Jacopo Leonardis, “Columnar Hill of Segalizzo near Valdagno”, 1778, after Antonio de Bitto

Jacopo Leonardis (also known as Giacomo Leonardis) (1723–c.1782)

“Columnar Hill of Segalizzo near Valdagno”, 1778

Historical Context:

This etching is from an important geological series executed in Venice under the patronage of the British diplomat and naturalist John Strange (1732–1799). It is based on a painting by Antonio de Bittio (1722–1797), whom Strange employed to create accurate scientific illustrations of volcanic phenomena across Europe. The print depicts a dramatic hillside outcrop of prismatic columnar basalt found in the Vicentine region (Vicenza) of northern Italy—located approximately 75 to 80 kilometres west of Venice. The local stone, historically referred to as Segalizzo basalt, is renowned for its remarkably fine, compact, and homogeneous texture that can be polished to a glossy, mirror-like black finish.

Technical Details & Condition:

Etching printed on heavy laid paper with small margins of approximately 3 mm extending beyond the platemark. Note on Medium: While historical references and the in-plate Latin abbreviation “sculp.” conventionally categorise this series under the generic umbrella of 18th-century “engravings,” close technical inspection reveals it to be an etching. The lines display the classic uniform thickness and fluid, hand-drawn character typical of the Venetian etching tradition, entirely free of the rigid, tapered lines associated with pure burin engraving.

This is a richly inked and evenly printed impression showcasing excellent tonal contrast and clarity. It features early ink notations inscribed by an old hand below the lower borderline, providing an English translation of the title, “Columnar Hill of Segalizzo near Valdagno.”, and its corresponding series plate number, “No. 1.” Aside from minor, negligible surface marks in the margins, the sheet remains in excellent condition—entirely free of tears, folds, modern restoration, or significant staining.

Dimensions:

• Sheet: 28.8 x 40.3 cm
• Platemark: 27.7 x 39.5 cm
• Outer Image borderline: 24.7 x 36.5 cm

In-Plate Lettering (below the image borderline):

• Left: “Anton^s_de Bittio pinx.”
• Right: “Jac. Leonardis scul_Venetiis..”

References:

• Neither LeBlanc (vol. 2, p. 534) nor Nagler (vol. 7, p. 439) describe this specific regional view.
• Later reissued in London by John Manson (1825) in A Series of Plates Representing the Most Extraordinary and Interesting Basaltic Mountains, Caverns and Causeways in the Known World.
• For a description of the complete basalt series in which this plate features, see Damien Voglaire Auctions: Lot 207 — https://www.voglaire.com/lot/85975/7725932-de-bittio-dapres-antonio-1722-1797-gravures-sur

Price & Shipping:

AU$294 in total (approximately US$206.74 / €181.61 / £156.15), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you are interested in purchasing this intriguing etching by a prominent pupil of the great Venetian artist, Giovanni Battista Tiepolo (1696–1770), documenting the rare columnar basalt formations near Valdagno, in northeastern Italy, please contact me directly at oz_jim@printsandprinciples.com. A secure PayPal invoice will be generated to complete your transaction seamlessly.

Valentine Green, “Inigo Jones, in the Common Parlour at Houghton”, 1775, after Anthony van Dyck

Valentine Green (1739–1813)

“Inigo Jones, in the Common Parlour at Houghton”, 1775

Background and Production Insights:

The portrayed figure, Inigo Jones (1573–1652), is widely celebrated as England’s first major architect to implement classical Roman and Italian Renaissance principles into his structures. He pioneered the Palladian style in Great Britain, drawing direct inspiration from the symmetrical, harmonious designs of Italian master Andrea Palladio (1508–1580).

This original mezzotint is based on an intermediary drawing by draughtsman George Farington (1752–1788), executed after the oil portrait by Sir Anthony van Dyck (1599–1641). The original painting was formerly housed in the collection of Sir Robert Walpole at Houghton Hall before being sold to Catherine the Great; it resides today in the State Hermitage Museum (St. Petersburg, inv. no. GE-557). This plate forms part of the celebrated “Houghton Gallery” series, published in London on November 1, 1775, by John Boydell (1719–1804).

This superb, powerful impression represents the second state of the plate before the subsequent re-engraving and publisher address alterations.

Technical Details & Condition:

Mezzotint printed in a rich, warm black ink on fine antique laid paper with approximately 2 cm margins remaining beyond the platemark.

A deeply inked, exceptionally crisp, and balanced impression showcasing excellent tonal contrast. Aside from minor, typical paper thinning concentrated at the upper corner margins, the sheet remains in remarkable, museum-quality condition—entirely free of tears, modern restoration, folds, or stains.

Dimensions:

• Sheet: 21.9 x 16.8 cm
• Platemark: 17.7 x 12.7 cm
• Image borderline: 15.1 x 12.7 cm

In-Plate Lettering (below the image borderline):

• Left: “Van Dyke Pinxit. / G. Farington delint./ Size of the picture I F[oot] 85/8 I[nch] by 2 F[oot] 1 I[nch] in height.”
• Centre: “Inigo [crest with the motto ‘Fari Quae Sentiat’] Jones. / In the Common Parlour at Houghton. / Published Novr. 1. 1775 by Jno. Boydell Engraver in Cheapside London.”
• Right: “Val. Green Engraver / to his Majesty fecit.”

References:

• Whitman 55.2 (Alfred Whitman, “British Mezzotinters: Valentine Green”, 1902, London, A. H. Bullen, p. 60, cat. no. 55, state ii); LeBlanc 101; Chaloner Smith 77.
• British Museum: Museum number 1948,0315.10.168 — https://www.britishmuseum.org/collection/object/P_1948-0315-10-168

Price & Shipping: AU$288 in total (approximately US$204.11 / €178.70 / £153.42), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you are interested in purchasing this exquisite, jewel-like masterwork of 18th-century British printmaking, please contact me at oz_jim@printsandprinciples.com. A secure PayPal invoice will be generated to complete your transaction seamlessly.

This print has been sold

Leonhard Beck, “Saint Odile in Prayer”, 1510

Leonhard Beck (1475/80–1542)

“Saint Odile in Prayer”, 1510

Background and Production Insights:

The portrayed figure is Saint Odile—the patron saint of eye afflictions whose name translates to “child of light.” Born blind but miraculously gaining her sight during her baptism, she is depicted here in deep devotion. Jesus appears behind the altar facing her, bearing his crown of thorns. In the background, a mystical scene unfolds as an angel answers the saint's prayers by raising her father, the late 7th-century Duke of Alsace, into heaven.

The heraldic crest at the upper centre displays the historic coat of arms of the Duchy of Alsace (a bend cotised flory), directly referencing Saint Odile’s noble lineage as the daughter of Duke Etichon.

This original woodcut is plate 78 from the celebrated series of 119 imperial woodcut plates (noting variant cataloguing of 123 plates by the Museum of Fine Arts Budapest) titled “Images De Saints Et Saintes Issus De La Famille De L'Empereur Maximilien I.” While the overarching series project was driven by Hans Burgkmair the Elder (1473–1531), the majority of the compositions—including this one—were designed by Leonhard Beck. The block itself was cut by the skilled imperial workshop artisans of the era, including Nicolas Seemann, Hans Frank, Corneille Liefrink, Aléxis Lindt, Josse de Neghker, Wolfgang Resch, and the Taberith brothers. It was conceived to illustrate the ancestral lineage and holy connections of Emperor Maximilian I.

This superb impression originates from the landmark 1799 edition published in Vienna by Franz Xaver Stöckl and the printing house of the Widow Alberti (Anna Alberti, active 1794–1802, continuing the legacy of printer and bookseller Ignaz Alberti). It was pulled directly from the original block carved in 1510 under the expert editorial supervision of Adam von Bartsch.

Technical Details & Condition:

Woodcut on fine laid paper with full margins as issued.

This is a richly inked, exceptionally crisp, and evenly printed impression of near-faultless quality. The sheet features generously wide, clean margins. Aside from minor, light age-toning concentrated along the outermost edges of the sheet, it remains in excellent overall condition—entirely free of tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 42 x 30 cm
• Image borderline: 23.9 x 21.8 cm

Numbered above the image borderline:

• Right: “78”

References:

• Royal Academy: Description of the series in which this print features — https://www.royalacademy.org.uk/art-artists/book/images-de-saints-et-saintes-issus-de-la-famille-de-lempereur-maximilien-i
• Guido Messling, “Beck or the Petrarch Master” in “Print Quarterly” , XXI, 2004, 2, pp. 146–154

Price & Shipping:

AU$302 (approximately US$214.90 / €187.41 / £160.75, subject to daily exchange rates). Price includes worldwide express shipping. Please note that destination import duties and local taxes remain the sole responsibility of the buyer.

If you are interested in purchasing this large and startlingly fine woodcut, please contact me at oz_jim@printsandprinciples.com. I’ll gladly provide a secure PayPal invoice for a seamless transaction. 

This print has been sold