Abraham Blooteling & Pieter Stevens van Gunst, “Plate 86: Dissected Foot with Muscles Revealed”, 1685

Abraham Blooteling (aka Abraham Bloteling; Abraham Blotelingh; Abraham Blootelingh) (1640–1690) and Pieter Stevens van Gunst (aka Pieter van Gunst) (1658/59–c.1731)

Plate 86: Dissected Foot with Muscles Revealed”, 1685, after a drawing in the Ecole de Médicine, Paris, by Gerard de Lairesse (1640/41–1711), engraved illustration to Govard Bidloo’s (1649–1713) famous anatomical atlas, “Anatomia humani corporis/ Ontleding des menschelyken lichaams", first published by the widow of Johan van Someren (1622–1676) (de Weduwe van Joannes van Someren [fl. after 1679]) in 1685 in Amsterdam.

Engraving on laid paper with Strasburg Lily watermark of 1625 (see WA Churchill no. 401, p. 83) and full margins as published.

Note that this impression has the 3cm chainlines of the first edition of 1685, whereas the later edition of 1734, published by Jacob van Poolsum (1701–1762) in Utrecht has 2.5cm chainlines.

Size: (sheet) 51.4 x 33.1cm; (plate) 47.4 x 30cm.

Lettered in plate: (upper-right corner) “T. 86.”; index lettered “A” to “F” following “Fig. 1” to “Fig. 3”.

Archive.org offers a view of this print in its context in the publication: https://archive.org/details/gri_33125008642049/page/n287/mode/2up.

Condition: a strong and well-printed (near faultless) impression. The sheet has dot stains at the upper right and a restored (closed) tear in the margin at lower right, otherwise the sheet is in an excellent condition for its age and large size with no holes, folds, abrasions, losses, significant stains or handling marks.

I am selling this large and famous masterpiece of anatomical engraving that is not only superbly executed, but also displays exceptional ingenuity in displaying the muscles and tendons, for AU$485 (currently US$309.88/ EUR293.78/ GBP243.37 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. Note that payment is in Australian dollars (AU$485) as this is my currency.

If you are interested in purchasing this extraordinary and technically magnificent print, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Matthäus Merian I (designer), “Frontispiece to ‘Topographia Galliae’, Vol. 1”, 1655

Designed by Matthäus Merian I (aka, Matthaeus Merian) (1593–1650) (as inscribed in the plate [“Inventor”]) and possibly executed (based on the date of publication) by his sons, Mathaeus Merian II (aka Matthaeus Merian) (1621–1687) and Caspar Merian (1627–1686)

“Frontispiece to ‘Topographia Galliae’, Vol. 1” (folio edition of four volumes in thirteen parts), 1655 (as dated in plate [MDCLV]), published in Frankfurt [Francofverti] by Caspar Merian with royal privilege.

Etching with engraving on fine laid paper, trimmed with a small margin around the platemark, backed with a support sheet.

Size: (sheet) 30.9 x 19cm; (plate [soft impression]) 29.5 x 18.3 cm; (image borderline) 28.3 x 17.6cm.

Inscribed in plate: (upper left banderole) “Clodovaus i. R. Franc:”; (upper right banderole) “Ludovicus xiv T. Franc:”; (centre) “M. Z./ TOPOGRAPHEA/GALLIÆ./ FRANCOFVRTI,/ apud. M.D C. LV. / Cum Privilegio/ S. Cæsar. M.; (lower edge at right) “Matheus Merian. Inventor.”

Lifetime impression of 1655 before the plate was altered in 1660 to show the Amsterdam publication details for Caspar Merian and the widow of Joost Broersz (fl.c.1634–1647) (see https://www.britishmuseum.org/collection/object/P_1872-0511-1093 [BM inv. no. 1872,0511.1093]).

Condition: a strong and well-printed impression (near faultless), trimmed with a small margin and laid upon a support of archival (millennium quality) washi paper providing wide margins. The lower left corner of the margin has been replenished and there is minor age-toning, otherwise the sheet is in a good condition with no significant stains.

I am selling this wonderfully strong and largish frontispiece to the first of four volumes that is arguably “the most comprehensive guide to France of the 17th-century” (see https://www.abebooks.com/first-edition/Topographia-Galliae-MERIAN-Matthaeus-1593-1650-Martin/8523969161/bd) for AU$277 in total (currently US$177.04/ EUR167.55/ GBP1138.91 at the time of 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. Note that payment is in Australian dollars (AU$277) as this is my currency.

If you are interested in purchasing this visually arresting 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

César de Cock, “Screen of Trees with a River Beyond”, 1853

César de Cock (1823–1904)—Belgian painter and printmaker associated with the Barbizon School, student of Daubigny and Louis Français, and friends with Corot, Rousseau, Diaz and Troyon.

“Screen of Trees with a River Beyond” (descriptive title only and the distant river is possibly the River Seine around Gasny [see IFF 1] but I may be very wrong), 1853.

Etching on fine laid paper.

Size: (sheet) 22.7 x 27cm; (plate) 12.5 x 17.3 cm; (image borderline) 11.7 x 16.9cm.

Inscribed in plate below the image borderline: (right) “Cesar De Cock. 53”.

Not numbered or described in IFF (Jean Adhémar 1949, “Inventaire du Fonds Français après 1800: CIDOINE–DAUMIER”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 5, p. 59 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488526m/f71.item]). Nevertheless, the following biographical details offered by IFF regarding César de Cock are interesting: (Transl.) “Painter and engraver, born and died in Ghent, 1823-1904. He was first a musician, then under the influence of his brother Xavier, he painted and engraved; settled in France since his youth and working with his wife Julia Stigzelius, under the influence of the masters of Barbizon, he exhibited landscapes at the Salon, from 1857” (p. 59). Although I may be misinformed, I understand that the artist's change in direction from music to art was driven by his failing hearing.

Condition: a strong and well-printed impression with generous margins in a pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this very beautiful etching exemplifying the spirit of the Barbizon School and the Etching Revival period—note the artist’s love of his craft in enriching his etched lines with the technique of retroussage (viz. wiping the freshly inked printing plate to draw up a little of the ink from the etched lines to make them appear softer and more richly inked)—for AU$257 in total (currently US$164.26/ EUR155.45/ GBP128.84 at the time of 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. Note that payment is in Australian dollars (AU$257) as this is my currency.

If you are interested in purchasing this rare etching seldom seen on the art market, 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

George Greatbach, “The Miraculous Draught of Fishes”, c.1882, after Raphael

George Greatbach (1819–1884)

“The Miraculous Draught of Fishes”, c.1882, engraving after Raphael’s (1483–1520) cartoon, c.1515-16, in the Victoria and Albert Museum (inv. no. ROYAL LOANS.4; https://en.wikipedia.org/wiki/Raphael_Cartoons), from the set of seven (extant) full-scale designs  for tapestries in the Sistine Chapel (Vatican), published in London facing page 1 in “Raphael’s Cartoons” [n.d.] by The London Printing and Publishing Company, Limited.

Engraving on heavy wove paper with wide margins as published.

Size: (sheet) 28 x 40cm; (image borderline) 15.9 x 21cm.

Inscribed in plate below the image borderline (centre) “The Miraculous draught of Fishes./ Luke V.I.II.”

The accompanying text for this engraving offers the following insight: “…it may be noticed, that all critics have remarked on the smallness of the boats as drawn by Raphael. In regard to this, the learned Richardson has observed— ‘But the truth is, had he made the boat large enough for those figures, his picture would have been all boat […]’” (p. 2).

Condition: a strong and well-printed impression with full margins (as published) in a near pristine condition with no tears, holes, folds, abrasions, significant stains or signs of handling.

I am selling this finely executed engraving in near faultless condition after Raphael’s design, for AU$202 in total (currently US$129.91/ EUR122.82/ GBP101.91 at the time of 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. Note that payment is in Australian dollars (AU$202) as this is my currency.

If you are interested in purchasing this superb engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Courtry, “Forest with Cows near a Stream”, c.1870, after Paul Huet

Charles Courtry (aka Charles Jean Louis Courtry) (1846–1897)

“Forest with Cows near a Stream” (descriptive title only), c.1870, etching after a painting by Paul Huet (1803–1869).

Etching on laid paper backed with a support sheet.

Size: (sheet) 17 x 21.2cm; (plate) 12.7 x 17.2cm; (image borderline) 9.5 x 14.7cm.

Inscribed in plate below the image borderline (left) “PAUL HUET PINX”; (right) “CH. COURTRY. Sc”.

Beraldi 82–201 (Henri Béraldi 1886, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: CHERRIER–DIEN”, vol. 5, Paris, Librairie L. Conquet, p. 66 [mentioned with Huet’s name, but without catalogue number, in a diverse group of prints reproducing old and modern paintings in catalogues published by “Durand-Ruel, Francis Petit, Haro, Sedelmeyer, etc.], cat. nos. 82–201).

Condition: a strong and well-printed impression laid upon a support of archival (millennium quality) washi paper providing wide margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this small and insightfully executed etching that not only captures the sparkling effects of  light on foliage, but also explores the open spaces between trees as a flow of rhythms represented with curved aligned strokes as if the spaces were chiselled—from my way of looking, this interest in light and space pre-empts the Impressionists’ fascination with the effects of light and how to portray the intangible optical experience—for AU$192 in total (currently US$123.58/ EUR117.40/ GBP97.23 at the time of 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. Note that payment is in Australian dollars (AU$192) as this is my currency.

If you are interested in purchasing this marvellous etching that I would describe as a true printer’s print because it is so interesting in all its subtleties, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.