Gallery of prints for sale

Sunday, 2 October 2022

Hans Wechtlin’s woodcut, “Crucifixion”, 1506

Hans Wechtlin (aka Johann Ulrich Pilgrim) (1480/85–after 1526)

“Crucifixion”, 1506, published as one of the twenty-six woodcut illustrations to Benedictus Chelidonius’ (c1460–1521), “Passio Jesu Christi... vario Carminu genere F.Benedicti Chelidonij...” and printed in Strasbourg by Johann Knoblauch (fl. c1506–1511) with letterpress German text verso. Note that the British Museum offers an online view of all the woodcut illustrations in this publication; see: https://www.britishmuseum.org/collection/object/P_1904-0206-51-1-28 (click on thumbnail images).

See also the biographical details about Hans Wechtlin offered by SG Collezione Stampe (Old Master Prints Collection): http://www.sgcollezionestampe.it/wechtlin-hans/?lang=en.

Woodcut on fine laid paper (with watermark), trimmed with a narrow margin and with letterpress text verso.

Size: (sheet) 22 x 17.2 cm; (image borderline) 21.7 x 16.8 cm.

Lettered in plate: (on banderole) “Vere filius dei erat iste” (He was truly the son of God); (on cross) “[I]NRI” (abbreviation of “Iesus Nazarenus Rex Iudaeorum” [Jesus the Nazarene, King of the Jews]).

Passavant 40(?) (Johann David Passavant and Adam von Bartsch 1860, “Le Peintre-Graveur: Les Maîtres Allemands et Néerlandais du XVe. Siècle”, vol. 3, Leipsic, R. Weigel, p. 332, cat. no. 40; see https://archive.org/details/lepeintregraveu03duchgoog/page/332/mode/2up); Paisey 103 (David Paisey 2002, “Catalogue of German printed books to 1900”, London, British Museum Press).

Condition: a strong, well-printed and near faultless lifetime impression showing no sign of wear to the printing plate, trimmed with a narrow margin around the image borderline with letterpress text verso. The sheet is lightly age-toned and there are remnants of mounting verso and a restored hole, otherwise the sheet is in an excellent condition with no tears, folds, abrasions, significant stains or foxing.

I am selling this exceptionally rare lifetime impression of a post-incunabula woodcut executed by an Renaissance printmaker well-known for his chiaroscuro woodcuts printed in two or more colours, for the total cost of AU$553 (currently US$354.26/EUR361.45/GBP317.26 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 woodcut, 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











Saturday, 1 October 2022

Karel Dujardin’s etching, “Landscape with Donkey and Two Sheep”, 1653


Karel Dujardin (aka Karel Du Jardin; Carel Dujardin; Carel du Jardin; Bokkebaart) (1626–1678)

“Landscape with Donkey and Two Sheep” (aka “Heuvellandschap met huizen en ezel en twee schepen” [Rijksmuseum title]; “L’âne entre deux moutons” [Bartsch title]), 1653, plate 32, etching on laid paper trimmed within the platemark at top with loss of the artist’s name, inscribed in ink verso ex-collection Naudet (fl.c1769–1810) (Naudet [Lugt 1937]) with the date “17[90”.

Frits Lugt in “Les Marques de Collections de Dessins & d’Estampes” (Fondation Custodia) offers the following information regarding this collector:

(transl.) “NAUDET (circa 1800), printmaker, established in the Louvre, Paris. […] Naudet is the printmaker who figures among the guests of the “Meal given on March 7, 1806 by the Mds d'Estampes de Paris, to their Confrère and their friend Le Clerc” (anonymous engraver of the time). He used to sign on the back the beautiful prints that passed through his hands. We see his signature accompanied by vintages varying from 1769 to 1810. He is probably from the family of Joseph Naudet, who was professor, and director of the Royal Library from 1840 to 1860 (http://www.marquesdecollections.fr/detail.cfm/marque/8618).

Size: (sheet) 16.5 x 22.5 cm.

Numbered in plate: (lower right corner) “32”.

Hand-inscribed in brown ink verso: “Chez Naudet M[archand] & D[’]estampes au Louvre 17[9]0”.

State ii (of iii) with the addition of the plate number.

TIB 1.32 (184) (Leonard J Slatkes [ed.] 1978, The Illustrated Bartsch: Netherlandish Artists, vol. 1, New York, Abaris Books, p. 202, cat. no. 32 [184]); Hollstein Dutch 32 ii.

The British Museum offers the following description of this print: “Landscape with an ass between two sheep, two trees in left foreground, a resting ass with head turned to the right at right, flanked by resting sheep, a group of buildings surrounded by trees in the mid-distance, a mountain in background; second state with number. 1653 Etching” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-885).

See also a description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.38348.

Condition: a remarkably strong and near faultless impression, trimmed within the image borderline with significant loss of the upper sky area including the artist’s name. Beyond this major issue of loss, the sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains or foxing and with an important hand-written collector’s note verso.

I am selling this superb impression with a hand-written inscription verso that I understand was once in violet ink, but has faded now to brown, testifying that this print was part of the ex-collection of the famous art collector, publisher and dealer Naudet—see biographical details offered by the British Museum: https://www.britishmuseum.org/collection/term/BIOG39925—for the total cost of AU$242 (currently US$155.03/EUR158.18/GBP138.84 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 extraordinarily beautiful etching with its plunging view to what I see as an Italianate villa (forgive me if I am wrong about this), 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, 30 September 2022

Jacques Callot’s etching, “The Blind Man and His Companion”, 1622/3

Jacques Callot (1592–1635)

“The Blind Man and His Companion” (aka “L'Aveugle et Son Compagnon”), 1622/3, first state lifetime impression (before numbering as plate “9”) from the series of 25 etchings, “Les Gueux” (aka “The Beggars”; “Les Mendiants”; “Les Baroni”; “Les Barons”; “Bedelaars”).

Etching on fine laid paper trimmed along the platemark and backed with a support sheet providing wide margins.

Size: (support sheet) 33.4 x 25.5 cm; (sheet) 14 x 9.2 cm.

State i (of ii) before the plate number, “9”, is added in the second state.

Lieure 487 i (Jules Lieure 1989, “Jacques Callot: Catalogue Raisonné de l’Oeuvre Gravé”, vol. 1 [text], San Francisco, Alan Wofsy Fine Arts, p. 43, cat. no. 487 1er Etat); Meaume 693 i (Édouard Meaume 1860, “Recherches sur la vie et les ouvrages de Jacques Callot”, Paris, cat. no. 693).

The Rijksmuseum offers the following description of this print: “Two men dressed in rags, the one on the left holding a hat and holding the hand of the right, who is blind. This print is part of a series of 25 prints with beggars and vagabonds, such as Callot probably saw in Italy” (http://hdl.handle.net/10934/RM0001.COLLECT.40788).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1861-0713-930.

Condition: a strong and well-printed (near faultless) impression laid onto a sheet of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains, but a previous collector’s pencil notations on verso are visible through the fine paper.

I am selling this superb etching showcasing Callot’s use of the échoppe etching needle that he invented allowing etchers to create lines that may swell, thin and taper to finely pointed ends like those found in engraved lines, for the total cost of AU$312 (currently US$202.93/EUR206.58/GBP181.82 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 near faultless first state impression of an etching by one of the most important and innovative of the old master printmakers, showing two beggars with the one on the left (according to Jules Lieure's [1989] description) singing to arouse the charity of passers-by, to whom he extends his hat while also supporting his blind companion, 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, 29 September 2022

Théodule Ribot’s etching and drypoint with aquatint, “Still Life with Dead Chicken”, 1878

Théodule Ribot (Théodule Augustin Ribot) (1823–1891)

“Still Life with Dead Chicken” (aka “Stilleven met dode kip”; “Nature morte” [published title]), 1878, artist’s proof (number 3) signed in ink by the artist with dedication to the French art critic and writer with whom Ribot collaborated (see Beraldi, vol. XI, p. 196), Louis de Fourcaud (aka Louis Jean Olivier Marie de Boussès de Fourcaud) 1851–1914), before lettering with title and publication details for Veuve Cadart (fl.1875–1882) (aka Alfred Cadart [1828–1875]) in Paris.

Etching with drypoint and aquatint on laid paper with wide margins and inscribed in ink by the artist: “3ème épreuve à mon ami De Fourcaud Th. Ribot” (3rd test to my friend De Fourcaud Th. Ribot).

Size: (sheet) 24.7 x 34.9 cm; (plate) 19.6 x 27.5 cm; (image borderline) 13.3 x 22.4 cm.

Inscribed in plate within the image borderline: (lower right corner) “t. Ribot”.

State i (of ii?) before lettering with title and publication details

The Rijksmuseum offers a description of this print: http://hdl.handle.net/10934/RM0001.COLLECT.229864.   

See also the insights about Ribot offered by Henri Béraldi (1891), “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. XI, Paris, Librairie L. Conquet, pp. 195–96.

Condition: a richly inked and near faultless impression with generously wide margins. Beyond faint spots of foxing, the sheet is in a good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this very strong hand-inscribed in ink artist’s proof (before lettering) showing a plucked and extended chicken prepared for cooking, for AU$356 (currently US$230.18/EUR238.07/GBP213.15 at the time of posting this print) 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 graphically powerful etching executed with great confidence and economy of line, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed another etching by Ribot that is (surprisingly) still available: “Paysanne de l'Ukraine”, 1886 (see https://www.printsandprinciples.com/2022/06/theodule-ribots-etching-paysanne-de.html). 











Wednesday, 28 September 2022

Ary Cornelius Renan’s etching, “La Douleur d'Orphée”, c1900


Ary Cornelius Renan (1858–1900)

“La Douleur d'Orphée” (The Pain of Orpheus), c1900, published unsigned in the art periodical, “Gazette des Beaux-Arts” in 1903.

Etching printed in Umber ink on laid paper backed with a support sheet providing wide margins.

Size: (support sheet) 44.9 x 33.5 cm; (sheet) 27.1 x 17.3 cm; (plate) 23 x 15.9; (image borderline) 15.9 x 12.9 cm.

Graves International Art offers a brief description of this print: https://www.artsy.net/artwork/cornelius-ary-renan-la-douleur-dorphee.

Condition: a strong and well-printed impression laid onto a sheet of archival (millennium quality) washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains

I am selling this very finely hatched etching—so fine that at first glance I thought it must be an aquatint—showing Orpheus cradling his lyre against a tree while he is in great distress at the death of his wife, Eurydice: “When Orpheus kissed the lifeless hand / Her soul had gone to another land, / His lungs gulped air as if to cry, / But he could not cry. / His eyes were dry.” (Invicto Deus [2015] “Orpheus”), for AU$212 (currently US$135.41/EUR141.58/GBP126.79 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 and unusual etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.