Gallery of prints for sale

Saturday, 16 November 2019

Kathe Kollwitz's etching, “Mourning Man”, 1919


Kathe Kollwitz (1867–1945)
“Mourning Man” (Trauernder Mann), the left side of the larger composition before the plate was cut, “Memorial to Karl Liebknecht” (Gedenkblatt für Karl Liebknecht), 1919, published posthumously by Johanna and Bernhard von der Becke, Munich (1963–1972).
Soft and hard ground etching, aquatint with plate tone in warm black (umber) ink on cream-coloured wove paper with margins and the “MUENCHEN-22” von der Becke blindstamp at lower right of the impression.
Size: (sheet) 41.5 x 34.9 cm; (plate) 27.8 x 15.8 cm; (image borderline) 27.4 x 15.2 cm.
State v (of v).
Klipstein 1955, no. 137, V.A.b (August Klipstein 1955, “Käthe Kollwitz, Verzeichnis des graphischen Werkes”, Bern, Klipstein & Co, pp. 184–85.)
Madeleine Viljoen offers the following insights about this print in the exhibition catalogue for La Salle University Art Museum’s exhibition, "Graphic Expressions: The Prints of Kathe Kollwitz" (Winter 2006, cat. no. 11):
“Originally part of a larger composition for the Memorial for Karl Liebknecht, which depicted a group of mourners, this print was created when the plate was later cut in half. Karl Liebknecht was one the founders of the Berlin Spartakusbund (Spartacus League) that evolved into the Communist Party of Germany. On January 15, 1919, Liebknecht was shot to death during the Spartacus Revolt on the pretext that he was attempting escape.”
See also the insights about this print offered by Spaightwood Galleries:
Condition: richly inked and near faultless impression with wide margins. There are pencil notations by previous collectors along the lower edge of the sheet, otherwise the sheet is in near pristine condition.
I am selling this visually arresting etching revealing Kollwitz’s creative exploration of combining soft-ground textures with crisp hard-ground lines, for AU$630 (currently US$429.65/EUR388.54/GBP333.08 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 thoughtfully conceived and delicately powerful image, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











(Attrib.) Cherubino Alberti's engraving, plate 4 of “The Triumph of Two Roman Emperors”, c1590


(Attrib.) Cherubino Alberti (aka Borghegiano; Zaccaria Mattia) (1553–1615)
Plate 4 (left panel) to the diptych, “The Triumph of Two Roman Emperors”, c1590 (1563–1615), in reverse after the etching by Cherubino Alberto, after the painted frieze by Polidoro da Caravaggio (aka Polidoro Caldara) (1499–1543) decorating a house facade in the Piazza Madama (see Christopher LCE Witcombe 2004, “Copyright in the Renaissance: Prints and the Privilegio in Sixteenth-Century Venice and Rome”, Leiden, Brill, p. 177).
Note: Bartsch advises that even though the diptych, “The Triumph of Two Roman Emperors”, is the same height as the triptych, “The Rape of the Sabine Women” (see https://www.nga.gov/collection/art-object-page.130285.html) the plates featured in the two prints are not from the same series (see TIB 1982 34[17].160[109]).
Engraving on laid paper, trimmed to the image borderline and backed with a support sheet.
Size: (sheet) 15.8 x 39.3 cm.
Lettered and numbered on plate within the tablet: “POLYDORO CARAVAGIEN CELEBERr. PICTORE DELINEATVM”/4”.
(copy in reverse) TIB 1982 34(17).160(109) (Sebastian Buffa 1982, “The Illustrated Bartsch: Italian Artists of the Sixteenth Century”, vo. 34, New York, Abaris Books, p. 290, cat. no. 160 [109]).
The Fine Art Museums of San Francisco offer the following description of this print:
“Copy of the left half of a diptych showing prisoners and soldiers in a Roman triumphal procession”
Condition: richly inked lifetime impression (based on the clarity of the line showing no sign of wear to the printing plate and with traces of the guidelines for the Latin text), trimmed to the image borderline and in excellent condition. The sheet is laid onto a support of archival (millennium quality) washi paper.
I am selling this magnificent impression of a rare engraving (in reverse to Alberti’s version inscribed with his name) for the total cost of AU$324 (currently US$220.96/EUR199.82/GBP171.30 at the time of this listing) including postage and handling to anywhere in the world.
If you are interested in purchasing this superbly engraved panel, 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











Friday, 15 November 2019

Pietro Aquila (1640–c1700) “Pieta with Saint Mary Magdalene, Saint Francis and Two Angels”, c1650


Pietro Aquila (1640–c1700)
“Pieta with Saint Mary Magdalene, Saint Francis and Two Angels”, c1607–1700, in reverse after the painting by Annibale Carracci (1560–1609), “Pietà with Sts Francis and Mary Magdalen” (1602–1607), in the collection of the Musée du Louvre, Paris (Room 716) (see https://www.wga.hu/html/c/carracci/annibale/2/pieta_s.html).
Etching on laid paper, trimmed with a narrow margin around the image borderline and backed with a support sheet.
Size: (sheet) 48.4 x 33.3 cm; (image borderline) 46.2 x 32.5 cm.
Inscribed on plate within the image borderline: (lower left) “Si Vendono a S. Ignatio da Arnoldo V. Wofterhout” (my reading of this inscription may have errors).
Lettered on plate in three lines of Italian below the image borderline: “”Al. … Lorenzo Bernini/ Se da lungi …Anibale/ Caracci …. Pietro Aquilal”.
M.26 (reference offered by Harvard Art Museums)
See a brief description of this print at the Fogg Museum (Harvard Art Museums):
The following insightful description of the composition is offered by Maggy Krebs (from the website, wefoundlove):
“The subject is the crucified Christ, in repose. His lifeless body draws us to a young face to increase emotion, as He is held by the young Mary. She, while keeping her composure, bears a most solemn expression.
Mary Magdalene is next to her with one hand covering her chest and one hand outstretched, engaging the audience into the scene. On the left, marvelously, is St. Francis, with his arms crossed; nearly twelve centuries would pass before Francis was born, so it is likely that he is portrayed in this scene to confirm the saintly bearing he had attained for his own life’s imitation of Christ. Finally, there are two angels illustrated at the bottom who are weeping. One angel looks out at us, engaging us like Magdalene—to respond and contemplate the subject more deeply. The other takes refuge behind Christ’s right arm. His glare might suggest that price of salvation would be soon forgotten and the pain which humanity has brought to Heaven.”
Condition: a slightly silvery impression (matching the same silvery grey as the impression held by the Fogg Museum (Harvard Art Museums) (https://commons.wikimedia.org/wiki/File:Pietro_Aquila_(after_Annibale_Carracci),.jpg). There is a restored tear in the lower text box, otherwise the sheet is in very good condition for its large size and considerable age. The sheet is laid onto a support of archival (millennium quality) washi paper.
I am selling this sensitively executed, large and rare etching—based on my online research, only the Fogg Museum seems to hold a copy of this print!—for the total cost of AU$360 (currently US$244.52/EUR221.80/GBP189.96 the time of this listing) including postage and handling to anywhere in the world.
If you are interested in this delicately beautiful etching, 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












Wednesday, 13 November 2019

Adolphe Appian’s etching, “Wharf with Sail Boats on the River, Environs de Lyon”, 1879 (2nd impression)


Adolphe Appian (1818–1898)
“Wharf with Sail Boats on the River, Environs de Lyon” (aka “Environs de Lyon [Petite planche]”), 1879.
Note: Appian did two versions of this scene. The other print—“Environs de Lyon (Grande planche)—is larger and is a virtual mirror image of this composition; see the Yale University Collection: https://artgallery.yale.edu/collections/objects/12825
Etching on fine wove paper (Japan) (Note: there are subtle differences between the Oriental papers of the 19th century and earlier. Chinese paper tends to have the imprint of the bamboo screen of its manufacture whereas the Japanese papers at this time did not. At a more fundamental level, however, the Chinese papers were generally thinner than Japanese papers. As this impression is on paper that is smooth, comparatively thick and does not exhibit an imprint of its manufacture I have described it as Japanese.)
Size: (sheet) 14.9 x 23 cm; (plate [faint]) 11.4 x 15.5 cm; (image borderline) 9.1 x 13.8 cm
Signed on the plate at upper left corner: “APPIAN”.
Lifetime impression of the first and only state.
Curtis & Prouté 57i (Atherton Cutiis & Paul Prouté 1968, “Adolphe Appian son Oeuvre Gravé et Lithographié”, Paul Prouté, London, no. 57).
See also the description of this print at the Fine Arts Museums of San Francisco:  https://art.famsf.org/adolphe-appian/wharf-sail-boats-river-environs-de-lyon-19633031017
Condition: a richly inked and faultless museum-quality impression in pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of handling). Note that this is a VERY small print.
Note that this is the second impression that I have listed of this print (the first copy has been sold).
I am selling this small and what I see as a very poetically moody print, typifying the best works of this famous artist closely connected to the Barbizon School, for the combined total cost of AU$290 (currently US$197.21/EUR179.21/GBP153.61at the time of this listing) including postage and handling to anywhere in the world.
If you are interested this bold and romantically beautiful etching, 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











Tuesday, 12 November 2019

Jan Sadeler's engrraving, “Noah Building the Ark”, 1586 (2nd impression)


Jan Sadeler I (aka Johannes Sadeler; Johann Sadeler) (1550–1600)
“Noah Building the Ark” (TIB title) (aka “Construction of the Ark”), 1586, plate 12 from the series, “The Story of the Family of Seth” (aka “Bonorum et Malorum Consensio: The Knowledge of Good and Evil”), after a lost drawing by Maarten de Vos (aka Marten de Vos; Maerten de Vos) (1532–1603), published by Jan Sadeler I in Antwerp.
Engraving on laid paper trimmed along the platemark and backed with a support sheet.
Size: (sheet) 21.7 x 28.6 cm; (plate) 20.4 x 27.1 cm; (image borderline) 19.1 x 27 cm.
Numbered on plate within the image borderline: (top centre edge) “XII”.
Inscribed on plate within the image borderline: (on anvil at lower left) “Sadelerus/ auct; scal”; (centre of lower edge) ‘Genes; cap: 6.”; (lower right) “M. de vos figur:”
Lettered in two columns of two lines on plate below the image borderline: "Nec mora continuo .../ …// …/ …/ … ullis."
State ii (of ii) with the addition of the plate number (XII) at the top edge.
TIB 70. 040 S2 (Isabelle de Ramaix 1999, “The Illustrated Bartsch”, vol. 70, Part 1 [Supplement], Abaris Books, p. 61); Nagler 1835 1835–52m bi, 20; Le Blanc, no. 40; Wurzbach, no. 9.12; Hollstein 1980, vol. 21, no. 40; Edquist, p. 14, no. 18b; Ramaix 1992, no. 29.
The British Museum offers the following description of this print:
“Construction of the Ark. Noah and another man saws a log before the skeletal superstructure of the Ark; a youth inside the boat hammers nails into the planks”
See also the description of this print at the Rijksmuseum:
Condition: richly inked and well-printed impression in excellent condition (i.e. there are no tears, folds, holes, abrasions, significant stains or foxing). The sheet is trimmed with a small margin (approx 7 mm) around the platemark.
Note that this is the second impression that I have listed of this print (the first copy has been sold).
I am selling this graphically strong and beautifully executed engraving by one of the most famous of the Flemish old masters for AU$306 (currently US$209.52/EUR190.20/GBP163.10 at the time of posting this print) 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 masterwork of engraving displaying technical excellence and a solid knowledge of perspective and rendering forms, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.