Gustav Meissner, “The Windmill”, c. 1878

Gustav Meissner (1830–1901)
“The Windmill” (also known as “Die Windmühle” and “A Mill in Prussia”), circa 1878

Technical Details & Condition:
Etching on heavy wove paper with narrow margins around the platemark, backed with a support sheet providing wider margins. This impression is before the addition of lettering with the title and publication details.

Notably, the British Museum holds an impression of this etching published in Düsseldorf by the Düsseldorfer Radir-Club (Etching-Club Düsseldorf), active from 1870 to 1880—see https://www.britishmuseum.org/collection/object/P_1879-0614-711. This print was also published in Vienna in 1882 by the Gesellschaft für vervielfältigende Kunst (Society for Reproductive Art), active from 1871 to 1933/35.

The impression is well-printed, exhibiting a silvery grey tone with no signs of wear to the printing plate. The sheet is in pristine condition—free of tears, holes, folds, abrasions, stains, or handling marks.

Dimensions:
• Sheet: 13.5 x 23.2 cm
• Platemark: 12.3 x 22.7 cm
• Image borderline: 8.2 x 18.5 cm

Price & Shipping:
AU$222 (approximately US$157.31 / €133.48 / £116.69), including worldwide express shipping.
Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this historically significant view of the rural Prussian countryside in the late 1800s—highlighting the artist’s careful attention to detail in his depiction of a herd of cattle led by a woman, who is not only carrying a heavy bundle (Holzbündel) of firewood (Leseholz) but also watching over her child, who is helpfully dragging a branch to assist in her task—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and seamless purchase.

Charles François Daubigny, “Le Pré de Graves à Villerville (Calvados)”, 1875

Charles François Daubigny (1817–1878)
“Le Pré de Graves à Villerville (Calvados)” (also known as “The Meadow at Grave, near Villerville”), 1875

The site depicted in this etching is a meadow (pré) within Parc des Graves—a protected area of pastures near the cliffs of the Roches Noires - Pointe du Heurt, at the western entrance to the village of Villerville in the Calvados department of Normandy, France. Daubigny frequently depicted this landscape, populated with grazing cows and wild rabbits; in this view, there is also a distant vista of the Seine estuary (Baie de Seine).

Technical Details & Condition:
Etching on laid paper with full margins, as issued. This print appears as plate 3 in the art periodical “L’Illustration Novelle” (New Illustration), volume 8, published in Paris by the widow of Alfred Cadart (Vve A. Cadart) in 1876. It is one of the last four prints produced by Daubigny. This impression is from the fully lettered state published in 1876: state iii (of iii).

The impression is richly inked and faultlessly printed. The sheet is in pristine condition—free of tears, holes, folds, abrasions, stains, or handling marks.

Dimensions:
• Sheet: 33.1 x 44.6 cm
• Platemark: 15.9 x 24.1 cm
• Image borderline: 12.5 x 20.4 cm

Lettering on Plate:
• Upper right corner: “3”
• Below the image borderline: (left) “Daubigny del et sculp.”; (centre) “LE PRÉ DE GRAVES À VILLERVILLE (Calvados)”; (right) “V^ve A. Cadart. Edit. Imp. 56 B^ard Haussmann, Paris.”

References:
• Melot D 124 (Michel Melot, “Graphic Art of the Pre-Impressionists,” 1978, New York, Harry N. Abrams, p. 282, cat. no. D 124)
• British Museum: https://www.britishmuseum.org/collection/object/P_1915-0105-14-76

Price & Shipping:
AU$297 (approximately US$208.99 / €177.75 / £155.48), including worldwide express shipping.
Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this superb etching by one of the luminaries of the Barbizon School—representing one of the artist’s final etchings and capturing a sweeping view of the meadow at one of his favourite sites of inspiration in Normandy, France, complete with grazing cows and rabbits—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and seamless purchase.

This print has been sold

Bernard Picart, “Academic Study of a Female Nude”, 1733

Bernard Picart (1673–1733)
“Academic Study of a Female Nude” (or “Naakte Vrouw in de Wolken” [Naked Woman in the Clouds]—Rijksmuseum title), 1733

Technical Details & Condition:
Etching and mezzotint printed in sepia ink on wove paper. This is plate 58 in the series of academic figure studies titled “Impostures innocentes, ou Recueil d'Estampes d'après Divers Peintres Illustres” (Innocent Impostures: Collection of Prints after Various Illustrious Painters), first published in Amsterdam in 1734 by the widow of Bernard Picart (Veuve Bernard Picart).

Archive.org offers an online view of this print in its original context alongside other the images in the folio, published by John Boydell (1720–1804) in London: https://archive.org/details/bim_eighteenth-century_impostures-innocentes-o_picart-bernard_1756/page/n109/mode/2up.

The impression is strong and well-printed. Aside from pale foxing in the margin, the sheet is in excellent condition—free of tears, holes, folds, abrasions, and significant stains.

Dimensions:
• Sheet: 35.2 x 23.3 cm
• Platemark: 29.6 x 18.5 cm

Lettering on Plate:
• Upper right corner (indistinct): “58”
• Below the image borderline: “Académie dessinée et Gravée par B. Picart./ l’Original est au Cabinet de Monsr. Walraven à Amsterdam.”

References:
• Dimier 947–956 (Louis Dimier, Les Peintres Français du XVIIIe Siècle: Histoire des Vies et Catalogue des Oeuvres, 1928, Paris, Les Éditions G. Van Oest, nos. 947–956)
• British Museum: https://www.britishmuseum.org/collection/object/P_1861-1109-800
• Rijksmuseum: https://id.rijksmuseum.nl/200133476

Price & Shipping:
AU$236 (approximately US$166.69 / €141.32 / £123.53), including worldwide express shipping.
Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this exceptional study of a dynamic female nude—possibly depicting a classical figure descending from the clouds—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Valentin Lefebre, “Saint Matthew and the Angel” (etching & counterproof), 1682, after Veronese

Valentin Lefebre (also known as Valentin Le Fevre, Valentin Le Febre, Valentin Lefebure, Valentin Lefèvre) (1637–1677)
“Saint Matthew and the Angel” (also known as “San Matteo e l'Angelo”]), etching and counterproof impressions, 1682

While some sources suggest that the subject and title of this print is “Tobias and the Angel,” the British Museum and the Rijksmuseum identify the central figure as Saint Matthew.

Technical Details & Condition:
An etching and a counterproof impression (taken from the etching) printed on separate sheets of laid paper. The etching is a strong impression, trimmed with approximately 3mm margins around the platemark, and mounted on a blue support sheet. It shows minor age toning, but is otherwise free of tears, holes, folds, or significant stains. The counterproof is a pale impression—being a direct impression taken from the freshly printed etching, resulting in a reversed image—with small margins on the sides and larger margins at the top and bottom. It has two binding holes in the right margin, a minor stain on Saint Matthew, and a small tear in the lower margin; otherwise, the sheet remains in good condition with no other significant issues.

This etching is part of a series of fifty-three plates titled “Opera Selectiora” (Selected Works), reproducing paintings by Titian (also known as Vecellio Tiziano) (1489/90–1576) and Paolo Veronese (also known as Paolo Caliari) 1(528–1588). It was published in Venice by Jacobus van Campen (fl.1682) and is based on a ceiling painting by Veronese in the Doge’s Palace. Both impressions offered here are from the initial editions of 1682 or 1684, prior to the later 18th-century editions where Teodoro Viero added his address to the plate.

These closely connected prints are exceedingly rare. Despite their rarity, the British Museum holds several examples of Lefebre’s counterproofs; for example, https://www.britishmuseum.org/collection/object/P_1950-0211-173.

Dimensions:
• Sheet (Etching): 24.3 x 22.8 cm
• Sheet (Counterproof): 34 x 24.2 cm
• Platemark: 23.5 x 22.1 cm
• Image borderline: 22.7 x 21.5 cm

Plate Lettering (below the image border):
• Left: “V. lefebre del et sculp.”
• Centre: “P. Caliary Ver.P”
• Right: “J. Van Campen Formis Venetÿs.”

References:
• Hollstein 1–53 (F.W.H. Hollstein, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700: L'ADMIRAL–LUCAS VAN LEYDEN,” vol. 10, 1953, Amsterdam, Menno Hertzberger, pp. 46–48, cat. nos. 1–53)
• Villot 35
• Ruggeri I.35
• British Museum: https://www.britishmuseum.org/collection/object/P_1954-0211-6-19
• Rijksmuseum: https://id.rijksmuseum.nl/200218687

Price & Shipping:
AU$334 (approximately US$236.13 / €199.41 / £174.17) for the pair of prints, including worldwide express shipping. Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this exceptionally rare pair of prints—comprising the original etching and the counterproof taken directly from the freshly printed plate—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and safe transaction.

This print has been sold