned in close parallel rows to connote the cool calm of the original rich blue—for AU$231 (currently US$165.85/EUR140.38/GBP126.78 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 large etching of the highest order of technical skill by arguably the finest illustrator of still life objects in the 19^th century in terms of using only line to render the sheen, opacity and tactile “feel” of surfaces—perhaps even the colour and weight of objects as well—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Steinlen’s gillotage gravures, “Paresse” & “Un Mauvais Pas,” 1898

Théophile Alexandre Steinlen (1859–1923)

(left) “Paresse” (Laziness), 1898, and (right) “Un Mauvais Pas” (A bad step), 1898, from the album series of 26 plates, “Des Chats: Dessins sans paroles par Steinlen,” printed by Charles Verneau (fl.1898) and published in 1898 in Paris by Ernest Flammarion (1846–1936).

Gillotage process gravures (viz. an early printing process where the design was initially drawn with lithographic crayon on a zinc plate, then dusted with resin to act as an acid resist, etched and finally the plate was printed as a relief block) on brown wove paper, backed with separate support sheets.

For a marvellous explanation of the gillotage printing process, see Jenya Frid’s (2014) “Gillotage: The Lost History of an Influential Technique”:

http://archive.printeresting.org/2014/10/06/gillotage-the-lost-history-of-an-influential-technique/.

Size: (“Paresse” sheet) 43.5 x 28.4 cm; (“Paresse” image borderline) 33.9 x 24.4 cm;

(“Un Mauvais Pas” sheet) 43.6 x 26.4 cm; (“Un Mauvais Pas” image borderline) 35 x 25.8 cm.

Both sheets are signed on plate within the image borderline at lower right.

Page numbered (“Paresse”: “24”; “Un Mauvais Pas”: “25”) and titled on plate below the image borderline.

De Crauzat 598 (E. de Crauzat 1983, “L'oeuvre gravé et lithographié de Steinlen: Catalogue descriptif et analytique suivi d'un essai de bibliographie et d'iconographie de son oevres illustré”).

This publication is described at the Van Gogh Museum and the British Museum:

https://www.vangoghmuseum.nl/en/prints/collection/p2729S2013;

https://www.britishmuseum.org/collection/object/P_1949-0411-4999-1-26.

Condition: well-printed impressions with different sized margins. Both sheets are in very good condition with no tears, holes, folds, abrasions, foxing or significant stains and laid onto separate support sheets of archival (millennium quality) washi paper.

I am selling this pair of large gillotage gravures executed by an artist famous for his prints of cats and his connection with the artistic comradery of friends (such as Henri de Toulouse-Lautrec) attending the first modern cabaret, “Le Chat Noir,” for the total cost of AU$287 for the pair of prints (currently US$205.57/EUR174.22/GBP157.06 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not including any import duties/taxes imposed by some countries.

If you are interested in purchasing this extraordinary pair of gillotage gravures (viz relief printed etchings) showing not only the personalities of cats but also an underpinning special love and respect that Parisians have for their cats, 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

Herbert Thomas Dicksee’s drypoint with aquatint, “The Challenge”, c1910

Herbert Thomas Dicksee (1862–1942)

“The Challenge”, c1910, portraying the then elderly lion called “Punch” at London's Zoological Gardens (Regent Park)—a lion that Dicksee had made many previous studies (see, for example, the etching: https://www.worthpoint.com/worthopedia/herbert-dicksee-original-19th-etching-1854584699)—gazing into the sky while standing in a romantic lake-edge setting.

Note: after Dicksee died in 1942, most of the artist’s printing plates were destroyed following instructions of his will.

For those unfamiliar with Dicksee's prints, Nicholas Price and The Park Gallery offer a superb PDF booklet, “Herbert Dicksee (1862–1942): The Big Cat Etchings”: http://www.pricefineart.com/wp-content/uploads/Dicksee-catalogue-Big-Cats-.pdf. 

Drypoint with aquatint printed with a cool black ink on cream wove paper.

Size: (sheet) 24.9 x 35.5 cm; (plate) 17.8 x 25.3 cm; (image borderline) 16.2 x 24 cm.

Inscribed on plate within the image borderline: (lower left) “HD” (artist’s monogram).

Lettered on plate below the image borderline: (left) “H Dicksee pinx & sc.”; (centre) “The Challenge.”

Condition: well-printed, velvety impression with full margins (as published?). Beyond a pencil notation at lower right (recto) and verso, the sheet is in near pristine condition.

I am selling this small in size, but grand in scale, etching by Dicksee—compare it to the enormous etching by the same artist that I listed earlier: https://www.printsandprinciples.com/2019/09/herbert-dicksees-etching-maternal-care.html—for the total cost of AU$279 (currently US$199.84/EUR169.36/GBP152.66 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 very poetic drypoint of a lion contemplating a world bigger than what it can see, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.