Nicolas Pierre Loir’s etching, “Holy Family with John”, c1650

Nicolas Pierre Loir (aka Nicolas Loire; Nicolas Loyr) (1624–1679)

“Holy Family with John” (aka “Heilige familie met Johannes”), c1650, plate 6 from the series of twelve plates, “Holy Families and Mary with Child and John” (aka “Heilige families en Maria met kind en Johannes”). First state impression (of three states) before numbering and the addition of the address of the publisher, P. Mariette. This state is described by Robert-Dumesnil as “Très rare” (p. 184) and is the only print from the series that the British Museum does not hold (see the Curator of the British Museum’s comment: https://www.britishmuseum.org/collection/object/P_1869-0410-2351).

Etching on laid paper  with small margins.

Size: (sheet) 21.3 x 14.9 cm; (plate) 15.3 x 11.3 cm; (image borderline) 14.6 x 11.3 cm.

Lettered in plate below the image borderline: (left) “N. L.I.F.”; (right) “C. P. R.”

State i (of iii); lifetime impression

Robert-Dumesnil 6 (Alexandre-Pierre-François Robert-Dumesnil 1835, “Le peintre-graveur français, ou Catalogue raisonné des estampes gravées par les peintres et les dessinateurs de l'école française: Ouvrage faisant suite au Peintre-graveur de M. Bartsch”, vol. 3, Paris, p. 185, cat. no. 6).

Robert-Dumesnil offers the following description of this print: (transl.) “Saint John is prostrated before the seated baby Jesus. The Blessed Virgin, kneeling behind her divine Son, seems to lend an attentive ear to Saint Joseph leaning on a wall, on the left.” (p. 185, cat. no. 6 [see https://archive.org/details/bnf-bpt6k65575384/page/n203/mode/2up]).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.141513.

Condition: a strong and well-printed (near faultless) impression with small margins. Beyond mounting hinges verso, the sheet is in a near pristine condition with no tears, holes, abrasions, stains, foxing or signs of handling.

I am selling this exceptionally rare lifetime impression that still shows the guidelines for the lettering and printed before the addition of the plate number and the publisher’s details, for the total price of AU$398 (currently US$275.94/EUR271.93/GBP228.94 at the time of posting this listing) including Express Mail 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 freely handled etching capturing in its composition the artist’s admiration for Poussin, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Alphonse Legros (1837–1911)

“The Baptism” (“Le Baptème”), 1869, published in London by Holloway and Son in an edition of fifty impressions. The title, “The Baptism”, was changed to “Peasants in Church” in 1870 when the plate was reduced in size for publication in Philip Gilbert Hamerton’s (1834–1894) (ed.), “The Portfolio”.

Etching on fine Japanese paper.

Size: (sheet) 40.7 x 30.3 cm; (plate) 38 x 27.6 cm.

Signed in plate: (lower left corner) “A. Legros.”

State iii (of iv)

Malassis & Thibaudeau 65 (Auguste Poulet-Malassis & Alphonse Wyatt Thibaudeau 1877, “Catalogue raisonné de l'oeuvre gravé et lithographié de M. Alphonse Legros”, Paris, J Baur, pp. 40-41, cat. no. 65, 3^rd state  state [see https://archive.org/details/catalogueraisonn00poul/page/40/mode/2up]).

The British Museum offers the following description of this etching: “Three figures, seen half-length to right, from the painting of the same name in the collection of G Howard; young woman in centre wearing close cap and cloak, her head turned to front and facing downwards, with two reverential men behind. c.1869 Etching with some surface tone, printed on oriental paper” (https://www.britishmuseum.org/collection/object/P_1949-0411-2226).

Condition: a strong and well-printed impression on tissue thin paper. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this marvellous etching, before it was later reduced in size, showing a baptismal scene from Legros’ painting in the G Howard collection, for the total price of AU$200 (currently US$139.14/EUR136.25/GBP115.62 at the time of posting this listing) including Express Mail 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 spectacularly fine etching—note the artist’s skill in capturing the moment of quiet reflection expressed in the young woman’s face and the piety of the men on either side of her—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

Alphonse Legros’ etching, “Peasants in Church”, 1869

Alphonse Legros (1837–1911)

“Peasants in Church” (originally titled “Le Baptème” [“The Baptism”] before reduction in the plate size), 1869, published in London by Seeley Jackson and Halliday in Philip Gilbert Hamerton’s (1834–1894) (ed.) annual, “The Portfolio”, 1870, page 140. Note that this plate was originally larger, but Legros cut it to fit Hamerton’s publication with loss of the lower section and Legros’ signature.

Etching on wove paper.

Size: (sheet) 24.5 x 34.6 cm; (plate) 21.6 x 27.6 cm; (image borderline) 20.8 x 27 cm.

State iv (of iv) with reduction in the size of the plate for publication in “The Portfolio”.

Malassis & Thibaudeau 65 (Auguste Poulet-Malassis & Alphonse Wyatt Thibaudeau 1877, “Catalogue raisonné de l'oeuvre gravé et lithographié de M. Alphonse Legros”, Paris, J Baur, pp. 40-41, cat. no. 65, 4^th state [see https://archive.org/details/catalogueraisonn00poul/page/40/mode/2up]).

The British Museum offers the following description of this etching before it was reduced in size: “Three figures, seen half-length to right, from the painting of the same name in the collection of G Howard; young woman in centre wearing close cap and cloak, her head turned to front and facing downwards, with two reverential men behind. c.1869” (https://www.britishmuseum.org/collection/object/P_1949-0411-2226).

Condition: a strong and well-printed (almost faultless) impression. Beyond a small mark verso, the sheet is in a near pristine condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this marvellous etching showing a section of a baptismal scene from Legros’ painting in the G Howard collection for the total price of AU$298 (currently US$206.19/EUR202.11/GBP172.05 at the time of posting this listing) including Express Mail 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 spectacularly fine etching—note the artist’s skill in capturing the moment of quiet reflection expressed in the young woman’s face and the piety of the men on either side of her—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

Ignace Duvivier’s etching, “Landscape in Oval with Travelers by Campfire” (2nd impression), c1790–1800

Ignace Duvivier (aka Ignaz Duvivier; Joseph Ignace Duvivier; Ignace Vivier; Ignace "du" Vivier; Matthäus Ignaz [Edler von] Vivier) (1758–1832)

“Landscape in Oval with Travelers by Campfire”, c1790–1800, from the series of four oval landscape etchings, "Divers sujets de paisages dessiné et gravé par I. Viviers 1800". Note: the title page to the series is signed, titled and dated (1800).

Etching on wove paper, trimmed with a small margin around the platemark and backed with a support sheet.

Size: (support sheet) 34 x 41.1 cm; (sheet) 16 x 24.7 cm; (plate) 14.7 x 23.3 cm; (oval borderline) 13.9 x 19 cm.

The Philadelphia Museum of Art holds this print and others in the same series; see: https://www.philamuseum.org/collection/object/3355.

Condition: a richly inked early impression with small margins around the platemark and laid onto a support of archival (millennium quality) washi paper providing wide margins. Beyond minor dustiness, the sheet is in an excellent condition with no tears, folds, abrasions or significant stains.

Note that this is the second impression of this rare print that I have listed. The previous copy has been sold.

I am selling this very romantic and freely drawn etching for the total cost of AU$292 (currently US$202.33/EUR197.98/GBP168.63 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 beautiful etching with its Rembrandtesque leaning, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Daniel Hopfer’s etching, “The Blind Leading Fools to Swear by the Gold of the Temple”, c1520

Daniel Hopfer (1471–1536)

“The Blind Leading Fools to Swear by the Gold of the Temple”, c1520, fourth panel (upper-right) of eight panels, from the large composite etching, “The Seven Woes” (aka “Matthew 23.13ff” (aka “Les vices que Jésus Christ reproche aux scribes et aux pharisiens …” [The vices that Jesus Christ reproaches the scribes and the Pharisees …]), c1520, published by David Funck (fl.1682–1709) in Nuremberg in “Opera Hopferiana.”

Although this panel is one of the eight panels of the composite etching “seven woes” (i.e. vices) that Christ reproached the “scribes and the Pharisees” in his teachings, the inconsistency between the number of panels in the composite etching (8) and the numbers of woes (7) may be explained by variation in the number of woes cited in the Gospels (viz. Matthew has eight woes—Mathew 23, verses 13 to 16, 23, 25, 27 and 29—and these are illustrated in the composite print, whereas Luke has only six woes).

Regarding the publication of the Hopfer’s etchings, Robert A Koch (1981) in vol., 7 of TIB advises in his editor’s note: “In the 17th century a Nuremberg publisher named David Funck numbered 230 of [… Hopfer’s] plates and issued a volume entitled ‘Opera Hopferiana.’ In 1802 a publisher named C. Wilhelm Silberberg in Frankfurt-am-Main reissued 92 plates with the Funck numbers in a volume which he also entitled ‘Opera Hopferiana.’ These plates were printed on unnumbered pages of a heavy wove paper.” Mindful of the two editions, as this impression is on early laid paper it is from Funck's 17th century edition.

Regarding the collector’s stamp, this mark is presumably from the important sale of Schultze’s collection in Munich (7-15 February, 1901), as detailed by Frits Lugt (2002), including (transl.) “a Cranach, Dürer (‘Saint Jerome in his Cell’ 1200 M., ‘The Triumphal Chariot of Maximilian’ 1600 M.), van Meckenen (‘The Virgin and Child, Saint Bernard and Saint Catherine’ 1750 M.), Master E. S., ‘Christ on the Cross’ 4650 M. (highest price of the sale, at the Berlin Cabinet), Schongauer (‘The Man of Sorrows’ 2200 M.), Zwott (‘The Adoration of the Kings’, 2000 M.) …” (p. 159).

Iron etching on laid paper trimmed with a small margin around the borderline and stamped in violet ink verso with the monogram of Ed. Schultze (Lugt 906 [violet]).

Size: (sheet) 13.9 x 9.7 cm; (image borderline) 12.8 x 9.1 cm.

Inscribed in plate at upper centre with the passage from Matthew 23:16–17 (NIV transl.) “Woe to you, blind guides! You say, ‘If anyone swears by the temple, it means nothing; but anyone who swears by the gold of the temple is bound by that oath.’ You blind fools! Which is greater: the gold, or the temple that makes the gold sacred?” (https://www.biblegateway.com/passage/?search=Matthew%2023%3A16-17&version=NIV )

TIB 17.31 (481) (Robert A. Koch 1981, “The Illustrated Bartsch: Early German Masters”, vol., 17, New York, Abaris Books, p. 109, cat. no. 31 [181]); Hollstein 34.1; Bartsch VIII.481.

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_E-1-336.  

See also the following description by the British Museum of the composite print in which this panel features: “The seven woes; eight illustrations to Mathew 23, 13–31; with Christ showing the apostles the misdeeds of the [P]harisees, scribes and contemporary clerics” (https://www.britishmuseum.org/collection/object/P_1845-0809-1317).

Condition: a richly inked and well-printed impression trimmed with a small margin around the image borderline. There is a collector’s ink stamp and pencil notations of previous collectors (verso), otherwise the sheet is in an excellent (near pristine) condition for its considerable age.

I am selling this panel from a larger composite etching of eight panels by the first artist to use etching for prints on paper, for the total cost of AU$374 (currently US$259.15/EUR253.57/GBP215.99 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 important old-master print, 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

Unidentified engraver from the circle of Adriaen Collaert, “Abraham and the Three Angels”, c1560, after Maarten de Vos

Unidentified engraver from the circle of Adriaen Collaert (c1560–1618)

“Abraham and the Three Angels” (aka “Parituram Saram Nunciant Arabæ Angeli Hospites” (Let the Angels of the Arabs Announce the Birth of Sarah), c1560, published by Claes Jansz. Visscher II (aka Piscator; Nicolaes Jansz Visscher) (1587–1652) after the design by Maarten de Vos (aka Marten de Vos; Maerten de Vos) (1532–1603) (as inscribed in plate) and after the engraving by Adriaen Collaert, plate 6 from series, “The Story of Abraham”.

The Rijksmuseum offers the following insights regarding the publication of this engraving: (transl.) “The Amsterdam publisher Claes Jansz. From the 1930s, Visscher (II) produced large biblical prints on so-called royal-sized paper (approx. 480 x 580 mm). After his death in 1652 his son Nicolaes Visscher (I) continued the company and so did the publication of Royaalbijbelprenten. When Nicolaes died in 1679, his son Nicolaes Visscher (II) took over the company and shortly afterwards, around 1680, published a list of […]. It describes 130 prints with Biblical scenes on royal paper (see documentation J. van der Waals). Complete picture bibles in generous format were published by father and son Nicolaes Visscher under the title Historiae Sacrae Veteris et Novi Testamenti. However, the sheets were also sold separately and could be combined with Royaalbijbel prints from other publishers. Several Amsterdam publishers also published royal-sized bible prints, including Clement de Jonghe and Cornelis Danckerts. The prints published by the Visscher company are mostly made by anonymous printmakers after the example of various sixteenth- and seventeenth-century Biblical prints and print series. Often the compositions had to be adapted to the larger and elongated royal format. There are also large magazines by well-known printmakers such as Jan van Londerseel, Pieter Nolpe, Jacques de Gheyn (II) and Jan Harmensz. Muller included in the category 'Bybelsche Figuren, op Royaal- Bladen' in Visscher's list. Print possibly used in: Historiae Sacrae Veteris et Novi Testamenti (Royal Bible). Amsterdam: Nicolaes Visscher (I) and (II), [1652-1702]. In the index list of Nicolaes Visscher II (ca. 1680) the subject of this print is entitled 'Bybelsche Figuren, op Royaal- Bladen. existing from the following histories.' numbered as follows: 7” (http://hdl.handle.net/10934/RM0001.COLLECT.446430).

Engraving on laid paper trimmed slightly evenly along the platemark with a small margin at the lower edge and backed with a support sheet.

Size: (sheet) 43 x 51.9 cm; (image borderline) 35.5 x 51.1 cm.

State i (of ii) before the added address of Pieter Schenk.

New Hollstein (de Jode) 28; Hollstein 64.I

Inscribed in plate within the image borderline: (lower left) “Marten de Vos invent. [monogram] Visscher Excudit”.

Lettered in plate below the image borderline”“PARITURAM SARAM NUNCIANT ARABÆ ANGELI HOSPITES; SARÆQUE RIDENTI, PROMISSIONS VERBA RETERANT. Gene. 18.” (Let the angels of the Arabs announce the birth of Sarah; Sarès, smiling, withheld his words of promise. Gensis 18.); followed by four columns of four lines of Latin from Genesis Chapter 18: “Wanneer op theetste … beloften faelt.”

Hollstein Dutch 64-copy 1(2) (Christiaan Schuckman [ed.] 1996, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Maarten de Vos: text”, vol. 44, Rotterdam, Sound and Vision, pp. 19-20, cat.no. 64 copy).

Condition: a strong and early impression still retaining some the text guide lines, trimmed slightly unevenly around the platemark and laid onto a support of archival (millennium quality) washi paper. There are minor restored chips to the edges of the sheet otherwise the sheet is in an excellent condition with no tears, folds, abrasions, significant stains or foxing.

I am selling this large engraving from the mid-1500s, for AU$493 in total (currently US$340.45/EUR334.01/GBP284.60 at the time of posting 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 masterwork of engraving showing three angels visiting Abraham with the news that his wife, Sarah, will have a son—note that Abraham has arranged a meal to be set for the angels while Sarah listens to the news from the doorway—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