Gallery of prints for sale

Monday, 27 June 2022

Ian Strang’s etching, “Puente Nuevo Rondo, Spain”, 1923


Ian Strang (1886–1952)

“Puente Nuevo Rondo, Spain”, 1923, possibly from a posthumous edition with the ink estate stamp at lower left and numbered in pencil 1/10 at lower right. Note that I have seen another copy of this print also bearing the estate stamp showing an edition numbered with 40 impressions suggesting that there is an inconsistency in the numbering or that there may have been more than one edition.

Etching on heavy wove paper with the ink-stamp of the estate at lower left and numbered in pencil “1/10” at lower right.

Size: (sheet) 32.9 x 28 cm; (plate) 25 x 22.3 cm.

The British Museum offers the following description of this print: “View from below of stone bridge built across ravine, town on cliff to right. 1923/ Etching” (https://www.britishmuseum.org/collection/object/P_1960-0409-516).

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

I am selling this very fine etching showing the artist’s remarkably consistent style where surfaces in strong light are rendered with vertical strokes and areas in shadow are hatched with largely horizontal strokes, for AU$352 (currently US$243.84/EUR230.84/GBP198.72 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 meticulously fine rendering of the Puente Nuevo bridge spanning the rock faces of the El Tajo gorge that divides the city of Ronda in Spain’s Malaga province, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Saturday, 25 June 2022

Alfred Prunaire’s coloured wood engraving, “The Print Collector”, c1880, after Honoré Daumier


Alfred Prunaire (aka Alphonse Alfred Prunaire; Léon-Alphonse-Alfred Prunaire) (1837–1912)

“The Print Collector” (aka “L'Amateur d'Estampes”), c1880 (1860–1902), hand-coloured wood-engraving after Honoré Daumier’s (1808–1879) famous painting “L'Amateur d'Estampes”, c1860, in the Petit Palais, musée des Beaux-arts de la Ville de Paris (inv. no. PPP39).

Wood engraving with hand-colouring on China paper with small margins around the image borderline and backed with a support sheet.

Size: (support sheet) 41.7 x 35.7 cm; (sheet) 32 x 26.1 cm; (image borderline) 29.8 x 23.9  cm.

Signed in plate at lower right corner: “h. Daumier”.

Paris Musées offer the following description of the portrayed scene and insights regarding its background:

(Transl.) “In a shop whose walls are covered with works, a man wearing a top hat bends down to consult prints contained in a portfolio of drawings placed on a board. A rolled up newspaper sticks out of his left pocket.

The theme of the print lover, dealt with on several occasions by Daumier, illustrates the emergence, in Balzac's France, of a new type of collector from the petty bourgeoisie. The founding of the Société des aquafortistes in 1861 corresponded to a renewed interest in original prints, which were more accessible than paintings to amateurs with modest incomes” (https://www.parismuseescollections.paris.fr/en/node/226665#infos-secondaires-suggestions-meme-siecle).

See also the descriptions of this print offered by the Rijksmuseum and the British Museum: http://hdl.handle.net/10934/RM0001.COLLECT.623969;  https://www.britishmuseum.org/collection/object/P_1906-0418-2.

Condition: a strong and near faultless impression with small margins in an excellent condition with no tears, holes, folds, abrasions, stains or foxing and laid upon a support of archival (millennium quality) washi paper providing wide margins.

I am selling this luminously beautiful and large wood engraving after Daumier’s famous—possibly even iconic—painting, exemplifying the surge of interest in prints in France during the late nineteenth century, for AU$259 (currently US$180.05/EUR170.52/GBP146.74 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 superb engraving capturing the spirit of a passionate print collector—note the roll of paper in the collector’s pocket which is possibly his newly acquired prints rather than his newspaper—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 









Claude Lorrain’s etching, “Coast Scene with an Artist”, c1638–41


Claude Lorrain (aka Claude Gellée, Claude; Claude Le Lorrain; Claudio di Lorena) (1600–1682)

“Coast Scene with an Artist” (aka “Le Dessinateur”), c1638/39–41. This impression is from McCreery’s 1816 edition of “200 Etchings” printed from the original plate.

Etching on wove paper, trimmed with a narrow margin around the image borderline and with a section of an engraving from the 1784 Paris edition of “Stirpes Novae” (documented as a feature of the state v impressions; see Mannocci [1988] p. 28).

Size: (sheet) 13 x 17.9 cm; (image borderline) 12.5 x 17.5 cm.

State v (of v)

Mannocci 35 (Lino Mannocci 1988, “The Etchings of Claude Lorrain”, New Haven, Yale University Press, pp. 217–223, cat. no. 35, fifth state); Blum 14; Robert-Dumesnil 9; Duplessis 9; Russell 45.

The British Museum offers the following description of this print: “Coast scene with an artist; an artist sitting and drawing near a bridge crossed by a woman riding a donkey; fortified city and ships in the background. c.1638/41/ Etching” (https://www.britishmuseum.org/collection/object/P_1868-0822-902).

Regarding the subject portrayed in this print, H Dianne Russell in “Claude Lorrain 1600–1682 (1982, National Gallery of Art, Washington, Exh. cat.) offers the following insights: “This etching reproduces in reverse a painting by Claude, LV 44, signed and dated 1639 and now in the Cincinnati Art Museum […]. The print probably dates from the same year. The motif of an artist drawing out-of-doors is found in several of Claude’s paintings, a number of drawings, and another etching, […’Landscape with Artist Drawing’]. The earliest known example is a drawing depicting an artist sitting in front of a sculpture and sketching it […]. Sandrart recorded that Claude himself frequently drew out-of-doors” (p. 394).

Condition: a richly inked and well-printed impression trimmed with a narrow margin around the image borderline in an excellent/near pristine condition with no tears, folds, holes, abrasions, significant stains, foxing or signs of handling. Note that the verso shows a section of an engraving from the 1784 Paris edition of “Stirpes Novae” (documented as a feature of the state v impressions).

I am selling this curiously interesting etching by the one of the most famous artists of the 17th century, featuring an artist at work—mindful that Lino Mannocci (1988) advises: “The theme of the artist drawing from nature recurs frequently in Claude’s work” (p. 223)—for the total cost of AU$398 (currently US$276.68/EUR262.04/GBP225.49 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 impression of a very beautiful etching with the verso showing a fragment of an engraving from the 1784 Paris edition of “Stirpes Novae” (as discussed by Mannocci [1988] p. 28 and by H Diane Russell [1982] in “Claude Lorrain 1600–1682”, p. 300), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Friday, 24 June 2022

François Bonvin’s etching, “Le Graveur, Effet de Lumière”, 1861

François Bonvin (1817–1887)

“Le Graveur, Effet de Lumière” (The Engraver, Lght Effect), 1861, a proof impression before lettering with the artist’s name and publication details (“F. Bonvin 1861”; “Paris, Imp. Delâtre”), plate 4 in the series of six plates, “Six eaux-fortes, dessinées et gravées par F. Bonvin, Peintre” (aka “Première suite d'eaux-fortes”), printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published by François Bonvin with the first portfolio edition published by Alfred Cadart (1828–1875) in Paris.

Etching on laid paper with partial “Arches” watermark.

Size: (sheet) 43.5 x 29.5 cm; (image borderline) 21.6 x 16.2 cm.

Proof impression before lettering.

Beraldi 2.4 (Henri Béraldi 1885, “Les graveurs du XIXe siècle: Guide de l'amateur d'estampes modernes: BELLANGÉ–BOVINET”, vol. II, Paris, Librairie L. Conquet, cat. no. 2.4, p. 164 [https://archive.org/details/lesgraveursdu19e02berauoft/page/164/mode/2up]); IFF 9.1 (Inventaire du Fonds Français: Bibliothèque Nationale, Départment des Estampes. Bibliothèque nationale de France, Paris, 1930–, cat. no. 91, p. 136).

The British Museum offers the following description of this print: “Engraver seated at a desk in a dark room, with a screen set between him and the lamp and filtering the light. 1861
Etching” (https://www.britishmuseum.org/collection/object/P_1878-0713-2072). The curator of the BM also offers the following insight: “Print exhibited at the Paris Salon in 1873 (No.1972) as 'Le graveur, effet de lampe'” (op.cit.).

Condition: a richly inked and well-printed impression in near pristine condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this museum-quality impression of a masterwork of etching showing a the art studio practice of the time to execute an engraving using light filtered through a screen to minimise/soften cast shadows, for AU$396 in total (currently US$273.67/EUR259.49/GBP222.96 at the time of posting this listing) including Express Mail (EMS) 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 remarkably fine proof-state etching, 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, 23 June 2022

Unidentified master from the circle of Nicolaas de Bruyn’s engraving, “The Golden Age”, c1605, after Abraham Bloemaert


Unidentified master from the circle of Nicolaas de Bruyn (1571–1656)

“The Golden Age”, c1605 (or possibly much later following the active date of the publisher [c1763]), published in Paris by Jacques Chéreau (aka le jeune Chéreau) (1688–1776), in reverse to the composition of Nicolaas de Bruyn’s engraving (1604) (see https://www.britishmuseum.org/collection/object/P_1907-1121-4) and in the same direction to the circular composition by Johann Theodor de Bry (aka Jan Dirk de Bry) (1561–1623) (see https://www.britishmuseum.org/collection/object/P_D-7-178) after the preparatory drawing (1603) by Abraham Bloemaert (1564–1651) in the Städelsches Kunstinstitut, Frankfurt (inv.no. 2887) (see https://sammlung.staedelmuseum.de/en/work/the-golden-age).

Engraving on laid paper, trimmed around the platemark (with many small restorations) and backed with a support sheet

Size: (sheet) 48 x 68.9 cm; (image borderline) 44.2 x 68.6 cm.

Lettered in plate within the image borderline: (lower left) “Blomart inuent. Jac Chereau exc.”; (lower right tablet with four lines of Latin text) “Auria Saturno … ferebat opes.”

Lettered in plate below the image borderline in six columns of French text: “Lors que la forte voix …”.

Condition: a strong and well-printed impression, but in a poor condition with age-toning, a flattened centrefold, numerous restored minor tears, replenished small losses and scattered stains. The sheet has been laid upon a support of archival (millennium quality) washi paper.

I am selling this huge masterwork of engraving showing an Arcadian paradise—what the Greek poet, Hesiod, calls “The Golden Age”—where thinly clad folk rest, dance, make music, engage in romance and eat grapes, while children blow bubbles to amuse cats, for AU$688 (currently US$474.58/EUR448.89/GBP387.19 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 gigantic engraving of exceptional rarity and incredible beauty, 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