William Strang, “Edwin T. Bull”, 1907

William Strang (1859–1921)

“Edwin T. Bull”, 1907

Note on the Sitter: Edwin T. Bull remains an enigmatic figure in Strang’s oeuvre. He likely belonged to the artist’s circle of professional or personal associates in London. In this study, Strang treats Bull with the same “fidelity to beauty” and psychological intensity usually reserved for his high-profile literary subjects, making this a rare and intimate glimpse into the Etching Revival's human side.

Technical Details & Condition:

Drypoint with pale plate tone on cream laid paper; pencil-signed by the artist at lower right.

While David Strang (1962) categorises this print as an etching (cat. no. 596), the British Museum describes it as a drypoint (inv. no. 1953,0509.316). Given the nuanced phrasing of the lines, it is likely a drypoint or a masterful combination of both techniques.

This impression is from the second state (of two), featuring the artist’s name and date inscribed in the plate. David Strang notes only four impressions of the first state, and "perhaps about 20" of the second, of which only 10 to 12 were likely signed.

A strong, superb, and near-faultless impression. The sheet is in near-pristine condition, with only minor remnants of mounting on the verso.

Dimensions:

• Sheet: 38.8 x 28.5 cm
• Platemark: 30.3 x 22.7 cm

In-Plate Lettering:

• Lower right: “W. STRANG / 1907”

References:

• Strang 486 (Laurence Binyon [intro.] “William Strang, Catalogue of His Etched Work”, 3 vols., 1906–23, Glasgow, cat. no. 486)
• Strang 596 ii (David Strang, “William Strang, Catalogue of His Etchings and Engravings”, 1962, Glasgow, p. 102, cat. no. 596 ii)
• National Galleries of Scotland: https://www.nationalgalleries.org/art-and-artists/32766  
• British Museum (no image): https://www.britishmuseum.org/collection/object/P_1953-0509-316

Price & Shipping:

AU$479 (approximately US$342.63 / €292.20 / £253.26), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

If you wish to purchase this large, pencil-signed, and exceptionally rare portrait study by William Strang—a key figure of the Etching Revival noted for his ability to express psychological depth and fidelity to appearance in his portraits—please contact me at oz_jim@printsandprinciples.com. I will provide a PayPal invoice to ensure a secure and easy transaction.

This print has been sold

Henri Guérard, “Aube”, 1875

Henri Guérard (also known as Henri-Charles Guérard) (1846–1897)

“Aube” (or “Dawn”), 1875

Technical Details & Condition:

Etching with plate tone on laid (Holland) paper, issued prior to lettering, with full margins. This print is plate 4 from a series of ten etchings illustrating Victor Hugo's renowned collection of poems condemning Napoleon III and the Second Republic, “Les Châtiments” (also known as “The Castigations” or “The Punishments”). It was printed by Charles Delâtre (active 1872–1876) and published in Paris in 1875 as part of a portfolio titled: “Series of ten etchings by Henry Guérard on Holland paper for the illustration of Victor Hugo's Les Châtiments, Paris, Librairie Nouvelle.”

The prints in this series are extremely rare, and their numbering is discontinuous; see commentary by Paris Musées Collections: https://www.parismuseescollections.paris.fr/fr/maison-de-victor-hugo/oeuvres/iv-aube-les-chatiments-iv-x#infos-secondaires-detail.

This particular etching illustrates a few verses from the poem “Aube” (Dawn): “Sur l'horizon lugubre apparaît le matin / Face rose qui rit avec des dents de perles / Le boeuf rêve et mugit, les bouvreuils et les merles / Et les geais querelleurs sifflent, et dans les bois / On entend s'éveiller confusément les voix ; / Les moutons hors de l'ombre, à travers les bourrées, / Font bondir au soleil leurs toisons éclairées.” (Translation: “On the gloomy horizon appears the morning / A rosy face that laughs with pearly teeth / The ox dreams and lows, the bullfinches and blackbirds / And the quarrelsome jays hiss, and in the woods / One hears voices awakening confusedly; / The sheep out of the shadows, through the thickets, / Make their illuminated fleeces leap in the sun.”)

The impression is strong and well-printed — near faultless. The sheet is in pristine condition, free of tears, holes, folds, stains, or signs of handling.

Dimensions:

• Sheet: 27.3 x 17.5 cm
• Platemark: 14.9 x 10.6 cm
• Image Borderline: 13 x 9.4 cm

In-Plate Lettering:

• Lower left within the image borderline: “H.GUERARD – 1875”
• Lower centre below the image borderline: “IV”
• Lower right below the image borderline: “IMP. CH DELATRE”

References:

• Beraldi 556–565 (Henri Beraldi, Les Graveurs du XIX^e Siècle: GAVARNI–GUÉRARD, 1888, vol. VII, Paris, Librairie L. Conquet, p. 273, cat. nos. 556–565)
• British Museum: https://www.britishmuseum.org/collection/object/P_1900-1231-6052

Price & Shipping:

AU$276 (approximately US$197.36 / €168.31 / £145.89), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

I am offering this freely inscribed etching of a flock of sheep, reminiscent of the work of Charles Jacque and the Barbizon School. For purchase inquiries, please contact me at oz_jim@printsandprinciples.com, and I will send a PayPal invoice for easy payment.

Use of “Special Wild Goose Skin Cicada Wing Rice Paper” & “Two-Layer Xuan Paper with Qingtan Bark”

 

A Special Shout-Out to a Truly Remarkable Rice Paper!

Today, I’m trying something a bit different — giving a big thumbs-up to a specialised handmade rice paper I’ve been using for supporting and repairing fragile prints. 

This isn’t just any rice paper — it’s tissue-thin, so delicate it could be mistaken for tracing paper. Yet, despite its fragile appearance, it’s archival quality, built to last a millennium without yellowing, becoming brittle, or foxing. Truly incredible. 

And here’s the best part: it’s remarkably strong! Its tensile strength is outstanding, making it perfect as a support sheet for delicate prints and for restoring ancient books. 

The name? “Special Wild Goose Skin Cicada Wing Rice Paper.” It’s custom-made for the Palace Museum in Beijing and is widely used for restoring centuries-old Chinese calligraphy and traditional paintings. 

If you’re interested in trying it out, I don’t sell this paper or profit from it — but I’m happy to share the contact info of the friendly manager of the family-run enterprise making it in China, Fangming Wu. He and I have been working together for years to find the most suitable papers for my needs. He’s kindly approved me sharing his email: lengyuyeguo@163.com. 

In addition to this ultra-thin semi-ripe rice paper (described above), Fangming Wu also produces the same fine paper as raw rice paper. The key difference? Semi-ripe paper is partially sized with a small amount of alum solution, which makes it less absorbent than raw paper but more absorbent than fully ripe paper—making it a versatile choice for most applications.

He also makes a much heavier rice paper called Double Xuan (双宣) or two-layer Xuan paper with Qingtan bark (Blue Sandalwood bark), which I use as backing support for prints. With this heavier paper I laminate two sheets together, and then lay the print on top. It’s perfect for creating wide margins when a print has been trimmed close the image (see the etching by Richard van Orley II in my post from two days ago). Before using this heavier paper, however, I carefully remove any particles trapped in the handmade surface with tweezers before gluing. 

Regarding the photos and videos, the first video shows the drying process of making this specialised paper. The second video is more of a general video of the paper manufacturing on a very hot day—as you will see. The first couple of photos document how I’ve used the tissue-thin paper as a support sheet for the print I listed yesterday. The last photos show how I used the heavy paper for the support and presentation of the print I listed the day before.

Use of “Special Wild Goose Skin Cicada Wing Rice Paper” as a support sheet

Use of “Two-Layer Xuan Paper with Qingtan Bark” as a support sheet

Hubert Goltzius, “Emperor Didius Julianus”, 1559

Hubert Goltzius (1526–1583) possibly in collaboration with Joos Gietleughen (also known as Jocodus de Curia and Regnirer Curia) (active 1555–1559)

Portrait of Emperor Didius Julianus” (also known as “Imperator Caesar Marcus Didius Severus Julianus Augustus” or “Imp Caes M Did Se Ver Ivlian Avg” as lettered in the medallion border), 1559

Didius Julianus was the nineteenth Emperor of Rome, famously purchasing his Imperial title in an auction held by the Praetorian Guard after they assassinated his predecessor, Pertinax. His reign was one of the shortest in Roman history, lasting only sixty-six days in 193 AD. He was eventually executed by his successor, Septimius Severus.

Technical Details & Condition:

Chiaroscuro woodcut printed in ochre with etching printed in black on laid paper with letterpress French text above and below the image, and verso.

This impression is from the rare 1559 first French edition of “Les Images Presque de Tous les Empereurs” (Images of Almost All the Emperors), printed in Antwerp by Gilles Coppens van Diest (also known as Aegidius Coppens van Diest) (1496–1572).

This is a definitive 16th-century impression, verified by the binder’s signature mark “G 4” at the lower right. This mark is specific to the 1559 French gathering and the presence of Middle French text on the reverse distinguishes this original woodcut from the later 17th-century recut. See this publication and the print in its context: https://gallica.bnf.fr/ark:/12148/btv1b105511132/f83.item.

Note that Christoffel Jegher (1596–1652/3) later recut the same design as a plate to Hubert Goltzius' “Icones Imperatorum Romanorum”, printed and published in Antwerp in 1645 by Balthasar Moretus II (aka Balthasar Moerentorf II) (1615–1674); see the description of this recut print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1982-U-2939.

The impression is strong with characteristic 16th-century colour unevenness. Note a restored tear in the right margin and two small wormholes on the neck of the portrait. There are minor surface marks consistent with age. The sheet has been professionally laid on tissue-thin washi paper (Special Wild Goose Skin Cicada Wing Rice Paper) for archival support.

Dimensions:

• Sheet: 27.4 x 22.2 cm
• Circular image borderline diameter: 18 cm

Lettering:

• Upper French text: “ET FVSSE-IE DE L'VN DES PIEDZ AV SEPVL= / CHRE, ENCORE VOVDROY-IE APRENDRE.” (Translation: And though I had one foot in the grave, I would still wish to learn.)
• Medallion inscription: “IMP · CAES · M · DID · SE VER · IVLIAN · AVG ·” (Imperator Caesar Marcus Didius Severus Julianus Augustus)
• Lower French text: “Il acheta fa mort auec l'Empire, lequel il ne gouuerna que sept moys.” (Translation: He bought his death with the Empire, which he only governed for seven months. Note: The 1559 text contains a common historical error; he actually reigned for 66 days.)
• Binder’s signature mark at lower right: “G 4”

Price & Shipping:

AU$298 (approximately US$212.26 / €181.67 / £157.65), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

I am selling this graphically arresting chiaroscuro woodcut created at the time when Michelangelo was working on his final marble sculpture, “The Rondanini Pieta” (1552–1564), 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