Gallery of prints for sale

Wednesday, 8 February 2023

Ferdinand Gaillard’s engraving, “Vierge de Jean Bellin”, 1866, after Giovanni Bellini

Ferdinand Gaillard (aka Claude-Ferdinand Gaillard) (1834–1887)

Vierge de Jean Bellin”, 1866, engraving after a painting of the Madonna and Child by Giovanni Bellini (c1459–1516), printed by Alfred Salmon (fl.1863–1894) and published in the “Gazette des Beaux-Arts” (March, 1866, pp. 286–87) in Paris.

Engraving on wove paper backed with a support sheet providing wide margins.

Size: (support sheet) 38 x 27.9 cm; (sheet) 27.2 x 18.1 cm; (plate) 24.1 x 15.9 cm; (image borderline) 18.6 x 12.9 cm.

Inscribed in plate within the image borderline: (lower centre) “JOANNES BELLINVS”.

Lettered in plate below the image borderline: (left) “JEAN BELLIN PINXT./ Gazette des Beaux Arts”; (centre) “VIERGE DE JEAN BELLIN.”; (right) “F. GAILLARD SCULPT./ Imp. A. Salmon à Paris”.

Final state. According to Beraldi (1887), the final state is state iii (of iii) with shading of sky on either side of the canopy behind the Virgin and with publication details for the Gazette des Beaux-Arts. The Grolier Club (1900) advises that there are four states with state iv showing the publication details for the Gazette des Beaux-Arts (p. 4, cat. no. 17).

Beraldi 17 iii (Henri Beraldi 1887, “Les Graveurs du dix-neuvième siècle”, Paris, Librairie L. Conquet, vol. 6, p. 200, cat. no. 17; see: https://archive.org/details/lesgraveursdu19e06berauoft/page/200/mode/2up); IFF 33.

See also the description of this print offered by the Harvard Museums of Art: https://hvrd.art/o/265024.

Condition: a well-printed (near faultless) impression laid upon an archival support sheet of millennium quality washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions, stains or foxing.

I am selling this exceptionally fine and very beautiful engraving by one of most famous of the nineteenth century engravers who is described by Félix Bracquemond as the “continuer and renovator of burin engraving” (see Bann’s [2006], p. 124), for the total cost of AU$208 (currently US$145.22/EUR135.11/GBP120.18 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 remarkable print by an engraver with skills that (arguably) will never be surpassed—note the finely rendered, near microscopic, details that are inscribed solely by hand—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Tuesday, 7 February 2023

Frank Brangwyn’s woodcut, “London Docks”, 1919

Frank Brangwyn (aka Sir Frank William Brangwyn) (1867–1956)

“London Docks” (descriptive title only), 1919, woodcut on fine Japanese paper, published in an edition of 230 copies in Paris by Helleu et Sergent as an illustration to Emile Verhaeren’s (1855-1916) “Les Villes Tentaculaires” (Sprawling Cities).

Note that the central figures in the foreground also feature in Brangwyn’s lithograph, “London Docks with St Pauls”.

Size: (sheet) 29.1 x 23 cm; (image borderline) 16.7 x 13.3 cm.

Condition: a strong and well-printed (near faultless) impression in pristine condition with no tears, holes, folds, abrasions, losses, stains, foxing or signs of handling.

I am selling this simply magnificent woodcut showing dock workers handling cargo—note how the artist has been able to incorporate an almost seamless transition from black to white lines in the rendering of the centre foreground figure—for the total cost of AU$195 (currently US$134.98/EUR125.95/GBP112.45 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 incredible woodcut—possibly a proof impression based on the absence of binding marks—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Monday, 6 February 2023

Wenceslaus Hollar’s etching, “Prince Charles Louis, Count Palatine of the Rhine”, 1646, after Anthony van Dyck

Wenceslaus Hollar (aka Václav Hollar; Wenzel Hollar) (1607–1677)

Prince Charles Louis, Count Palatine of the Rhine” (aka “Carolus Ludovicus D: G: Comes Palatinus ad Rhenum”)—Karl I Ludwig (1617–1680), Elector Palatine (ruled 1648–1680), 1646, from the series, “Icones Principum Virorum” after a portrait painted by Anthony van Dyck (1599–1641) in the Edith A. and Percy S. Straus Collection in the Museum of Fine Arts, Houston (inv. no. 44.532). This is first lettered state impression before the addition of details for the later publication of this print by Hendrick van der Borcht the Younger (1614–1666?).

Etching on laid paper, trimmed around the image borderline with the writing edge intact and backed with a support sheet.

Size: (support sheet) 33.8 x 23.3 cm; (sheet) 27.7 x 20 cm; (image borderline) 25.8 x 19.9 cm.

Lettered in plate below the image borderline: (left) “Ant: van dyck pinxit”; (centre) “CAROLVS LVDOVICVS D: G: COMES PALATINVS AD RHENVM, Sri: Rni: LMrii:/ Princeps, Archidapifer & Elector, Dux Bauariæ, Nobilissimi Ordinis Garterij Eques etc/ WHollar fecit, 1646”.

Pennington 1447.i (Richard Pennington 1982, “A Descriptive Catalogue of the Etched Work of Wenceslaus Hollar 1607–1677”, Cambridge, Cambridge University Press, pp. 250–51, cat. no. 1447.i); New Hollstein (German) 866.I; New Hollstein (Dutch & Flemish) 122.

The British Museum offers the following description of this print: “Portrait, over half-length, turned slightly to the right, wearing a lace collar over armour, medal of the garter suspended from a chain around his neck, a sword hanging from his waist, his right hand resting on a baton, his left bent behind his back; first, lettered state with the title and production details; after Van Dyck” (https://www.britishmuseum.org/collection/object/P_1867-1012-598).

Condition: a well-printed lifetime impression trimmed around the image borderline with the writing edge intact and laid onto archival (millennium quality) washi paper. The sheet is in a very good condition for its age with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this sensitively executed half-length portrait of Prince Charles Louis—the Count Palatine of the Rhine who was to later lose his possessions when he rashly accepted the Bohemian crown (see Richard Pennington [1982] p. 251)—for the total cost of AU$355 (currently US$246.17/EUR228.12/GBP204.15 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 superb portrait—my eye is taken by the rendering of Prince Charles Louis’ hand and how Hollar has not only captured the volume/form of the baton being held, but also the youthful puffiness of the hand; note also how the armour has the “right”/appropriate degree of sheen for polished steel (i.e., not too shiny and not too dull)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Saturday, 4 February 2023

Théodore’s etching, “Arcadian Mountain Landscape with Two Shepherds”, c1660, after Francisque Millet

Théodore (fl.1660)—printmaker/etcher for Francisque Millet (aka Jean François Millet; François Milé) (1642–1679)

“Arcadian Mountain Landscape with Two Shepherds” (aka “Arcadisch berglandschap met twee herders” [Rijksmuseum title]; “Landscape with Two Shepherds” [TIB title]; “Les Deux Bergers”), 1642–1679, after a painting by Francisque Millet, published in the first edition by Simon (fl.1600s).

Etching on laid paper trimmed around the image borderline and slightly within the image borderline on the sides.

Size: (sheet) 31.9 x 43.8 cm; (image borderline) 31 x 43.8 cm

Lettered in plate below the image borderline: (left with partial loss) “[Fr]ancisque Pinxit Simon excudit cum priuelegio regis”.

Lifetime impression; state i (of ii) with Simon as publisher before his name is erased in the second state (see https://www.britishmuseum.org/collection/object/P_1877-1013-802).

TIB 7(5).28(347) (Otto Naumann 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 7, New York, Abaris Books, p. 167, cat. no. 28 [347]); Robert-Dumesnil 23; LeBlanc 23.

The British Museum offers the following description of this print: “Landscape with a man with a phrygian cap walking with a stick along a road in the centre, a shepherd sitting next to the road, trees and bushes on either [side], mountains in the background” (https://www.britishmuseum.org/collection/object/P_1877-1013-801).

See also the description of this print in its second state offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.185370.

Condition: well-printed lifetime impression trimmed close to the image borderline and slightly within the borderline on the sides. The sheet is in a very good condition for its age with no tears, several pin-holes, a flattened centre-fold and no significant stains.

I am selling this remarkably fine etching capturing Francisque Millet’s expansive seventeenth century view of landscape with figures gesturing to connote meaning—an approach reflects Millet’s move away from biblical narratives to add meaning to his images (e.g., “Moses Rescued from the Nile” and “The Flight into Egypt”)—for the total cost of AU$345 (currently US$238.89/EUR221.23/GBP198.14 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 early representation of a non-manicured/natural landscape, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Viktor Olgyay Matirko’s etching, “Winter on the Lake Shore (Winter am See)”, 1892

Viktor Olgyay Matirko (aka Olgyai Viktor) (1870–1929)

“Winter on the Lake Shore (Winter am See)” (aka “View of Lake Neusiedl [Silent Night]”; “Winter by the Lake”) 1892, published in 1893 Leipzig by Ernst Arthur Seemann (1829-1904).

Etching printed in a grey-blue ink with plate-tone and a remarque at lower right on buff coloured wove (Japanese?) paper.

Size: (sheet) 20.9 x 28.3 cm; (plate) 18.8 x 26.4 cm; (image borderline) 9.1 x 14.7 cm.

Lettered in plate: (lower left) “Verlag v. E. A. Seemann in Leipig.”; (centre) “WINTER AM SEE.”; (right) “Olgyay-Matirko-Viktor”.

See the description of this print offered by the Hungarian National Gallery: https://en.mng.hu/artworks/view-of-lake-neusiedl-silent-night/)

Károly Lyka’s (1869–1965) journal article, “Viktor Olgyai”, published by The Library of the Hungarian Academy of Fine Arts, offers the following insights about this print: (transl.) “Olgyai achieved his first major success with his graphic art in 1892, when his etching "Silent Night" appeared in Berlin, published by Stiefbold.

The May 1893 issue of Zeitschrift für Bildende Kunst reports another etching under the title "Winter am See". The frozen mirror of a part of Lake Fertő [aka Lake Neusiedl—the largest endorheic lake in Central Europe] is bordered by a dark mass of willow trees, and in the middle it allows a narrow view of the lighted bottom of the grey sky. On both sides, in the foreground, a low layer of snow covers the shallow part of the shore, on which a few crows descend in slow flight. Below on the right - - as a remarque - - a snow-covered waterfront, with a farmhouse, a group of aspen trees, a flying flock of crows and thick snow clouds in the sky.” (https://www.mke.hu/lyka/08/001-013-olgyai.htm)

See also Bernd Nowack’s blog post, “The Kunstverein zu Gotha 1898: ‘Summer’ by Hermann Gattiker and ‘Winter by the Lake’ by Viktor Olgyay-Matirko”: http://barrynoa.blogspot.com/2010/11/der-kunstverein-zu-gotha-1898-sommer.html.

Condition: a strong and near faultless impression with full margins as published. Beyond very faint age-toning on the edges, the sheet is in a near pristine condition for its considerable age, with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this very beautiful and finely executed etching with a wide remarque extending the view of an icy landscape—the remarque, however, has the added feature of a house that seems almost buried in snow—for the total cost of AU$231 (currently US$159.95/EUR148.13/GBP132.67 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 amazing etching that is seldom seen on the art market, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.