Giovita Garavaglia, “Saint Mary Magdalene with the Ointment Jar”, 1832, after Carlo Dolci

Giovita Garavaglia (also known as Giovanni Battista Garavaglia) (1790–1835)

“Saint Mary Magdalene with the Ointment Jar”, or, as titled in the plate, “EGO DILECTO MEO” (translation: “I belong to my beloved”—a quotation from “Song of Solomon” [6:2]), 1832

Technical Details & Condition:

Engraving on heavy wove paper with full, wide margins as issued. The engraving is based on an intermediary design by Cesare Ferreri (1802–1859), after a painting by Carlo Dolci (1616–1686). It was printed and published in Florence by Luigi Bardi (active 1814–1843). This impression is from state five, the final published state.

The print is dedicated to Prince Frederick Augustus of Saxony (later King Frederick Augustus II), who served as Prince Co-Regent (Correggente del Regno) alongside his elderly uncle, King Anthony, from 1830 until he ascended the throne in 1836. The heraldic emblem in the centre of the in-plate text features the Royal Coat of Arms of the Kingdom of Saxony (specifically the Wappen des Königreichs Sachsen), surmounted by a royal crown. It displays the traditional horizontal black and gold stripes (barry of ten, sable and or), overlaid with a green, crown-like diagonal band (a crancelin, or crown of rue) running from top-left to bottom-right.

The impression is crisp, evenly printed—a superb, faultless example. Aside from minor handling marks, the sheet remains in excellent condition for its large size, free of tears, holes, or significant stains.

Dimensions:

• Sheet: 54.1 x 38.4 cm
• Platemark: 41.4 x 29.2 cm
• Image borderline: 21.5 x 17.1 cm

In-Plate Lettering below the image:

• Left: “Carlo Dolci dip. / Luigi Bardi impresse.” (Carlo Dolci painted / Printed by Luigi Bardi)
• Centre: “Cesare Ferreri disegnò. / EGO DILECTO MEO. / A Sua Altezza Reale / Federigo [Royal Coat of Arms of the Kingdom of Saxony] Augusto / Principe di Safsonia Correggente del Regno. / Firenze presso Luigi Bardi Calcografo” (Cesare Ferreri drew [the intermediary copy] / To His Royal Highness Frederick Augustus, Prince Co-Regent of Saxony / Florence at the print shop of Luigi Bardi)
• Right: “Giovita Garavaglia incise 1832. / Luigi Bardi D: D: D:” (Giovita Garavaglia engraved, 1832 / Dedicated, Devoted, and Offered by Luigi Bardi)

References:

• AHK 13.V (Aloys Apell, “Handbuch für Kupferstichsammler, oder Lexikon der vorzüglichsten Kupferstecher des 19. Jahrhunderts”, Leipzig, Alexander Danz, 1880, p. 159, cat. no. 13 [V])
• British Museum: Museum No. 1879,0809.571 (https://www.britishmuseum.org/collection/object/P_1879-0809-571)

Price & Shipping:

AU$272 (approx. US$189.18 / €165.66 / £141.20), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this faultless impression of an exceptionally fine engraving—note the dazzling control of the engraver’s burin that was necessary to render the ointment jar and to differentiate between the lustre of the pearls of the brooch and the clarity of the cut jewel they frame—please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.

Roelant Roghman, “Deer in the Hague Forest”, c. 1640–1652

Roelant Roghman (aka Roeland Roghman) (1627–1692)

“Deer in the Hague Forest” (Dutch: “Herten in het Haagse Bos”), circa 1640–1652

Technical Details & Condition:

Etching on fine buff-coloured laid paper with wide margins. This is the final plate (Plate 6) in the series of six plates, “The Woods of the Hague” (Dutch: “Gezichten in het Haagse Bos”), published in Amsterdam by Pieter Nolpe.

The impression is from the third and final state (of three), showing the plate number “6” inscribed twice. It is richly inked, crisp, and evenly printed—a faultless impression. The sheet remains in near-pristine condition for its age, free of tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 25 x 39 cm
• Platemark: 20.6 x 26.4 cm
• Image borderline: 20.3 x 26.1 cm

In-Plate numbering:

• Lower left corner: “6”
• Lower edge at right-of-centre: “6”

Reference:

• TIB 5.6 (40) (Walter L Strauss & Franklin Robinson [Eds.], “The Illustrated Bartsch”, 1979, vol. 5, p. 66, cat. no. 6 [40])
• Hollstein Dutch 38.III (Dieuwke de Hoop Scheffer (comp.), “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700”, 1978, Amsterdam, Van Gendt & Co., p. 88, cat. no. 38. III)
• British Museum: Museum No. 1882,0114.38 (https://www.britishmuseum.org/collection/object/P_1882-0114-38)
• Rijksmuseum: Object No. RP-P-H-R-94 (https://id.rijksmuseum.nl/200401536)

Price & Shipping:

AU$338 (approx. US$235.02 / €205.38 / £174.98), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

This superbly rich impression captures a rare view of the town forest near The Hague—created during the Dutch Golden Age, a period renowned for its remarkable achievements in art, science, and culture. Roghman was a close friend of Rembrandt, and this etching exemplifies the masterful landscape tradition of that era. To acquire this marvellous example of Dutch Golden Age etching, please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.

This print has been soldt

Claude Lorrain, “Le Bouvier”, 1636

Claude Lorrain (also known as Claude Gellée, Claude Le Lorrain, Claudio di Lorena) (1600–1682)

“Le Bouvier” (The Cowherd), 1636 — Printed from the original plate by McCreery in his 1816 edition of “200 Etchings”

Technical Details & Condition:

Etching on fine cream wove paper, trimmed along and slightly within the plate mark, with loss of the inscription below the image at right (“Claudius in. et f. Romae 1636 138 ne ficcen”). The sheet has been professionally conserved with a washi paper support sheet.

The impression is richly inked, crisp, and evenly printed. The sheet is in excellent condition, free of tears, holes, folds, abrasions, or stains.

Artistic & Technical Insights:

Lino Mannocci (1988) discusses this etching and raises several interesting points: 

“Arthur Hind (1923, p. 163, note I) erroneously linked Seymour Haden's remarks about La Danse Villageoise with this plate and suggested that ‘Claude may in places have roughened the plate with a pumice stone and scraped out the lines of light’. H. D. Russell (1982, p. 357, note 6) corrects this error and suggests that ‘some form of roulette instrument would more likely have been used’” (p. 141).

Mannocci further proposes: 

“The suggestion that ‘Claude is likely to have proceeded in the manner of modern etchers: by laying a transparent ground on the plate with a roller’ is probably correct. ‘Only the very finest lines would have been closed by this procedure, the others remaining open to the acid’” (op. cit).

Dimensions:

• Sheet: 12.7 x 19.8 cm

References:

• Blum 18; Mannocci 18; Robert-Dumesnil 8; IFF 18; Russell 27
• Rijksmuseum: Object No. RP-P-OB-5681 (https://id.rijksmuseum.nl/200130489)
• British Museum: Museum No. 1868,0822.901 (https://www.britishmuseum.org/collection/object/P_1868-0822-901)

Price & Shipping:

AU$384 (approx. US$266.46 / €232.92 / £198.53), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this rare etching—a superbly rich impression taken from the original plate by McCreery in 1816—this work exemplifies Claude Lorrain’s innovative approach to capturing the fleeting, ephemeral qualities of nature. To arrange purchase, please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.