Eugène Delâtre, “Winter Landscape”, c1898

Eugène Delâtre (1864–1938) —son of the famous printmaker, publisher and printer, Auguste Delâtre (1822–1907). For those who would like to see more of this artist’s work, there is the marvellous publication that I recommend: “Impressions à Montmartre: Eugène Delâtre & Alfredo Műller” (ISBN-10:  8836626831).

“Winter Landscape” (aka “Paysage d’Hiver”), c1898 (IFF attrib.), a proof state impression before lettering with a remarque of two ducks at lower left and signed twice in the plate (once within the image borderline at lower right and another signature immediately below it outside the image borderline) from a series of eleven large colour etchings before lettering.

Etching with dot-roulette and aquatint printed in brown (Burnt Sienna) coloured ink on heavy buff-coloured BFK Rives wove paper.

Size: (sheet) 71.1 x 45.6 cm; (platemark) 63.3 x 39 cm; (image borderline) 61.5 x 38 cm.

Signed in plate twice: within the image borderline at lower-right; below the image borderline at lower-right.

IFF 9 (Jean Adhémar & Jacques Lethève 1953, “Inventaire du Fonds Français”, vol. 6, Paris, Bibliothèque Nationale, Départment des Estampes, p. 169, cat. no. 9; see https://gallica.bnf.fr/ark:/12148/bpt6k54891736/f181).

See also the brief description of this print including detail photographs offered by Drouot.com: https://drouot.com/en/l/25614873-eugene-delatre-1864-1938-paisaje-de-invierno-aguafuerte.

Condition: a richly inked and well-printed (near faultless) impression in an excellent (near pristine) condition for its considerable size with no tears, holes, folds, abrasions or significant stains.

I am selling this huge and visually arresting etching for AU$402 in total (currently/approximately US$272.87/ EUR244.25/ GBP206.63 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$402) as this is my currency.

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

Conrad Faber von Kreuznach, “Battle of Sutrium”, c1530–33

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

“Battle of Sutrium”, c.1530–33, woodcut illustrations (recto and verso) to pages 83 and 84 (verso shows page LXXXIIII) published in 1533 in Mainz in the German edition of the Roman Historian, Livy’s (aka Titus Livius) (59/64 BC–17 AD) “Römische 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).

Archive.org offers an online view of an edition of this publication from 1538; see https://archive.org/details/gri_33125011080492/page/n792/mode/1up; https://archive.org/details/gri_33125011080492/page/n41/mode/1up.

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

Size: (sheet) 30.5 x 19.3 cm; (image borderline of recto plate) 11.9 x 14.4 cm; (image borderline of verso plate) 5.5 x 14.8 cm.

For those unfamiliar with the portrayed battle at the ancient city of Sutrium (now called Sutri in southern Etruria), Wikipedia advises: “In 310 BC the consul Quintus Fabius Maximus Rullianus went to Sutrium with reinforcements and was met by a superior force of Etruscans who were lined up for battle. He went up the hills and faced the enemy. The Etruscans charged in haste, throwing away their javelins. The Romans pelted them with javelins and stones” (see https://en.wikipedia.org/wiki/Samnite_Wars). 

Recto text: (above the image borderline) “Das erst Bůch” ([transl.] The First Book); (below the image borderline) “Wann das gantz landt ausgenumen die statt are-/ tium hetten sich wider die Romer vereynt/vnd zoge fűr die statt/ Sutrium die als eyn [Clasfz/Clauß?] swische Etruria vnd den Romern/ gelegenn war … streit/” ([transl.] If the whole country except the city of Aretium [now called Arezzo in Tuscany] had united against the Romans and marched for the city of Sutrium [now called Sutri in southern Etruria] which was situated as an [intermediary point] between Etruria and the Romans ... dispute/).

Condition: strong and well-printed lifetime impressions (based on the quality of the printed line showing no sign of wear to the printing plates). The sheet is in an excellent condition for its considerable age with no tears, holes folds, abrasions or significant stains, nevertheless, there are brown ink notations (verso) in the margins from an old hand, minor signs of handling and pale age-toning to the edges of the leaf.

I am selling this superb leaf of Renaissance period woodcuts for AU$308 in total (currently/approximately US$208.70/ EUR186.56/ GBP158.10 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 of two woodcuts (recto and verso) of extraordinary quality 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 of prints has been sold

William Walcot, “The Temple of Baal”, 1918

William Walcot (1874–1943)

“The Temple of Baal”, 1917–18, a pencil-signed drypoint (and other techniques) from an edition of 50 impressions.

Regarding the portrayed scene, I understand that there is an archaeological site in the ancient city of Carthage on the Gulf of Tunis, called the Carthage Tophet, where sacred rites for the god, Baal Hammon, were performed (see https://en.wikipedia.org/wiki/Carthage_tophet), and this may be a fantastical re-creation of the complex there from the artist imagination. Perhaps more likely, however, the scene is a creative reinvention of the ancient Temple of Baal (aka Temple of Baalshamin; Temple of Bel; معبد بعل) in Palmyra, Syria—sadly now destroyed when the Islamic State turned it to rubble in 2015.

Drypoint with etching, mezzotint rocker, aquatint and open-biting printed in a warm black ink on wove paper with watermark (“J.G & S 310”), pencil-signed by the artist, with wide margins.

Regarding Walcot’s approach to printmaking, Elizabeth Lee-Harvey offers the following insight within a wonderful account of Walcot’s life: “He defined the principal lines of the composition in drypoint or etching but created tone by a variety of means in addition to aquatint, from roughening the surface of the plate with a roulette or mezzotint rocker to painting nitric acid directly onto selectively grounded areas of the plate and exploiting foul biting” (https://elizabethharvey-lee.com/exhibitions/walcot/walcot_intro.htm).

Size: (sheet) 34.3 x 46.9 cm; (plate) 21.4 x 30 cm; (image borderline) 20.9 x 29 cm.

Inscribed in pencil: (artist's signature at lower-right of image) “W. Walcot”; (previous collector's note at lower-left corner of sheet) “The Temple of Baal. Walcot”.

H.C. Dickens & E. Harvey-Lee 111 (see: https://elizabethharvey-lee.com/exhibitions/walcot/walcot_raisonne_01.htm).

The AGNSW (Art Gallery of New South Wales, Australia) and the Yale Center for British Art offer descriptions of this print: https://www.artgallery.nsw.gov.au/collection/works/5997/; https://collections-test.britishart.yale.edu/catalog/tms:39504.

Condition: a well-printed (near faultless) impression with generously wide margins. There is a restored hole on the left edge and faint glue stains verso, otherwise the sheet is in a very good condition for its large size.

I am selling this light-filled fantasy landscape by an artist well-known for his leaning to architectural subjects—mindful that Walcot was an architect and “praised as ‘the best architectural draftsman’ in London” (see https://en.wikipedia.org/wiki/William_Walcot), for AU$339 (currently US$230.38/EUR205.80/GBP174.31 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. Note that payment is in Australian dollars (AU$339) as this is my currency.

If you are interested in purchasing this amazing drypoint that I see as a true printmaker’s print in terms of the rich assortment of techniques employed and the lightness of touch, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Adriaen Collaert, “The Task of the Working Class”, c1585, after Maarten de Vos

Adriaen Collaert (c1560–1618)

“The Task of the Working Class”, c1585, plate 3 from the series of 4 plates (Hollstein 1257–1260), “Trium Humani generis ordinum sive statuum, Ecclesiastici videlic et, Regii, et Plebeii, graphica deliniatio” (The Divine charge of the three estates), after the design by Maarten de Vos (aka Maerten de Vos; Marten de Vos) (1532–1603) (see drawing held in the Louvre collection [inv. no. 20589]: https://collections.louvre.fr/ark:/53355/cl020110795), published in Antwerp by Philips Galle (Philippus Gallaeus; Philippe Galle) (1537–1612).

Engraving on laid paper trimmed with a narrow margin around the image borderline and writing edge and backed with a support sheet.

Size: (sheet) 22.6 x 30.1 cm; (image borderline) 20.9 x 29.9 cm.

Inscribed in plate within the image borderline on lower edge: (left of centre) “Marti. de Vos inuen. Adrian Collaert. Sculp. Philip. Galle. excu.”

Numbered and lettered in plate below the image borderline in three columns of two lines of Latin: “Quas fert Magis Fratus ... CIVES probosq[ue] pertinent”; (right) “3”.

Hollstein 1259; New Hollstein 1072

The British Museum offers the following description of this print: “The task of the Working Class; a plain triumphal chariot with a peasant accompanied by female personifications of ‘Obedienta’ holding a cross and ‘Patientia’ drawn by a mule labelled ‘Perseverantia’ and a cow labelled ‘Labor’ carrying tools (including palette and brushes); in the background scenes of harvesting, ploughing etc; plate 3; […] after Maarten de Vos./Engraving” (https://www.britishmuseum.org/collection/object/P_1937-0915-116).

Condition: a strong and near faultless early impression showing no sign of wear to the printing plate, trimmed with a narrow margin around the image borderline and writing edge and laid onto a support of archival (millennium quality) washi paper. The lower left corner is restored and a tear at the centre of the upper edge has also been restored, otherwise, the sheet is in a very good condition with no significant stains.

I am selling this exceptionally rare engraving from the late 1500s (mindful that even the Rijksmuseum does not hold a copy of this engraving online, but it has others from the series) for the total cost of AU$320 (currently US$217.47/EUR194.26/GBP164.54 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$320) as this is my currency.

If you are interested in purchasing this curiously interesting representation of the working class with personifications of key virtues—note, for instance, the symbolic personification of obedience (“Obedienta”) as a woman bearing a cross being pulled (with other virtues) by an ass, but instead of the usual ass shown with a millstone around its neck (referencing Matthew 11:29–30, “My yoke is easy to bear”), here the ass is laden to the hilt with the tools of working class trades including (marvellously) a palette and brushes—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

August Bertrand, “A Lady Reading a Letter”, 1869, after Gerard Terborch

August Bertrand (fl. late 1800s)—a French painter and lithographer, possibly based in Lyon, who is not well-documented in standard references, nevertheless, he was both highly skilled (see the painting, “Le Bazaar”, c1850–99 [https://www.artnet.com/artists/a-bertrand/le-bazar-J4t6SxLoiY8vzZdPtAtT8g2]) and clearly willing to explore developments in art at the time (see the lithograph, “La femme au lorgnon”, 1896 [https://www.artnet.com/artists/a-bertrand/la-femme-au-lorgnon-z9tGr-hl9jCGfjNEinS4iw2]).

“A Lady Reading a Letter” (aka “A lady Reading a Letter with a Messenger, in an Interior”; “A Domestic Scene”), 1869, a pencil-signed proof impression lithograph, printed in Paris by Lemercier & Cie. (fl. 1827–1901) after Gerard Terborch’s (aka Gerard ter Borch II; Geraert ter Burch: Gerard Terburg) (1617–1681) painting of the same composition, c1658, in the collection of the Musée des Beaux-Arts de Lyon (see https://commons.wikimedia.org/wiki/File:Gerard_ter_Borch_-_A_Lady_Reading_a_Letter.JPG.\

Note that the Statens Museum for Kunst holds what seems to be a variant of Terborch’s painting with significant differences to the background shown in this lithograph; see https://commons.wikimedia.org/wiki/File:Gerard_ter_Borch_-_Domestic_Scenery_-_KMSsp415_-_Statens_Museum_for_Kunst.jpg.

Lithograph on chine collé on heavy wove paper, pencil-signed, with wide margins.

Size: (sheet) 57.7 x 40 cm; (chine collé) 39.1 x 29 cm; (image borderline) 37.8 x 26 cm.

Lettered below the image borderline: (centre) “Imp.Lemercier r.de Seine 57 Paris”.

Inscribed in pencil below the image: (lower right corner) “August Bertrand/ Lyon 1869”.

Condition: a strong and well-printed impression with generously wide margins. Beyond minor surface dustiness, the sheet is in a very good condition for its large size with no tears, holes or significant stains.

I am selling this large and skilfully executed—possibly even superb—translation of Gerard Terborch’s painting into this marvellous lithograph—note how successful the artist has been in the delicate transitions of grey tones from luminous whites to velvety blacks—for AU$239 (currently US$160.29/EUR144.18/GBP122.44 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. Note that payment is in Australian dollars (AU$239) as this is my currency.

If you are interested in purchasing this serene portrayal of everyday life in the Dutch Golden Age—for those wondering about the man holding the staff, (based on other paintings by Terborch) I believe that this is a country postman/messenger—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.