Ferdinand Staeger, “Self-Portrait”, circa 1930

Ferdinand Staeger (1880–1976)

“Self-Portrait” (“Selbstbildnis”), circa 1930

Technical Details & Condition:

Etching with plate tone printed in brown ink on heavy cream wove paper, hand-signed in pencil by the artist, titled as a self-portrait (“Selbstbildnis”), and inscribed as an artist’s proof (“Probedruck”) numbered two of only three impressions (“2/III”).

This is a richly inked, and strong impression with carefully wiped plate tone giving a warm moody glow complementing the dramatic chiaroscuro modelling of the face. The sheet is in excellent condition—near pristine—free of tears, holes, folds, abrasions, or significant signs of handling and stains.

Dimensions:

• Sheet: 35 x 26.2 cm
• Platemark: 19.5 x 14.5 cm

In-Plate Inscription:

• In mirror at lower left: “VERITAS”—truth (factual accuracy)

Pencil Inscriptions:

• Left: “Probedruck” (proof print) “2/III” 
• Centre: “Selbstbildnis” (Self-Portrait)
• Right on lower corner of the image: “F Staeger” (artist’s signature)

References:

• Muschler, Conrad Reinhold. Ferdinand Staeger: Eine Monographie. Leipzig: Verlag Max Koch, 1925. (Note: This remains the definitive authoritative monograph published during his prime printmaking years)
• Leisching, Julius. Ferdinand Staeger. Vienna: Artur Wolf, 1913. (Note: Documenting his first master portfolio of 10 original etchings that launched his printmaking career)
• The Cultural Foundation of German Expellees: Biography of Ferdinand Staeger: https://kulturstiftung.org/biographien/staeger-ferdinand-3  

Commentary on the Artist:

Ferdinand Staeger is one of the major Austro-German graphic artists of the early-to-mid 20th century. His work is strongly connected to the Symbolist movement. An earlier example of his graphic work may be seen in the illustrations for “Deutsche Gedichte: mit Schattenbildern”, 1908 (German Poems: with Shadow Pictures; see  https://archive.org/details/deutschegedichte00frau/page/12/mode/thumb) epitomising the elegance of his designs. His later work, by contrast, is more reliant on dense and intricate line work executed with the same technical precision as his earlier designs.

This self-portrait (Selbstbildnis), with the depicted hand-mirror inscribed with the Latin word “VERITAS” (Truth) clarifies the artist’s intent: to capture an uncompromised truthful visual documentation of both his physical features and psychological mindset without vanity or wishful idealisation.

Price & Shipping:

AU$336 (approx. US$234.88 / €205.19 / £175.10), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this psychologically penetrating self-portrait of an artist—the hand-glass inscribed with “VERITAS” testifying to the artist’s intent to represent himself as truthfully as he is able—please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.

Benoît Audran I, “The Crucifixion (Consummatum Est)”, pub. c. 1815, after Poussin

Benoît Audran I (also known as Bened Audran) (1661–1721)

“The Crucifixion (Consummatum Est)” (or, as titled on the plate: “Consummatum est: C'est en ce jour que tout est consōmé” [It is finished: It is on this day that everything is consumed]), later printing published circa 1789 or around 1811–1820

Technical Details & Condition:

Engraving on heavy paper—possibly laid paper, as suggested by the faintly visible chain lines—slightly unevenly trimmed around the platemark and professionally mounted to a secondary support sheet of archival-quality washi paper.

This print was initially published unsigned by the artist, with the inscription: “a Paris chez Audran rue S. Iacques aux 2. Piliers d'or auec priuil du Roy.” See the Herzog Anton Ulrich Museum’s collection: https://www.europeana.eu/en/item/89/item_DDZ2SG4ZFHCRVH3FMMYH3GNLROFANKUK?lang=.  

This impression was published in Paris by Pierre Jean (active 1784–1820), at his firm’s established address: “rue Jean de Beauvais, No. 10”. The secularised spelling of the street name suggests a publication date in the later 1811–1820 period, during which Jean resumed publication after 1789.

The design is based on Nicolas Poussin’s (1594–1665) painting, “Crucifixion” (1645–46), formerly in the collection of Lord Dundas and now held at the Wadsworth Atheneum (Connecticut). It may also follow the 1674 etching titled “The Crucifixion” by Claudine Bouzonnet Stella (also known as Claudia Bouzonnet-Stella, 1636–1697). For details of this etching, see the Victoria and Albert (V&A) Museum: https://collections.vam.ac.uk/item/O1157068/the-crucifixion-print-stella-claudine/.

The impression is strong, crisp, and evenly printed. Aside from minor restored tears around the edges (some entering the image), the sheet remains in very good condition—free of holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet/Platemark: 28.4 x 37.7 cm
• Image: 25.6 x 35.7 cm

In-Plate Lettering below the image:

• Left: “Poussin pinxit”
• Centre: “Consummatum est: / St. Jean XIX. / C'est en ce jour que tout est consōmé.”
• Right of Centre: “A Paris chez Jean. rue Jean de Beauvais. N^o. 10.”

Price & Shipping:

AU$253 (approx. US$175.63 / €154.08 / £131.48), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this eerily dark and turbulent engraving capturing the final words of Christ’s agony on the cross, “Consummatum est” (It is finished), please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.

Anders Zorn, “Lavards Anders”, 1919

Anders Zorn (also known as Anders Leonard Zorn) (1860–1920)

“Lavards Anders” (also known as “Dalecarlian Peasant [Lavards Anders])”— portrait of a peasant from Dalecarlia, Zorn's native provincial region in Sweden, 1919

Commentary on the Subject:

The Museum of New Zealand (Te Papa Tongarewa) offers a compelling insight into this portrait: “This small but powerful etching is both a portrait and a 'type': meet Lavards Anders, a peasant of Delacarlia, the provincial region of Sweden where Anders Zorn grew up - in poverty - and returned to - in triumph and fame. The peasant is elderly; we sense that he has seen much and has suffered not a little. In another guise or mood, his splendid mutton-chop whiskers and fur hat would look endearing, even comical. Not so here: he stares balefully straight at Zorn - and at us. Zorn is depicting death. Within a year, he himself would die prematurely, overweight, and allegedly alcoholic and syphilitic. The considerably older peasant will outlive him, and he knows it. There is no room for symbolist ethereality, charm or beauty in this etching, which shows no diminution in Zorn's powers” (https://collections.tepapa.govt.nz/object/36798).

Technical Details & Condition:

An etching printed on fine buff-coloured laid paper, signed in pencil by the artist at the lower right. The impression is strong, crisp, and evenly printed. Aside from minor toning around the image, the sheet remains in excellent condition—free of tears, holes, abrasions, or significant stains.

Dimensions:

• Sheet: 37.5 x 26.2 cm
• Platemark: 15.4 x 11.4 cm

In-Plate Lettering:

• Upper-left: “LAV[A]RDS ANDERS”
• Lower-left: [Artist’s monogram] “Zorn”

References:

• Asplund 283; Hjert & Hjert 168; Lidbeck ZG 283
• Museum of New Zealand (Te Papa Tongarewa): Registration Number 1952-0003-182
• Art Institute of Chicago: Reference Number 1971.908 (https://www.artic.edu/artworks/37857/dalecarlian-peasant-lavards-anders)

Price & Shipping:

AU$662 (approx. US$459.05 / €402.45 / £343.03), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this rare pencil-signed 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 sold