Frank Brangwyn, “The Recruitment”, 1917

Frank Brangwyn (also known as Sir Frank William Brangwyn) (1867–1956)

“The Recruitment” or “Le Recrutement” (as inscribed in lower margin), also known as “The Crimp”, 1917

Technical Details & Condition:

Lithograph on fine buff laid paper with wide margins. The print is signed in the plate at the lower right and hand-signed with a pencil monogram (presumably by the artist) at the lower right corner.

This lithograph was produced as part of the Ministry of Information’s portfolio “Britain’s Efforts and Ideals”, designed to showcase various aspects of the war effort, from industrial work to the realities of military enlistment. The depicted recruiting sergeant is called a “crimp,” a term referring to coercive tactics—such as intimidation, trickery, or force—used to procure recruits for the armed forces, a practice also known as “shanghaiing.”

The impression is richly inked and well-printed. Aside from a few minor surface marks and pencil notations, the large sheet is in excellent condition, free of tears, holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet: 71.5 x 57.3 cm
• Image borderline: 54.5 x 47 cm

Price & Shipping:

AU$363 (approximately US$250.66 / €216.67 / £189.27), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

If you are interested in acquiring this large, museum-quality lithograph, please contact me at oz_jim@printsandprinciples.com. I will be happy to provide a PayPal invoice for a smooth and secure purchase.

Pietro Savorelli, “Zorobabel”, c. 1805, after Michelangelo

Pietro Savorelli (c. 1765–1805)

“Zorobabel”, c. 1805

(Zerubbabel was a prophet and governor of the Persian Province of Judah, credited with laying the foundation of the Second Temple in Jerusalem. For more information, see https://en.wikipedia.org/wiki/Zerubbabel)

Technical Details & Condition:

Engraving on heavy wove paper with full margins, featuring the blind-stamp of the Calcografia Camerale press on the edge of the plate mark at lower right.

This work is the second plate in a series of eight engravings reproducing Michelangelo’s fresco-painted lunettes in the Sistine Chapel ceiling. For a detailed description of this print, see the British Museum’s collection: https://www.britishmuseum.org/collection/object/P_1873-1213-270.

The impression is richly inked and well-printed. The large sheet is in near faultless condition, free of tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 54.5 x 72 cm
• Platemark: 39.3 x 52.5 cm
• Image borderline: 34.2 x 48.4 cm

In-Plate Lettering:

• Above border: (centre) “II”
• Within border:
    • (left) “MICHAEL ANGELVS / BONAROTIUS / PINXIT”
    • (centre) “ZOROBABEL”
    • (right) “IN SIXTINO / VATICANO / SACELLO”
• Below border:
    • (centre) “PIO SEPTIMO PONT. OPT. MAX. / Roma Presso la Calcografia Camerale”
    • (right) “Petrus Savorelli del. et sculp. Romae”

 Price & Shipping:

AU$283 (approximately US$193.89 / €168.95 / £146.85), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

If you are interested in acquiring this large, museum-quality engraving, please contact me at oz_jim@printsandprinciples.com. I will be happy to provide a PayPal invoice for a smooth and secure purchase.

This print has been sold

Nicolas de Launay, “La Bonne Mère”, 1779, after Fragonard

Nicolas de Launay (1739–1792)

“La Bonne Mère” (The Good Mother), 1779

Technical Details & Condition:

Etching with engraving on wove paper, hand-coloured with watercolour—possibly from the time of printing.

This work belongs to a series depicting domestic scenes that celebrate maternal virtues, family happiness, and the importance of motherhood—an especially popular theme in late 18th-century French art. The engraving is based on a painting by Jean-Honoré Fragonard (1732–1806) and features an inscription dedicated to François-Marie Ménage de Pressigny (c. 1733–1794), a wealthy French financier and tax farmer-general who owned the original painting. The inscription also identifies Fragonard as “Peintre du Roi” (Painter to the King) and Nicolas de Launay as “Graveur du Roi” (Engraver to the King).

Interestingly, Fragonard’s original painting was not titled “La Bonne Mère.” This name was created specifically for the print, and due to its popularity, it eventually became associated with the original artwork as well. At the time, this print enjoyed significant commercial success and remains one of the most well-known prints linked to Fragonard.

The impression is strong and well-printed, with wide margins as issued. The delicate hand-colouring remains unfaded despite the age of the print. Aside from a few minor bumps and subtle age-toning, the sheet is in excellent condition.

Dimensions:

• Sheet: 66.6 x 51.2 cm
• Platemark (soft): 58.8 x 44.1 cm
• Image borderline: 57.1 x 42.8 cm

In-Plate Lettering:

• Lower border: “Fragonard Pinxit 1779. De Launay Sculpsit.”
• Lower left: “Peint par Fragonard”
• Lower centre (title): “LA BONNE M[È]RE.”, flanked by a central coat of arms
• Lower centre (dedication): “Gravée d’après le […] Tableau de Fragonard / Par […] De Launay.”
• Lower centre (address): “à Paris chez De Launay […] Graveur du Roy, rue et porte S^t. Jacques N^o. 112. cm
• Lower right: “par N. De Launay”

References:

• IFF 196.II; Portalis 34
• Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/369389   
• British Museum: https://www.britishmuseum.org/collection/object/P_1871-0812-5596

Price & Shipping:

AU$343 (approximately US$234.97 / €204.40 / £177.55), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

If you are interested in acquiring this large and renowned Rococo print—a quintessential vision of family happiness capturing a mother washing her daughter’s face in a park—please contact me at oz_jim@printsandprinciples.com. I’ll be happy to provide a PayPal invoice for a smooth and secure purchase.