Jan Luyken, “Herod Fights the Robbers in their Caves”, 1708

Jan Luyken (aka Johannes Luyken) (1649–1712)

“Herod Fights the Robbers in their Caves” (aka. “Herodes Beoorlogt de Roovers inde Rotsen door Soldaaten die in Kisten aan yzere kettingen hangende door windaasen neergelaaten worden” [Herod Fights the Robbers in the Rocks by Soldiers Hanging in Chests on Iron Chains and Lowered by Windlasses]; “Herod Conquers Jerusalem”), 1708, published by Jan Covens (aka Johannes Covens) (1697–1774) and his brother-in-law, Corneille Mortier (aka Cornelis Mortier) (fl.1688–c.1708) in 1729 as plate 62 on page 355 of “Icones Biblicae Veteris et Novi Testamenti”.

Etching on laid paper with full margins and centre-fold as published.

Size: (sheet) 56 x 61 cm; (plate) 33.3 x 42.4 cm; (image borderline) 32 x 41.7 cm.

Lettered in the plate below the image borderline: (left) “Edit. à J. Cóvens et C. Mortier.”; (centre) “Herodes Beoorlogt de Roovers inde Rotsen door Soldaaten die in Kisten aan yzere kettingen hangende door windaasen neergelaaten worden.”; (right) “Pag. 355./ “62”.

Van Eeghen 3743.67 (Pieter van Eeghen & Johan Philip van der Kellen 1905, “Het werk van Jan en Casper Luyken”, Amsterdam, Frederik Muller & Co., vol. 2, p. 666, cat. no. 3743.67 [see https://archive.org/details/hetwerkvanjanen01kellgoog/page/666/mode/2up]).

See also the description of this print offered by the Rijksmuseum: https://id.rijksmuseum.nl/200396215.

Interestingly, Jan Luyken executed an etching in 1698 that features a small section of this much larger composition, used as an illustration to volume 2 of Flavius Josephus’ “Des wijdt-vermaerden Joodschen Historieschrijvers Boecken”; see https://id.rijksmuseum.nl/200224208.

Condition: a strong and well-printed impression with generously wide margins and flattened centrefold. The sheet is in an excellent (near pristine) condition for its considerable age and size with no tears, holes, abrasions or significant stains.

I am selling this huge etching showing the Roman’s windlass system for lowering soldiers in boxes to access their foes who are literally holed up in mountainside caves, for AU $317 in total (currently US $196.36/ EUR 191.12/ GBP 161.38 at the time of posting this print) 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 $317) as this is my currency.

If you are interested in purchasing this amazing scene of Roman battle engineering, 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

Henri Guérard, “Monument to General Cavaignac”, after François Rude

Henri Guérard (aka Henri Charles Guérard) (1846–1897)

“Monument to General Cavaignac” (aka “Monument du Général Cavaignac”; “A Godefroy Cavaignac”)—aka Godefroi Cavaignac; Jacques Louis Éléonore Godefroy Cavaignac (1800–1845), a French republican journalist, 1888, etching after the monument for General Cavaignac by François Rude (1784–1855), in the Montmartre Cemetery, Paris (see https://www.ststephensphl.org/news/godefroy-cavaignac/11-2021), printed by Paul Moglia (fl.1863–1901) and published in the art periodical “Gazette des Beaux-Arts” on 1^st August, 1888, between pages 114 and 115.

The British Museum offers the following biographical details about Godefroy Cavaignac: “Republican journalist and activist; took an active role in the revolution of July 1830 but opposed the July monarchy; involved in uprising on 15 April 1834, hid during the subsequent repression and escaped arrest; fled to England in July 1835; returned to France in 1840” (https://www.britishmuseum.org/collection/term/BIOG222765).

Drypoint with roulette and aquatint printed in a warm black ink on wove paper trimmed with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 19.9 x 26.5 cm; (platemark) 16.2 x 24.5 cm; (image borderline) 22.6 x 13.7 cm.

Inscribed in plate within the image borderline: (following the lettering on the tomb at centre) “A/ GODEFROY CAVAIGNAC”.

Lettered in plate below the image borderline: (left) “H.Guérard sc./ Gazette des Beaux-Arts.”; (centre) “MONUMENT DU GÉNÉRAL CAVAIGNAC, PAR FRANÇOIS RUDE.”; (right) “Imp. Paul Moglia.”

IFF 63-2 (Jean Adhémar & Jacques Lethève 1955, “Inventaire du Fonds Français après 1800: Gavarret–Guillard”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 9, p. 458, cat. no. 63 [see https://gallica.bnf.fr/ark:/12148/bpt6k54892064/f470]); Claudie Bertin 581.

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

I am selling this startling minimal and very beautiful etching, for AU $277 in total (currently US $171.58/ EUR 167/ GBP 141.02 at the time of posting this print) 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 portrayal of a sculptured monument by François Rude, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Jacque, “Live Bait Fishing”, 1864

Charles Jacque (aka Charles Émile Jacque) (1813–1894)

“Live Bait Fishing” (aka “Pêche au vif”; “Live Fishing”), 1864, a rare first state impression before numbering and lettering for publication.

Etching laid paper with generously wide margins.

Size: (sheet) 30.5 x 38.9 cm; (platemark) 15 x 21.3 cm; (image borderline) 11.5 x 18 cm.

Inscribed in plate within the image borderline: (lower-left corner) “Ch. Jacque”.

State i (of ii)

Guiffrey 184 (J.-J. Guiffrey 1868, “L’Oeuvre de Ch. Jacque: Catalogue de ses Eaux-Fortes et Pointes Sèches”, Paris, Lemaire, pp. 91–92, cat. no. 184) [https://archive.org/details/luvredechjacque00guifgoog/page/n102/mode/2up]); Beraldi 184 (Henri Béraldi 1889, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. VIII, Paris, Librairie L. Conquet, p. 187, cat. no. 8 [no. 8, Collection d’Eaux, 1864–66]); IFF 287 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds Français après 1800”, vol. 11, Paris, Bibliothèque nationale de France, p. 115, cat. no. 287 [https://gallica.bnf.fr/ark:/12148/bpt6k5489301d/f127]).

Guiffrey (1868) offers the following description of this print: (transl.) “A fisherman is kneeling on the left under a willow, very attentive to two lines thrown into a pond on the right. He is holding one of them in his hand, the other is next to him on a fork, held by a hook. Behind him, a covered basket with a handle. In the background, on the right, trees” (pp. 91–92).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1889-0608-213 (BM inv. no. 1889,0608.213).

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

I am selling this exceptionally rare impression of a very beautiful etching before lettering for publication, for AU $288 in total (currently US $178.57/ EUR 173.53/ GBP 146.24 at the time of posting this print) 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 $288) as this is my currency.

If you are interested in purchasing this superb etching in a pristine condition, 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 

Philips Galle, “Cyrus showing Daniel the Bel Idol”, 1565, after Maarten van Heemskerck

Philips Galle (aka Philippus Gallaeus: Philippe Galle) (1537–1612)

“Cyrus showing Daniel the Bel Idol”, 1565, the second plate from the series of ten engravings, “The Story of Daniel, Bel and the Dragon” (New Hollstein 226–235) after the design by Maarten van Heemskerck (aka Martin Heemskerk; Maarten van Veen) (1498–1574), initially published in Antwerp by Hieronymus Cock (aka Jérome Cock) (c1517/18–1570) and later (as is the case with this impression) by Theodoor Galle (aka Theodor Galle; Dirck Galle) (1571–1633).

Engraving on fine laid paper trimmed along the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 20.7 x 25.3 cm; (image borderline) 19.7 x 25.1 cm.

Inscribed in plate within the image borderline: (right of centre) “Martinus van heemskerck inuentor”; (right) “Theodor. Galle excu. 2”.

Lettered in plate below the image borderline: (centre) “Rex Danielem ad Belum ducit ostendens quam multa comedat bibatq[ue]” (The king takes Daniel to Bel, showing him how much he eats and drinks).

New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (227.II); Riggs 1977 / Hieronymus Cock, Printmaker and Publisher (140)

The British Museum offers the following description of this print: “Cyrus showing Daniel the Bel idol; before the statue is a banquet table and a line of servants carry food and drink; after Heemskerck. 1565” (https://www.britishmuseum.org/collection/object/P_D-5-86).

Condition: a strong and well-printed (near faultless) impression trimmed along the platemark and laid upon a support of archival (millennium quality) washi paper providing wide margins. The sheet is in a near pristine condition for its considerable age with no tears, holes, folds, abrasions or stains.

I am selling this marvellously strong impression for the total cost of AU $298 (currently US $185.13/ EUR 179.89/ GBP 151.79 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 $298) as this is my currency.

If you are interested in purchasing this remarkably fine engraving, 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

 

Frank Short, “Prisoners of War”, 1890

Frank Short (aka Sir Frank Short) (1857–1945)

“Prisoners of War” (aka “Quarter Boys”), 1890.

The Curator of the British Museum offers the following insight about this print: “The artist provided a note on the poem and plate for Hardie, 1938-40, Vol 3. p.33, stating: ‘Etched from a small window at the back of the clock, where only one boy was visible. The legend is that it was taken from a ship of the Spanish Armada— I am afraid without truth—but it is a pleasant tale; and so I arranged the distance from the other side of the tower, to show the way to the sea. I am sorry now for the poor lettering!’” (BM inv. 1931,0613.181).

Etching with plate tone on fine laid paper, pencil signed by the artist and backed with a support sheet.

Size: (sheet) 21.5 x 26.8 cm; (plate) 15.3 x 20.2 cm.

Inscribed in plate: (lower left) “Ye Quarter Boys yt looke out to sea from/ [coat-of-arms of the ancient town of Rye] ye Belfrie tower of Rye Church &/ mark ye hours till yt new Armada/ comes to bryng them home to their/ owne land of Spaine”; (lower right) [artist’s monogram, “S” on shield]/ But the sandbanks grow & the sea line waxes dim And each one thinketh/ but to his brother sayeth not – Ah! that our watch mighten/ end, end and we could die – If Quarter boys ever die”.

Signature of artist inscribed in pencil below the plate-mark: (right) “Frank Short”.

Hardie 240; Strange 106

The British Museum offers the following description of this print: “One of the figures of boys that strike the quarter-bells of Rye Church tower. Beyond the bell, below, the roofs of the town; the harbour winding away into the far distance, toward shipping and the open sea. 1890” (https://www.britishmuseum.org/collection/object/P_1931-0613-181).

See also the descriptions of this print offered by the National Gallery of Victoria (NGV) and the Minneapolis Institute of Art (MIA): https://www.ngv.vic.gov.au/explore/collection/work/23904/ & https://collections.artsmia.org/art/47688/prisoners-of-war-quartre-boys-sir-frank-short.

Condition: a strong and well-printed impression with no significant stains and laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this rare, pencil signed, proof-state etching showing a boy ringing one of the bells that were once looted by French marauders in 1377 and now reclaimed (and recast) for the Parish Church of Rye (aka Cathedral of East Sussex) and hung in what I understand is the "Quarter Boys" clock tower (because the clock strikes on the quarter hours but not each hour) in Rye in England—note the coat-of-arms inscribed in the plate at lower right—for AU $333 (currently US $205.96/ EUR 199.92/ GBP 168.83 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 $333) as this is my currency.

If you are interested in purchasing this curiously interesting image featuring not only one of the famous bells of Rye being struck, but also a view across the town of Rye in East Sussex, England, to the sea around three kilometres away, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.