Saturday, 31 August 2019
Jan Both (aka Jan Dirksz Both) (1618/22–1652)
“Landscape with a Woman on a Donkey” (TIB title) (aka “La femme montée sur le mulet” [Bartsch title]; “Landscape with a woman riding a mule along the Aqua Negro between Bologna and Florence” [Rijksmuseum title transl.), c1644–1652, from the series of four (upright) Italian Landscapes, “Four Vertical Landscapes”.
Etching on laid paper trimmed along the plate mark and backed with a support sheet.
Size: (sheet) 27 x 20.8 cm; (image borderline) 26.5 x 20.5 cm.
Inscribed on plate within the image borderline: (upper right corner) “Both fe”; (lower right corner) “3”.
State ii (of iii) with the addition of the plate number but before the publication details of Theodor Matham (see state i and state iii at the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.38173; http://hdl.handle.net/10934/RM0001.COLLECT.38174).
TIB 7 (5). 1 (205) (Otto Nauman [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 7, New York, Abaris Books, p, 7, cat. no. 1 ); Hollstein Dutch 2.
See also the interesting discussion about this print in “The Ideal Landscape: The Impact and Influence of Dutch Landscape Tradition”:
Condition: richly inked and well-printed impression showing light wear to the printing plate, trimmed along the platemark, in excellent condition (i.e. there are no tears, holes, abrasions, stains, or foxing, but there is a vertical flattened fold line at right), laid onto a support of archival (millennium quality) washi paper.
I am selling this superb and very rare etching of great beauty—perhaps even “drenched in Mediterranean … light”, to borrow the rather poetic turn of phase from Wikipedia (https://en.wikipedia.org/wiki/Jan_Dirksz_Both)—for AU$360 (currently US$242.49/EUR220.59/GBP199.42 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 etching crafted in the manner Claude Lorrain with whom the artist collaborated, but with the added feature of angled hatched strokes to heighten the effect of glowing light, 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, 30 August 2019
Charles Émile Jacque (aka Charles Jacque; Charles Jaque) (1813–1894)
“Le Crépuscule” (Twilight), 1841, after Louis Marvy (aka Louis Maruy) (1815–1850).
Regarding the publication of this print, the British Museum advises that this and another softground etching (with roulette), ”Le Vieux Pauvre”, 1861, were printed on the same sheet (see BM no. 1865,1209.744). This helps to explain the narrow lower margin of “Le Crépuscule” where a previous collector must have separated the two prints
Soft-ground etching, drypoint and roulette on fine wove paper trimmed with small margins around the image borderline and backed with a support sheet.
Size: (sheet) 6.4 x 16.9 cm; (image borderline) 4.7 x 13.5 cm.
Lettered on plate above the image borderline: (centre) “CH. JACQUE.”
Lettered on plate below the image borderline: (left) “Louis Marvy inv.”; (right) “Ch. Jacque sculp.”
Guiffrey 1866 273 (undescribed state) (J-J Guiffrey 1866, “L'Oeuvre de Charles Jacque: catalogue de ses eaux-fortes et pointes seches”, Paris, p. 117, cat. nr. 273); IFF après 1800 6 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris, vol. 11, p. 99, cat. 6).
Guiffrey offers the following description of this print:
(Transl.) “Along a river that flows to the left passes a road on which travels a heavy wagon. On the right, some trees & a smoking chimney. The sky is almost invaded by the night.” (p. 117).
See also the description of this print offered by the Rijksmuseum:
Condition: well-printed impression trimmed with small margins around the image borderline and laid onto a support of archival (millennium quality) washi paper. The sheet is in a very good condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing).
I am selling this darkly glowing and intimately small etching of fading light executed by one of the leading luminaries of the Barbizon School for AU$188 (currently US$126.35/EUR114.46/GBP103.79 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 very poetic and very beautiful etching, please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
This print has been sold
Thursday, 29 August 2019
Camille Corot (aka Jean Baptiste Camille Corot) (1796–1875)
“The Isolated Tower” (La Tour Isolée), 1871, published by Alfred-Ernest Robaut (1830–1909) and printed in an edition of 50 impressions by Lemercier & Cie (fl.1827–1899) in Paris in an unbound suite of twelve autolithographs, “Douze croquis et dessins originaux sur papier autographique par Corot” (Twelve Sketches and Designs by Corot) (1871).
Regarding the small number (50) of impressions in the edition of this print, The Art Gallery of New South Wales, offers the following insight:
“The decision to cap the number of impressions was innovative since at this date the ‘limited edition’ was still far from being a standard practice in the marketing of graphic art. The lithographs – in various tones of black, sepia and reddish brown – were printed on thin, tinted paper bonded to a heavier wove-paper support.”
Transfer lithograph/autolithograph (i.e. a lithograph where the original design is drawn with greasy crayon onto paper which is then transferred to the printing stone) printed in black ink on buff coloured China paper appliqué which has been separated from its original support sheet and is laid upon archival washi paper.
Regarding the lithographic process employed for this print, The Art Gallery of NSW advises:
“Robaut procured sheets of lithographic transfer paper and encouraged Corot to make sketches of the countryside on them. By rendering his impressions on special paper, Corot’s original drawings could be transferred to a lithographic stone by a professional printer at a later date. Transfer lithography (or autographie in French) was ideally suited to Corot’s disposition: it saved him the difficulty of having to work on a heavy and cumbersome limestone block and it afforded him the freedom to sketch in a free- flowing style with a soft crayon, in the studio or in the open air as he pleased” (AGNSW, op.cit.).
Size: (sheet) 22 x 27.8 cm.
Signed in the plate by the artist at lower left.
State i (of i) lifetime impression.
Melot 1981 C 20 (Michel Melot 1981, "Graphic Art of the Pre-Impressionists”, New York, Harry N. Abrams, p. 261, cat. no. 20); Delteil 20 (Loys Delteil Le peintre-graveur illustré (XIX et XX siècles) Corot. privately printed, 5, Paris, 1910, cat. no. 20).
Condition: excellent impression but in poor condition with stains (mainly on the right side) and with many tears and holes/losses to the sheet (mainly in the sky) that have been restored with watercolour infilling. The sheet is laid on a support of archival (millennium quality) washi paper.
I am selling this exceptionally rare lithograph—only fifty were printed—by one of the most famous artists of the nineteenth century for the total cost of AU$680 (currently US$458.41/EUR414.12/GBP375.98 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 remarkable lithograph from the suite of twelve prints described by the AGNSW as being “among the most fleeting and atmospheric renditions of landscape ever committed to stone” (op.cit.), 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
Marcantonio Bellavia (fl.1668–1670)
“Five Children, One of The Playing a Tambourine” (TIB title) (aka “Trois enfants marchant de fil dont l’un joue du tambourin. Deux autres enfans se font remarquer dans le fond à gauche.” [Bartsch title]; “Amoretti”), 1660–1680, plate 32 after Annibale Carracci (1560–1609) (as inscribed on plate, “A.C.IN[vent]”). Originally published by Vincenzo Belli in the early 1700s, this impression was published later in the 1700s in Rome by Venanzio Monaldini (fl.1765–1819) along with 37 other prints by Bellavia in “Different Thoughts etched and carved by Anibale Caracci” (see https://en.wikipedia.org/wiki/Marcantonio_Bellavia)
Note: The British Museum advises: “His plates are all from his own designs, although later publishers added the name of the Carracci to many of them” (https://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=132754). Regarding the inscription on this plate, the BN notes that the inscribed attribution to AC is wrong.
Etching on laid paper with wide margins and backed with a support sheet.
Size: (sheet) 30 x 22.8 cm; (plate) 10 x 10 cm.
Inscribed on plate along lower edge: (left) (with incorrect attribution according to the BM) “A.C. IN.”; (right) “XXXII”.
State ii (of ii) with the addition of the plate number replacing the erased letters “MAF” (for “Marcantonio Bellavia Fecit”).
TIB 41(20). 44(18) (Palao Bellini & Mark Carter Leach [eds.] 1983, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 41, New York, Abaris Books, p. 49, cat. no. 44); Bartsch XX.18.
The Museum of Fine Art in Budapest offers a marvellous collection of prints by Marcantonio Bellavia including this print (see http://printsanddrawings.hu/search/prints/8994/).
Condition: excellent impression with wide margins around the plate-mark and laid on a support of archival (millennium quality) washi paper. The sheet is in good condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing, but there are handling marks/age toning at the margin edges).
I am selling this small etching featuring a lively and noisy procession of amoretti for the total cost of AU$306 (currently US$205.87/EUR185.71/GBP168.73 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 visually engaging scene from the late 1600s, please contact me (email@example.com) and I will send you a PayPal invoice to make the payment easy.
Wednesday, 28 August 2019
(Attrib.) Theodor de Bry (aka Theodorus de Bry; Thedoor de Bry; Dirk de Bry; Dietrich de Bry) (1528–1598)
“Falconer on horseback with blank escutcheon” (descriptive title based on the glove the horseman wears), c1592. The engraving has similarities to the prints featured in De Bry’s emblem book, “Emblemata nobilitati et vulgo scitu digna : singulis historijs symbola adscripta & elegantes versus historiam explica[n]tes : accessit galearu[m] expositio, & disceptatio de origine nobilitatis” (1592), but I have looked through the plates in this publication but could not find this engraving (see https://archive.org/details/emblematanobilit00bryt/page/n257).
Engraving on fine laid paper, trimmed unevenly around the platemark and slightly within the platemark at upper edge, backed with a support sheet.
Size: (sheet) 9.3 x 7.2 cm; (image borderline) 9 x 6.9 cm.
Condition: richly inked and well-printed early impression (based on the crisp line showing no sign of wear to the printing plate) in very good condition, trimmed close to the platemark and laid upon an archival support of (millennium quality) washi paper.
I am selling this small jewel of an engraving in museum quality condition for the total cost of AU$314 (currently US$211.83/EUR190.87/GBP173.53 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 purchasing this remarkably fine masterpiece of early engraving, 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