Nicolas Tardieu’s etching with engraving, “Battle of the Milvian Bridge”, 1715, after Charles Le Brun and Rubens

Nicolas Tardieu (aka Nicolas Henri Tardieu) (1674–1749)

“Battle of the Milvian Bridge” (aka “Slag bij de Milvische brug”; “Bataille de Constantin contre le Tyran Maxence”; “Constantini pugna contra Maxentium Tyrannum”), 1715, after the design by Charles Le Brun (aka Charles Lebrun) (1619–1690) and after Peter Paul Rubens’ (aka Petrus Paulus Rubenius) (1577–1640) painting (with significant differences), from the series, “Werken van Charles le Brun” (The work of Charles le Brun), published by Nicolas Tardieu in Paris with royal privilege.

Note that Girard Audran (aka Gérard Audran) (1640–1703) also made an etching with engraving of the same composition in 1666. The British Museum offers the following description of the portrayed scene: “The Victory of Constantine over Maxentius (28 October AD 312); the bridge is on the right with Constantine in profile and raised spear riding onto it, amid a vast melee of soldiers and horses” (https://www.britishmuseum.org/collection/object/P_1842-0806-167-a-c).

Etching with engraving on laid paper trimmed around the image borderline and the lines of text, backed with a support sheet.

Size: (sheet) 28.7 x 59.5 cm; (image borderline) 25 x 59.5 cm.

Lettered below the image borderline: (left) “Carol. le Brun inv.”; (left of centre) “CONSTANTINI PUGNA CONTRA MAXENTIUM TYRANNU/ V. Kal. Novembris anno Christi 312,/ CONSTANTIN us quum de extinguenda […] suis exitum invenit./ A Paris chez N. Tardieu rue S^t. Jacques au Mecenas. Avec Privilege du Roy.”; (right of centre) “BATAILLE DE CONSTANTIN CONTRE LE TYRAN MAXENCE/ Donnée le 28 Octobre l’an 312 de Jesus Christ./ CONSTANTIN, confirmé par la vision […] de ses crimes.”; (right) “N. Tardieu excudit 1715.”

LeBlanc 42–53 (Charles Le Blanc 1854-1888, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 4, Paris, p. 5, cat. nos. 42–53).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.417895.

Condition: a strong and well-printed impression trimmed along the image borderline and retaining the lines of text below. There are spots of abrasion (especially in the lower margin) that have been restored. The sheet has been laid upon an archival support sheet of millennium quality washi paper providing wide margins.

I am selling this magnificent and very large etching (with engraving) executed with amazing skill to capture the complexity of the scene—note that the portrayed battle was more of a massacre than a combat and the grimness is summed up by the kneeling figure in the centre-foreground who is not only beheading a fallen horseman but is also holding in his mouth the severed head of a previous victim (following the Roman principle that soldiers were rewarded by the number of adversaries’ heads of that they collected)—for AU$374 in total (currently US$249.98/EUR226.18/GBP199.11 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 grand manner 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 

Attrib. Cornelis Galle I’s engraving, “The Stoning of St Stephen”, c1606, after Aegidius Sadeler II and Jacopo Palma

Attrib. Cornelis Galle I (1576–1650), or an unidentified engraver from the circle of Aegidius Sadeler II (aka Egidius Sadeler; Gillis Sadeler; Gillis Sadler; Ægedius Sadeler) (c1570–1629)

The attribution to Cornelis Galle I is based on the hand-written note from a previous collector shown at the lower-right corner, the similarity of skills exhibited (see for example, Cornelis Galle I’s “The Assumption of the Virgin” after Rubens: https://www.britishmuseum.org/collection/object/P_1891-0414-733) and documented engravings by Cornelis Galle I after Aegidius Sadeler II (see for example “Pictura (de Schilderkunst)”: http://hdl.handle.net/10934/RM0001.COLLECT.114370). Of course, this attribution is speculative and consequently may be incorrect.

“The Stoning of St Stephen”, c1606, after and in the same direction as Aegidius Sadeler II’s engraving (see https://philamuseum.org/collection/object/81779), executed after the painting (c1606) by Jacopo Palma (aka Giacomo Palma il Giovane; Jacopo Negretti; Iacopo Negretti) (c1548–1628) in the Duomo of Cividale del Friule. Note that the British Museum holds a related drawing to this composition by Jacopo Palma; see https://www.britishmuseum.org/collection/object/P_1862-0809-128.

Engraving on laid paper, trimmed with a narrow margin around the platemark and backed with a support sheet.

Size: (sheet) 37.3 x 25 cm; (plate) 36.8 x 24.8 cm; (image borderline) 36.7 x 24.6 cm.

Lettered in plate below the image borderline: “Quo magis in CHRISTVM iactâ sua damn a leuabat/ Spe STEPHANVS, tanto Stephano præsentior æther// Iuter erat medios lapidum, tacto undique iaetus,/ Mutandi Saulisque minas, verposque furentes” ([Google transl.] The more Stephen's hope, thrown at Christ, mitigated his losses, so much more nearer to Stephen was the ether of the middle of the stones, at the touch of all sides, the threats of Saul and the threats, and the whips raging).

Hand-written note in ink at lower-right corner: “C. Gall[…?]”.

Reference to Aegidius Sadeler’s engraving that this print reproduces: TIB 7201.097 (Isabelle de Ramaix 1997, “The Illustrated Bartsch: Ægedius Sadeler II”, vol. 72, Part 1 [Supplement], New York, Abaris Books, p. 158, cat. no. [7201].097); Holstein Dutch 97 (Dieuwke de Hoop Scheffer [comp.] 1980, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700: Aegidius Sadeler to Raphael Sadeler II: text”, vol., 21, Amsterdam, Van Gendt & Co, cat. no. 97); Wurzbach (vol. 4) 52; LeBlanc 35; Nagler 129.

Condition: a well-printed impression trimmed with a narrow margin around the platemark and laid upon an archival support sheet of millennium quality washi paper providing wide margins. There is a restored tear on the left edge and a replenished printer’s crease towards the top. Beyond these issues, the sheet is in an excellent condition for its considerable age.

I am selling this large and very beautiful engraving executed with amazing sensitivity for AU$342 in total (currently US$228.59/EUR206.83/GBP182.07 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 spectacular engraving—note the skill of the engraver to capture the nuances of tone from strong contrasts in the foreground to the softest of greys rendering the far distant trees—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 

Adriaen Collaert’s engraving, “St Juliana of Nicomedia”, c1600

Adriaen Collaert (c1560–1618)

“St Juliana of Nicomedia” (aka “Saint Juliana”; “Heilige Juliana”), c1600 (c1590-c1610 [Rijksmuseum dates]), from the series of 25 plates (including title plate), “Femenile martelaressen en heiligen” (aka “Female Martyr Saints”; “Martyrologium Sanctarum Virginum”), published in Antwerp by Adriaen Collaert with two lines of Latin verse by Laurens Beyerlinck (aka Laurentio Beyerlinck) (1578–1627). This print shows an angel visiting Saint Juliana in the foreground and the saint’s martyrdom by beheading on orders of Emperor Diocletian in the distance.

Engraving on laid paper, trimmed around the image borderline and backed with a support sheet.

Size: (sheet) 19.6 x 15.1 cm

Inscribed in plate within the image borderline: (on column capital) “S./ IVLIANA”; (on lower edge at centre) “Adrian Collaert excud.”

Lettered below the image borderline in two lines of Latin: (centre) “Alma fides Christi: quam tu super astra ferebas,/ Te super aftra eadem sustulit: alma fides.” (The soul of Christ's faith: which you carried above the stars, the same lifted you up above: the soul of faith.)

New Hollstein 815 (Ann Diels and Marjolein Leesberg [comp.] 2005/6, “The New Hollstein: Dutch and Flemish Etchings, Engravings, and Woodcuts 1450–1700: The Collaert Dynasty”, vol., 4, Ouderkerk aan den Ijssel, Sound and Vision, p. 48, cat. no. 815).

The Rijksmuseum offers a description of this print: http://hdl.handle.net/10934/RM0001.COLLECT.568113.

Condition: a strong and well-printed impression with thread margins around the outer image borderline and laid upon an archival support sheet of millennium quality washi paper providing wide margins. The sheet is in an excellent condition with a small touch of restoration along the upper edge of the right arch, otherwise, the sheet is in an excellent (near pristine) condition for its considerable age.

I am selling this jewel-like engraving in superb condition for AU$304 (currently US$203.19/EUR183.85/GBP161.84 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 very beautiful engraving with its exquisite border of flowers, 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 follower of Katsushika Hokusai’s woodblock diptych, “Solitary Faggot Bearer Crossing a Narrow Plank Bridge”, 1852

Unidentified follower of Katsushika Hokusai (1760–1849)

“Solitary Faggot Bearer Crossing a Narrow Plank Bridge” (descriptive title only), 1852 (Kaei 5 [嘉永]), three-colour woodblock diptych printed in black, grey and pink on fine laid paper with the two panels abutted to create a single image backed with a support sheet.

Size: (support sheet) 30 x 32.6 cm: (adjoined sheets) 18.2 x 22.3 cm; (image borderline of each panel) 16 x 10.3 cm.

I understand that the publication featuring this print is catalogued as no. 57067 in the Japanese “General Catalogue of National Books” (aka “Japanese Classical Books Catalogue of the Maximum Scale; “Kokusho Sōmokuroku (国書総目録)”, but I have not been successful in finding this publication using the online catalogue as a resource: https://web.archive.org/web/20051028015505/http://base4.nijl.ac.jp/~koten/. I would be VERY grateful for help as I have tried multiple times.

Condition: a strong and well-printed impression showing minimal signs of wear to the printing plates. There are restored wormholes in the upper margin and minor flattened creases, otherwise the sheet is in an excellent condition with no significant stains.

I am selling this delicately balanced composition—note for example, the insightful placement of the portrayed subjects and how the angle of the leaning tree on the left is matched by the angle of the bundle of faggots carried by what I assume is a woodcutter—for AU$187 in total (currently US$124.99/EUR113.09/GBP99.55 at the time of listing this double-panel woodblock 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 very beautiful woodblock diptych, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Hans Weiditz II’s woodcut, “Torture and Execution”, c1520

Hans Weiditz II (aka The Petrarch Master; Petrarcameister; Meister des Trostspiegels) (c1500–c1536)

“Torture and Execution” (aka “Von Scraff der Vbelchaten” [letterpress text above the image]), c1520, woodcut published in Frankfurt in 1550 by Christian Egenolph (1502–1555) as an illustration to page 176 (CLXXVI) of Justin Gobler’s (1503/4–1567) “Der Rechten Spiegel Auß den beschribenen Geystlichem, Weltlichen, Natürlichem, vnd andern gebreuchlichen Rechten...“ (read this book online at https://play.google.com/store/books/details?id=PzpeAAAAcAAJ&rdid=book-PzpeAAAAcAAJ&rdot=1).

Woodcut with letterpress text (recto and verso) on a full sheet of laid paper as published.

Size: (sheet) 30 x 19 cm; (image borderline) 14.4 x 15.4 cm.

Letterpress text printed above the image borderline: (centre) “Von Scraff der Vbelchaen”.

Dodgson 78

Condition: a strong and well-printed early impression showing minimal wear to the printing plate. The sheet is in a near pristine condition for its considerable age with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this historically significant woodcut from the Renaissance showing what I assume to be a judicial panel and the accused in the foreground with various methods of torture and execution in the distance—viz. (from upper left to upper right) “broken by the wheel”; hanging by the neck; impaled with a stake; decapitation; “burning at the stake” —for AU$264 (currently US$176.46/EUR159.66/GBP140.54 at the time of listing 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 rare and important 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