Heinrich Aldegrever’s engraving, “Ornament with Vase and Mask”, 1552

Heinrich Aldegrever (c1501/2–c1555/61)

“Ornament with Vase and Mask” (TIB title) (aka “Autre Montant d'Ornement” [Bartsch title]; “Vlakdecoratie met Bladranken en Grotesken” [Rijksmuseum title]), 1552.

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

Size: (sheet) 15 x 5.5 cm; (plate) 14.7 x 5.2 cm.

Inscribed in plate with Aldegrever's monogram and dated at upper centre on tablet.

TIB 16(8).285(448) (Robert A Koch [ed.] 1980, “The Illustrated Bartsch”, vol. 16, New York, Abaris Books, p. 257, cat. no. 285 [448]); Bartsch VIII.448.285; New Hollstein (German) 285 (Aldegrever) (Ursula Mielke [comp.] 1998, “The New Hollstein: German Engravings, Etchings and Woodcuts 1400–1700: Heinrich Aldegrever”, Rotterdam, Sound and Vision, p. 231, cat. no. 285).

The British Museum and the Rijksmuseum offer descriptions of this print: https://www.britishmuseum.org/collection/object/P_1853-0312-264; http://hdl.handle.net/10934/RM0001.COLLECT.322654.

Condition: a well-printed silvery impression trimmed close to the platemark with thread margins and laid onto a sheet of archival (millennium quality) washi paper providing wide margins. The sheet is in a near pristine condition for its considerable age with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this original, very beautiful and rare engraving from the Renaissance era by one of the major old masters strongly influenced by Albrecht Dürer—note Aldegrever’s adaptation of Albrecht Dürer’s monogram for his own—for AU$686 (currently US$460.37/EUR422.89/GBP374.73 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 small and magnificently executed masterpiece of engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Johann Jakob Haid’s mezzotint, “St Matthew”, early 1700s, after Hartmann

Johann Jakob Haid (aka Johann Jacob Haid, Johann Jacobus Haid) (1704–1767)

“St Matthew” (aka “St Matthew and the Angel”; “Saint Mathieu”; “S. Matthævs”), early 1700s, mezzotint after a painting by Hartmann (as inscribed in plate; possibly Johannes Jakob Hartmann (1680–1730) who is known for painting landscape with biblical figures) and published by the artist in Augsburg.

Mezzotint with etching on thick laid paper trimmed with a small margin around the platemark, with replenishment/restoration of wormholes at lower right and backed with a support sheet.

Size: (sheet) 42.7 x 29.2 cm; (plate) 41.3 x 28.4 cm; (image borderline) 37.7 x 28.1 cm.

Lettered in plate below the image borderline: (left) Hartmann. Pinx.”; (centre) “S. MATTHÆVS./ J. J. Haid et filius excudit Aug. V. [Augsburg]”; (right corner) “J.”

LeBlanc (not described) (Charles Le Blanc 1856, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 2, Paris, P Jannet, pp. 333–34)

Interestingly, the Yale Center for British Art holds a series of ten saints executed in mezzotint by Johann Jakob Haid of which this print may belong; for example: “Saint Bartholomew” https://collections.britishart.yale.edu/catalog/tms:23301 and “Saint Philip” https://collections.britishart.yale.edu/catalog/tms:23296. Note, however, that Yale collection of these possibly related prints are all after Johann Kupezky (1667–1740) whereas this print is after the painter inscribed as “Hartmann”. Moreover, the Yale collection has a different image of St Matthew (see https://collections.britishart.yale.edu/catalog/tms:23294).

Condition: a strong impression laid onto a sheet of archival (millennium quality) washi paper. There are minor (partially restored) abrasions and replenished wormholes at lower right otherwise the sheet is in a good condition for its age with no significant tears, folds, stains or foxing.

I am selling this velvety and radiantly glowing mezzotint that seems to be so rare that I have been unable to find another copy—this is surprising for such a fine and large mezzotint—for the total cost of AU$268 (currently US$179.52/EUR166.34/GBP146.06 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 marvellous and exceptionally rare mezzotint, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Joseph Schmidt’s etching and aquatint, “Mucius Scaevola”, c1780, after Parmigianino

Joseph Schmidt (1750–1816)

“Mucius Scaevola” (aka “Mucius Scaevola putting his hand into the flame”), c1780, after a metal point drawing by Parmigianino (aka Francesco Parmigianino; Francesco Mazzuoli; Francois Mazzuoli; Girolamo Francesco Maria Mazzola) (1503–1540) that the writing edge advises (in my reading of the text) was held by Giovanni Antonio Armano (fl.1777–1823)—the collector and dealer of old master drawings—in Venice. I understand that the drawing is now in the Devonshire Collection, Chatsworth; see A. E. Popham 1971, “Catalogue of Drawings by Parmigianino”, p. 211, no. 726.

Note that Cesare Massimiliano Gini ([pseud.] Lodovico Inig) (c1739–1821) executed an almost identical print (1780–1800) and colours (see https://www.britishmuseum.org/collection/object/P_1851-0308-827)—indeed the similarity is so close that I wonder if there may be an act of skulduggery where one printmaker’s name is replaced by another.

Etching with aquatint printed in brown-black and ochre ink (possibly printed from different plates for each colour) on laid paper (with watermark) and wide margins.

Size: (sheet) 37.1 x 31.2 cm; (plate) 16 x 10.5 cm; (image borderline) 12.6 x 9.2 cm.

Lettered in plate below the image borderline: (left) “Fran. Mazzola del:”; (centre) “Extat apud Joan: Anton: Armanum/ Venetum”; (right) “Jos: Schmidt Scul.”

LeBlanc (not described) (Charles Le Blanc 1854-1888, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 3, Paris, p. 461); Nagler (not described) (G.K. Nagler 1845, “Neues allgemeines Künstler-Lexicon oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Kupferstecher, Formschneider, Lithographen: Santi­_Schoute”, pp. 346–47).

Although Nagler (1845) does not describe this plate, the following biographical information that Nagler offers may be interesting: [transl.) “Nature had denied him language, but endowed him with talent for art. Bergler gave him regular lessons in this in Prague, and finally he went to Vienna, where, under the direction of Schmutzer, he [was hired?] to become one of the most excellent engravers of his time. There are numerous sheets by him with biblical and historical scenes, individual figures, landscapes, etc., partly brilliantly engraved, partly executed in aquatint and in chalk. Among them are some very deceptive facsimiles” (p. 346).

Condition: a strong and well-printed impression with generously wide margins in an excellent condition with no tears, holes, folds or significant stains.

I am selling this curiously wonderful print of overlaid plates of etching and aquatint where the combination of the two printing techniques replicates a chiaroscuro woodcut—mindful that Antonio da Trento (fl.1527–1540s) who worked with Parmigianino, created a chiaroscuro woodcut of a similar scene (see http://hdl.handle.net/10934/RM0001.COLLECT.52176)—for the total cost of AU$312 (currently US$208.79/EUR194.78/GBP170.44 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 print of the man who proved his invincible bravery by placing his hand into an altar fire, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Bernard Picart’s engraving, “Portrait of Bernard de Fontenelle, with Personifications of the Seven Liberal Arts”, 1727

Bernard Picart (1673–1733)

“Portrait of Bernard de Fontenelle, with Personifications of the Seven Liberal Arts” (aka “Oeuvres Diversés de Mr Bernard de Fontenelle”), 1727, published in The Hague in 1728 by Gosse & Neaulme as the frontispiece to the first volume (of three) of Bernard de Fontenelle’s (aka Bernard Le Bovier de Fontenelle) (1657–1757), “Œuvres Diverses”. This frontispiece to the title page shows a portrait, at top held by putti, after a painting by Hyacinthe Rigaud (1659–1743) of Bernard de Fontenelle—author of the books featured in the design (from the left): “The History of the Oracles”; “The Dialogues of the Dead”; “Conversations on the Plurality of Worlds” and “The Praise of the Academicians”—with the Muses in the foreground and with Apollo holding his lyre and Pegasus ridden by a cherub further into the distance.

Engraving with etching on laid paper with small margins around the platemark.

Size: (sheet) 27.2 x 22 cm; (plate) 25.7 x 17.3 cm); (inner image borderline) 24.2 x 16.5 cm.

Inscribed in plate within the image borderline: (left on spine of books) “HIST. DES ORACL/ DIALOGUES/ DES MORTS. [History of the Oracles; Dialogues of the Dead]”; (lower left on tablet held by putto) “ENTRETIENS SUR/ LA PLURALITE/ DES MONDES. [Conversations on the Plurality of Worlds]”; (centre on note and spine of book) “TEV[O]CY/ DIDES” [You give it to me]; “ELOGES DES ACADEMICIENS” [Praise of the Academicians]; (lower centre on slip of paper and spines of books) “DIGRESIONS/ sur les/ ANCIENS/ & les/ MODERNES.” [Digressions on the Ancients and the Moderns]; “LETR. GALANT” [Galant Letters]; “POES PASTORA” [Shepherd Poet]; (lower right) “B. Picart inv. et fecit 1727”.
Lettered in plate below the image borderline: “OEUVRES DIVERSÉS DE M^R. BERNARD DE FONTENELLE./ de l[‘]Academie Françoise, de celle des Sciences, et de celle des inscriptions.” (Various Works of Mr. Bernard de Fontenelle of the Académie Françoise, that of Sciences, and that of Inscriptions].

The British Museum and the Rijksmuseum hold earlier states of this print with additional borders and a cartouche above the portrait before the plate was reduced in size: https://www.britishmuseum.org/collection/object/P_1917-1208-1404; http://hdl.handle.net/10934/RM0001.COLLECT.297071.

Condition: a strong and well-printed (near faultless) impression showing no sign of wear to the printing plate with small margins around the platemark. Beyond remnants of glue marks on the right edge (possibly from binding in its publication), the sheet is in a very good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this finely executed frontispiece to a three-volume assortment of works by the French author and scientist, Bernard Le Bovier, sieur de Fontenelle—an influential writer at the time of the Enlightenment in advocating the Copernican system in which the sun became accepted as the centre of the universe—for the total cost of AU$223 (currently US$148.89/EUR139.60/GBP122.26 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 exquisite engraving—note that spines of the books depicted in the image are lettered with the titles of books that are brought together in the three-volume set that this frontispiece introduces—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

Adolphe Appian’s etching, “Au Valromey (Ain)”, 1868

Adolphe Appian (1818–1898)

“Au Valromey (Ain)”, 1868, printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published in Paris by Cadart & Luce (fl.1867–1870/1) as plate 6 to the art periodical in its first year, “L'Illustration nouvelle par une société de peintres-graveurs à l'eau-forte”, vol. 1, 1868.

Etching on laid paper trimmed around the platemark on the top and left sides and with narrow margins on the bottom and right sides.

Size: (sheet) 15.9 x 24.5 cm; (plate) 14 x 24 cm; (image borderline) 10.1 x 19.2 cm.

Numbered in plate above the image borderline: “6.”

Inscribed in plate within the image borderline: (upper right) “APPIAN/ 1060 [1868]”.

Lettered in plate below the image borderline: (left) “Appian sculp./ CADART & LUCE, Editeurs. Rue Nve des Mathurins, 58.”; (centre) “AU VALROMEY (AIN)/ (Vallis Romana sous Jules César)”; (right) “Imp. Delâtre, Paris.”

State ii (of ii) with the addition of publication details.

Curtis & Prouté 25 ii (Atherton Cutiis & Paul Prouté 1968, “Adolphe Appian son Oeuvre Gravé et Lithographié”, Paris, Paul Prouté, [n.p.] cat. no. 25 ii); Jennings 22 (Herbert H Jennings 1925, Adolphe Appian [essay] in “Print Collector’s Quarterly,” vol. 12, no. 1, p. 115, cat. no. 22 [scroll to page115: https://digi.ub.uni-heidelberg.de/diglit/print_collectors_quarterly1925/0134/scroll]).

The British Museum offers the following description of this print: “River landscape with sloping bank to left, spindly tree overhanging water to right. 1868 Etching, with some surface tone” (https://www.britishmuseum.org/collection/object/P_1870-0514-826).

Condition: a richly inked and well-printed (faultless) impression with a small margin around the image borderline. The sheet is in a near pristine condition with no tears, holes, folds, stains, foxing or signs of handling.

I am selling this visually arresting and very poetic etching featuring a somewhat sinister (at least to my eyes) silhouetted tree overhanging a stream, for the total cost of AU$312 (currently US$208.99/EUR195.84/GBP171.66 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 spectacularly moody—even spooky—etching executed by an artist with a strong personal vision and a close connection with the Barbizon School, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.