Gallery of prints for sale

Sunday, 14 August 2022

Nicolaes Berchem’s etching, “Cows”, c1679

Nicolaes Berchem (aka Nicolaes Pietersz. Berchem; Nicolaes Berchen; Niclas Berghem; Claes Berighem; Nicolaes Pietersz.Berrighem) (1624–1683)

“Cows” (aka “Les vâches” [Bartsch title]; “Staande en liggende koe met schapen en koe die gemolken wordt” [Rijksmuseum title]; “Standing and lying cow with sheep and cow being milked”), c1679 (based on the life dates of the publisher), plate 1 from a series of six plates showing various animals, “Dieren”, published by Nicolaes Visscher I (aka Claes Claesz Visscher; Nicolaas Visscher) (1618–1679) with privilege by the States General (Belgium Federation).

Etching on fine laid paper with a small margin around the platemark.

Size: (sheet) 13.1 x 18.4 cm: (plate) 12.2 x 17.3 cm.

Lettered in plate along the lower edge: “Delin: et: Sculpt: per N: Berchem et in lucem edit: per Nicolaus Visscher cum Privil: Ordin. general: Belgii Fæderat./ 1”.

State iii (of iii) with the addition of the artist’s name and publication details.

TIB 7(5).13(264) (Otto Naumann 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 7, New York, Abaris Books, p. 59, cat. no. 13 [ 264]); Hollstein 13.

The British Museum offers the following description of this print: “A standing cow seen almost in profile with body facing left and a resting cow seen from the front with head turned to the right, surrounded by sheep and other cows; from a series of six prints showing different animals” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-3867).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.38015.

For those interested in the origins of names, I have always believed the old story that Nicholaes Berchem had acquired his name from the cries of his mates who yelled, “Berg hem! Berg hem!” (Save him! Save him!), when Nicolaes was trying to escape the wrath and a beating from his father—the famous still-life painter, Pieter Claesz. Although I still love this story, the truth may be much less colourful, as Michael Prodger (2020) explains: “Berchem is the name of his father’s home town” (see “The greats outdoors: How Nicolaes Berchem offered vistas of a golden Arcadia …” [https://www.newstatesman.com/uncategorized/2020/05/greats-outdoors-how-nicolaes-berchem-offered-vistas-golden-arcadia]).

Condition: a richly inked and well-printed (near faultless) impression with a small margin (approx. 5mm) around the platemark. The sheet is in a museum quality (near pristine) condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this truly superb impression by one of the best known of the Dutch Golden Age artists of pastoral scenes, for the total cost of AU$278 (currently US$198.06/EUR193.09/GBP163.17 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 sensitively executed and subtly animated etching—note the marvellous way that Berchem has captured the cow on the left chewing its cud and the cow in the distance happily mooing—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Saturday, 13 August 2022

Chiquet’s etching and engraving, “Renommée”, c1900, after Louis-Ernest Barrias

Eugène Marie Louis Chiquet (1863–1942)

Renommée”, c1900, after Louis-Ernest Barrias’(1841–1905) silver and ivory statuette, “La Renommée”, c1890 (given to Victor Hugo but destroyed in a fire) with editioned copies by the foundry, Susse Frères (fl. 1839–1970s), in 1896, published in Paris in “La Revue de L'Art Ancien et Moderne”.

Etching and engraving printed in two colours (ochre and blue-black) on cream wove paper with full margins as published.

Size: (sheet) 28.9 x 21.2 cm; (plate) 22.6 x 16 cm.

Lettered in plate along the lower edge: (left) “E. Barrias inv./ Revue de l’Art ancient et moderne”; (centre) “RENOMMÉE/ Statuette en argent et ivoire”; (right) “Eug. Chiquet sc.”

Condition: a strong impression with full margins as published. Beyond minor toning to the edges the sheet is in near pristine condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this exceptionally fine colour etching showing Louis-Ernest Barrias’ statuette of the personification of fame that the sculptor gave to Victor Hugo (now destroyed in a fire), for the total cost of AU$247 (currently US$175.98/EUR171.56/GBP144.97 at the time of posting this print) including postage and handling to anywhere in the world, but no (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this remarkable etching—note the delicacy of the printer’s touch to merge the two colours and (importantly) to wipe away the residue colour from the surface of the plate so that the impression would be perfect—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










Friday, 12 August 2022

Eugène Bléry’s etching, “L'Arbre enché par un temps d'orage”, 1837


Eugène Bléry (aka Alexandre Stanislas Eugène Bléry) (1805–1887)

“L'Arbre enché par un temps d'orage” (The Tree Leaning in Stormy Weather), 1837.

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

Size: (support sheet) 34 x 30.8 cm; (sheet) 11.4 x 14.4 cm; (image borderline) 10.5 x 13.6 cm.

Le Blanc 10 (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”, vol. 1, Paris, p. 359, cat. no. 10); Beraldi 224 (214–295 [10]) (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. II, Paris, Librairie L. Conquet, pp. 129–130, cat. no. 214–195, no. 10; see https://archive.org/details/lesgraveursdu19e02berauoft/page/130/mode/1up).

Le Blanc offers the following description of this print: (transl.) “10. The Tree Leaning in Stormy Weather… above a stone, an oak [tree] leans over a pond; on the left, a chalet and deep in the trees in the shade; covered sky” (p. 359).

Condition: a richly inked impression with minor staining and laid upon a support sheet of archival (millennium quality) washi paper to provide wide margins.

I am selling this dark and moody etching showing a tree eerily lit in a thunderstorm, for the total cost of AU$294 (currently US$209.16/EUR203.05/GBP172.05 at the time of posting this print) including postage and handling to anywhere in the world, but no (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this small and nuggety gem of landscape etching rarely 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.

This print has been sold 










Thursday, 11 August 2022

Jan Saenredam’s engraving, “Elisha Taking the Cloak of Elijah …” (2nd copy), 1604, after Abraham Bloemaert


Jan Saenredam (c1565–1607)

“Elisha Taking the Cloak of Elijah, who Ascends to Heaven in a Chariot of Fire” (TIB title), 1604, from the series “Prophets Ahias and Elijah” after Abraham Bloemaert (aka Abraham Bloemaart) (1564–1651), published by Jan Saenredam and with Latin verses by Theodorus Schrevelius (1572–1649/53).

Engraving on fine laid paper trimmed along the image borderline with the text lines below and backed with a support sheet.

Size: (sheet) 27.3 x 19.6 cm.

Inscribed in plate within the image borderline: (right of centre at lower edge) “A. Bloemaert inuen,/ J. Saenredam Sculp, 4”.

Lettered on plate below the image borderline in two columns of two lines of Latin text: “Helias, ... tendit”.

State ii (of iii) Note that the BM holds a copy with the plate numbered “2” (D,7.89) but no information is given regarding the state number in the references. This impression and the second state impression held by the Rijksmuseum (RP-P-H-M-12) show the plate numbered “4”, consequently I assume that this impression is from the second state as I can see no differences in both impressions, but I do not have information regarding changes to the plate made in the third state to confirm my attribution.

TIB Bartsch 4.23 (227) (Walter L Strauss [ed.) 1980, “The Illustrated Bartsch: Netherlandish Artists”, vol. 4, p. 332); Bartsch (1803) III.226.23 (Note that this ref. to Bartsch is made by the BM but I believe it may be wrong and the true number is III.227.23) (Bartsch, Adam, “Le Peintre graveur”, 21 vols, Vienna, 1803); Hollstein Dutch 15-2(3) (Hollstein, F W H 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam); Roethlisberger 1993 82 (Marcel G Roethlisberger 1993, “Abraham Bloemaert and his Sons: Paintings and Prints”, 2 vols, Ghent).

The British Museum offers the following description of this print: “Elisha and Elijah's chariot of fire; Elisha kneels and reaches towards the sky towards a chariot ascending to heaven and a cloak that falls to the ground (2 Kings 2:11); after Bloemaert” (https://www.britishmuseum.org/collection/object/P_D-7-89).

See also the description of this print offered by the Rijksmuseum: (Transl.) “The prophet Elisha in the foreground. He kneels and looks in disbelief at Elijah, who is led to heaven in a fiery chariot. Elia's coat falls out of the car[t]. The print has a Latin text in the bottom margin” (http://hdl.handle.net/10934/RM0001.COLLECT.169235).

Condition: a well-printed impression trimmed around the image borderline and retaining the text lines below, laid upon a support sheet of archival (millennium quality) washi paper. Beyond a mark below Elisha’s right hand, the sheet is in an excellent condition with no tears, holes, folds, abrasions, stains or foxing.

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

I am selling this engraving of exceptional quality and elegant beauty for the total cost of AU$434 (currently US$307.84/EUR298.63/GBP251.95 at the time of posting this print) including postage and handling to anywhere in the world, but no (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this major engraving of the highest level of technical brilliance, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Wednesday, 10 August 2022

Giuseppe Rosaspina’s etching (with engraving), c1830, after Francesco Francia

Giuseppe Rosaspina (1765–1836)

“Madonna and Child with Saints and Donor” (aka “Madonna and Child with Sts John the Baptist, Monica, Augustine, Francis and Proculus”; “B. V. col Bambino, Santi Agostino, Francesco, Gio. Battista, Monica Vitale, e il ritratto di Bartolomeo Felicini” [B. V. with the Child, Santi Agostino, Francesco, Gio. Battista, Monica Vitale, and the portrait of Bartolomeo Felicini]), c1830, after the painting in the Pinacoteca Nazionale, Bologna (inv. 583), “Madonna and Child with Saints”, c1490, by Francesco Francia (aka Francesco di Marco di Giacomo Raibolini) (1447–1517), after the intermediary design by Giuseppe Guizzardi (1779-1861).

The Curator of the British Museum proposes that this etching is possibly published in Bologne in either the first edition of 1830 or the second edition of 1854 in “La pinacoteca di Bologna riprodotta in sessanta incisioni, dal celebre professore Francesco Rosaspina e sua scola” (see BM inv. 2006,U.1072).

Etching with engraving on wove paper with full margins as published.

Size: (sheet) 48.8 x 31.5 cm; (plate) 25.1 x 20.6 cm; (image borderline) 22.1 x 18.6 cm.

Lettered in plate below the image borderline: (left) “F. Raibolini detto Francia. dip”; (centre) “G. Guizzardi dis./ B. V. COL BAMBINO, SANTI AGOSTINO, FRANCESCO, GIO. BATTISTA, MONICA/ VITALE, E IL RITRATTO DI BARTOLOMEO FELICINI.”; (right) Giuseppe Rosaspina inc.”

The British Museum offers the following description of this print: “Madonna and Child with saints and donor, after Francesco Francia; at centre the Virgin and Child, enthroned, and at their feet a musician angel; to the left, St John the Baptist, St Monica and St Augustine; to the right, the kneeling donor (Bartolomeo Felicini), St Sebastian, St Francis and St Proculus
Etching and engraving” (https://www.britishmuseum.org/collection/object/P_2006-U-1072).

Note that I have previously listed a similar etching by Giuseppe Rosaspina also after Francesco Francia, “Pala dei Manzuoli” (aka “The Virgin Mary and the Christ Child, with St Augustine, St George, John the Baptist, St Stephen and an Angel with a Lily”), c1830, that has been sold: https://www.printsandprinciples.com/2020/07/giuseppe-rosaspinas-etching-pala-dei.html.

Condition: a well-printed faultless impression with generously wide margins in near pristine condition.

I am selling this large and exquisitely executed etching (with engraving) reproducing in line and dot the colours and tones of Francesco Francia’s painting of the same composition—note that the kneeling figure (shown as a pilgrim praying) is the patron who commissioned the painting, Messer Bartolommeo, who Giorgio Vasari advises in vol. IV was “portrayed from life” (p. 23)—for AU$289 (currently US$201.37/EUR197.06/GBP166.55 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 seldom seen print on the art market, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.