Sunday, 25 August 2019
Aegidius Sadeler II (aka Gillis Sadeler; Egidius Sadeler; Ægedius Sadeler) (c1570–1629)
“Rocky Landscape with Two Riders” (TIB title), c1600/1597–1629 (Rijksmuseum’s attribution dates of execution), after a drawing by Pieter Stevens II (c1567–c1624), plate 3 from the series of eight engravings, “Eight Bohemian Landscapes” (TIB 7201.264–271), published by Aegidius Sadeler.
Engraving and etching on laid paper trimmed around the image borderline (with loss of text line of publication details) and backed with a support sheet.
Size: (sheet) 19.9 x 20.9 cm.
Inscribed on plate at lower edge: (centre) “Pet. S, In: Eg.s: ex.”
State i (of iii) Lifetime impression before the change of publisher from “Eg.s: ex.” (i.e. Aegidius Sadeler) to Marco Sadeler in state ii. (Note: The line of publication details below the image borderline is lost, but as this impression still has Aegidius as the publisher this verifies that the print is from the first state which is further confirmed by the crisp lines showing no sign of wear to the printing plate.)
TIB 1997 7201.266 S1 (Isabelle de Ramaix, “The Illustrated Bartsch”, vol. 72, Part 2, Supplement, p. 68, cat. no. 266 S1); Hollstein 1980, vol. 21, no. 257; Nagler 1835–52, nos. 199–204; Le Blanc, no. 188; Wurzbach, no. 96.
The Rijksmuseum offers the following description of this print:
(transl.) “A landscape with some travelers on horseback in the foreground. They pass a wooden house between two rocks. On the left background mountains and a castle. The third print of an eight-part series with bohemian landscapes.” (http://hdl.handle.net/10934/RM0001.COLLECT.167965)
Condition: richly inked and well-printed first state lifetime impression trimmed slightly unevenly to the image borderline (with loss of the text line of publication details below the image borderline) in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing), laid upon an archival support sheet of millennium quality washi paper.
I am selling this magnificently glowing landscape—note the artist’s treatment of rays of sunlight filtered through clouds at right —by one of the most famous of the old masters for AU$430 (currently US$290.62/EUR260.66/GBP236.53 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).
If you are interested in acquiring this masterwork of early landscape engraving—a lifetime impression from the beginning of the 1600s—please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
This print is reserved pending confirmation of its purchase
Saturday, 24 August 2019
Paul Helleu (aka Paul César François Helleu) (1859–1927)
“Ève” (as titled in Robert de Montesquiou’s catalogue [cat. no. XXXVIII]), c1895, signed in the plate (“Helleu”) and inscribed with the name “Pihan”—a Parisian confectioner who employed artists for advertising his firm suggesting that this print may have been designed as a gift for good customers. The subject may be the renowned La Belle Époque actress and later Catholic penitent, Ève Lavallière (aka Eugénie Marie Pascaline Fenoglio), contemplating a piece of confectionery, or the portrait may show Madame Doriac examining a peach as Magnin Wedry auctions reference the title as, “Madame Doriac Regardant une Peche” (number PS 1164 in the archives of Paul Helleu): http://www.mw-encheres.com/html/fiche.jsp?id=5603577&np=&lng=fr&npp=&ordre=&aff=&r=.
Drypoint with dot roulette printed in black and sanguine coloured ink on wove paper trimmed close to the plate mark and backed with a support sheet.
Size: (sheet) 19.9 x 12.2 cm.
Inscribed on the plate: (lower left) “Helleu”; (lower centre) “Pihan”.
Montesquiou (1913) XXXVIII (Robert de Montesquiou 1913, “Paul Helleu, peintre et graveur”, Paris, H. Floury, p, 255, cat. no. XXXVIII ).
This publication may be viewed online and downloaded free of charge from archive.org:
See also a variant copy of this drypoint before the addition of the confectioner’s name at Christie’s auction (March 2018):
Condition: a richly inked and near faultless impression printed with strong drypoint burr. The sheet is trimmed close to the platemark and is in good condition (i.e. there are no tears, holes, folds, abrasions or significant stains), but there is uneven age toning (i.e. darkening) to the paper. The sheet is laid upon an archival support sheet of millennium quality washi paper.
I am selling this small jewel of a colour drypoint exemplifying the spirit of La Belle Époque age for the total cost of AU$470 (currently US$317.65/EUR284.90/GBP258.53 at the time of posting this listing) including postage and handling to anywhere in the world.
If you are interested in purchasing this rare and sensitively executed drypoint showing the artist’s confident mastery of this demanding medium, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
This print has been sold
Friday, 23 August 2019
Charles Allan Gilbert (1873–1929)
Gilbert was an American Illustrator famous for his often reproduced memento mori drawing, “All Is Vanity” (1892) (see https://en.wikipedia.org/wiki/Charles_Allan_Gilbert#/media/File:Allisvanity.jpg) that was later referenced in Def Leppard's album cover, "Retro Active" (1993) (https://en.wikipedia.org/wiki/Retro_Active). Interestingly, the portrayed lady on the left has a striking resemblance to the charcoal portrait shown here.
“Profile Portrait of a Woman Facing Left”, 1903, charcoal on wove paper, signed, dated and backed with a support sheet.
Size: 47 x 34.5 cm.
Hand-signed by the artist and dated at lower right: “C. Allan Gilbert/ 1903”.
See another drawing by Gilbert similar to this portrait (but in ink rather than charcoal) with biographical details about this artist at Zaidan Gallery: http://www.zaidan.ca/_borders/Art_Gallery/Gilbert/Allen-Gilbert.htm
Condition: The sheet is in near pristine condition considering the age of the drawing (i.e. there are no tears, holes, folds, abrasions, foxing, significant stains or signs of handling). Nevertheless, there is a small border (5 mm) of light toning to the paper appropriate to the drawing having been mounted in the past. The sheet is laid upon an archival support sheet of millennium quality washi paper.
I am selling this stunningly beautiful drawing of a young woman exemplifying the spirit of La Belle Époque age for the total cost of AU$670 (currently US$452.83/EUR406.14/GBP368.55 at the time of posting this listing) including postage and handling to anywhere in the world.
If you are interested in purchasing this sensitively executed study capturing in minimal strokes the mercurial “spark of life” that only the finest artist can express, please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
Jan Sadeler I (aka Johannes Sadeler; Johann Sadeler) 1550–1600)
“The Descendants of Lamech”, 1583, after a lost drawing by Maarten de Vos (1532–1603), plate 9 from the series of twelve plates, “The Story of the First Men”, published in Antwerp by Jan Sadeler I.
Engraving on fine laid paper trimmed with a narrow margin around the image borderline and backed with a support sheet.
Size: (sheet) 20.1 x 26 cm; (image borderline) 19.1 x 25.8 cm.
Inscribed on plate within the image borderline: (lower left) “Ioan: Sadl: inue: et scalps: […] 9”; (centre, on stone) "GENES: IIII"; (lower centre right) “M. de vos figuravit”.
Lettered on plate below the image borderline in two columns of two lines of Latin text: “Excæpit Lamech ex bina coniuge .../...// …/ …natamque Noemam."
State ii (of ii) with the addition of the number “9”.
TIB 7001.025 S2 (Isabelle de Ramaix (ed.) 1999, “The Illustrated Bartsch: Johan Sadeler I”, vol. 70, Part 1 (Supplement), New York, Abaris Books, p. 44); Nagler 1835–52, no. 19; Le Blanc, no. 39; Wurzbach, no. 8.9; Hollstein 1980, vol. 21, no. 25; Edquist, p. 7, no. 11a.
The Rijksmuseum offers the following description of this print:
“Lamech and his two women, left in the foreground, sitting in front of their house. In the foreground on the right the children Tubal-Cain and Ada. In the foreground left the children Jabal and Naäma. Lamech swears he will never be killed. Two corpses are found in the background. The print has a Latin signature.”
See also the description of this print at the British Museum:
“Plate 9: Lamech and his two wifes [sic]. Landscape with Lamech at centre, talking to his two wives Adah and Zillah seated in front of a farm-house at left, one of whom shades herself with a parasol of leaves, two children playing music at far left, two other children in foreground, Lamech again beyond standing next to a dead man, a wide landscape with mountains in background.”
Condition: crisp and well-printed impression, trimmed around the image borderline and laid upon an archival support sheet of millennium quality washi paper. The sheet is in near perfect condition apart from a restored spot in the clouds at upper right.
Note that this is the second copy of this print that I have listed (the earlier copy has been sold).
I am selling this superb impression of a very rare engraving, showing Lamech—the first polygamist cited in the Bible (see Genesis 4:18)—confessing to his wives that he has killed two men (Genesis 4: 23), for the total cost of AU$423 (currently US$285.98/EUR258.30/GBP234.26 at the time of posting this listing) including postage and handling to anywhere in the world.
If you are interested in purchasing this remarkably detailed and important print featuring a sequence of biblical scenes within a single composition, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
Thursday, 22 August 2019
Maria Sibylla Merian (aka Maria Sibylla Graff) (1647–1717)
“Plate VII: Prunier fleuri” (Flowering Plum, caterpillar and butterfly), 1679–1683, published as plate 7 in Merian’s “De europische Insecten” (aka “Der Raupen wunderbare Verwandelung, und sonderbare Blumennahrung” [The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers]) editions from 1679/83 until 1730. The page format of this impression suggests that his impression is from the earlier edition as in the final 1730 edition the prints are clustered four to a page and the title text is erased (see an online copy of the 1730 edition with the publication details at archive.org ).
Engraving on laid paper, coloured by hand in watercolour (presumably at the time of publication) with full margins as published and backed with a support sheet.
Size: (sheet) 23.4 x 16.8 cm; (plate) 14.8 x 11 cm.
Inscribed on plate: (upper right corner) “VII”; (lower centre) “Prunier fleuri.”
Lifetime impression (based on the format of the page which suggests that it is from one of the first editions).
Regarding the edition size, Florence F.J.M. Pieters & Diny Winthagen (1999) in “Maria Sibylla Merian, naturalist and artist (1647-1717): a commemoration on the occasion of the 350th anniversity of her birth” (“Archives of Natural History”, 26 ) advise:
“… her books were very rare, editions probably not exceeding 100 copies, and consequently very expensive for scientists — especially the coloured copies: the subscription prices of a coloured versus an uncoloured copy of her book on Surinam insects were 45 and 15 Dutch guilders” (p. 10). Note that “the pay of a Dutch ocean-going sailor came to 9 guilders a month during the entire seventeenth and eighteenth centuries” (ibid). ).
Condition: crisp, near faultless and very well preserved impression (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing), laid upon an archival support sheet of millennium quality washi paper.
I am selling this rare engraving by the first woman artist-naturalist to publish her findings that catapillars—described in Merian’s day one of the "beasts of the devil"—were not "’born of mud’ by spontaneous generation” (see https://en.wikipedia.org/wiki/Maria_Sibylla_Merian), but that they were a stage in the metamorphoses of the butterfly, for the total cost of AU$257 (currently US$173.87/EUR156.92/GBP143.06 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).
If you are interested in purchasing this lifetime impression of one of the first coloured botanical studies ever published—mindful that the colours were chosen for their accuracy and that the artist recorded the plants from which pigments could be derived at a time when the guild system disallowed women from painting in oils (see Wikipedia about this artist)—please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
This print has been sold