Gallery of prints for sale

Thursday, 21 October 2021

Alexandre Calame’s two lithographs, “L'Étude du Paysage: No. 113” and “No. 154”, 1850

Alexandre Calame (aka Alexandre Calam; Alexandre Calamy) (1810–1864)

L'Étude du Paysage: No. 113” and “L'Étude du Paysage: No. 154”, 1850, published and printed in a series of 272 lithographs, “L'Étude du Paysage”, by François Delarue (fl. 1850s–1860s) in Paris and also published in London by Moore, Mc Queen & Co (1816–1956), in the second of two volumes in “Collection de modèles élémentaires et gradués formant un cours complet autographié d'après nature” ([transl.] Collection of elementary and graduated models forming a complete autographed after nature course) in 1850 (see https://digi.ub.uni-heidelberg.de/diglit/calame1850).

Lithographs printed in black ink on heavy wove paper with full margins as published.

Size: (sheet) 26 x 34.9 cm.

Both sheets are signed in the stone by the artist and lettered with publication details: (upper left) “Autographié d'après nature.”; (lower left) “A Calame/ Paris, FRANÇOIS DELARUE, 18, rue J.J. Rousseau.”; (lower centre) “L'ÉTUDE DU PAYSAGE/ par A. Calame”; (lower right) “London, Moore, Mc. Queen & Co., 25 Berners St. Oxf. St.”

Plate 113 is lettered in the stone: (upper right) “No.113”; (lower right) “Imp. Fois Delarue, Paris”.

Plate 154 is lettered in the stone: (upper right) “No.154.”; (lower centre) “Imp. Fois Delarue, 8 rue Larrey, Paris”.

Condition: strong and well-printed impressions with full margins in pristine condition (i.e., there are no tears, holes, folds, abrasions, stains, foxing or signs of handling).

I am selling these very beautiful lithograph landscapes—presumably from around Savoie (the Auvergne-Rhône-Alpes region) or possibly the Swiss Alps—designed as drawing models for students to hone their technical skills, for AU$210 in total for the pair (currently US$156.95/EUR134.96/GBP113.80 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 pair of sensitively rendered scenes where even the shadows are luminous, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Unidentified Japanese painter’s ink drawing, “Jurojin Riding a Celestial Reindeer”, c1850


Unidentified Japanese painter (fl.c1850)

The dealer from whom I purchased this brush drawing advised me that the drawing was part of a collection dated on the original boards to around 1850. This particular brush drawing was initially three individual sheets that were lightly glued together. These sheets have now been laid onto washi paper for support, alignment and to unify the sheets as a whole. Sadly, in the process of laying the sheets onto the support paper, the two chop marks (printed in red) dissolved in the process of gluing and this loss has removed my chance to establish the name of the artist.

Jurojin Riding a Celestial Reindeer” (descriptive title only based on my reading of the subject), c1850, ink drawing on washi paper backed with a support sheet.

Jurojin (寿老人), Japanese Deity of Longevity, is one of the Seven Gods of Fortune (Shichifukujin [七福神]) whose usual mount is a deer. In this scene, however, Jurojin rides an ungulate with the split hooves of a reindeer. I may be wrong, but I assume that the dotted outline of this reindeer, beyond being mimetic strokes suggesting the texture of fur, adds an otherworldly dimension to the reindeer.

Size: (support sheet) 87.2 x 42 cm; (sheet) 65.3 x 30 cm.

Condition: the original glue stains joining the sheets are clearly visible—arguably enhancing rather than detracting from the beauty of the image—and the fine washi paper has the usual naturally occurring “debris”; otherwise, the drawing has no tears, holes, folds or foxing, and has been laid onto a support of archival (millennium quality) washi paper.

I am selling this large brush drawing from the mid-nineteenth century executed by the sensitive and controlled hand of a Japanese master, for the total cost of AU$338 (currently US$253.23/EUR217.43/GBP183.35 at the time of posting 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 serenely beautiful ink brush drawing executed in a time when every piece of paper was valuable, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Wednesday, 20 October 2021

Jan Sadeler I’s engraving, “Saint Dorothea”, c1585, after Maarten de Vos

Jan Sadeler I (aka Johann Sadeler; Johannes Sadeler) (1550–1600)

“Saint Dorothea” (aka “Heilige Dorothea”; “Saint Dorothy” [TIB title]), c1585 (1584–1587), plate 9 from the series of eighteen engravings of female saints martyred for refusing to marry, “Spectulum Pudicitae” (aka “The Mirror of Modesty”), after  a lost drawing by Maarten de Vos (aka Marten de Vos; Maerten de Vos) (1532–1603), published by Jan Sadeler I. Note that Isabelle de Ramaix (2001) in TIB, vol. 70, Part 2 (Supplement) lists this series in the category of “Johan Sadeler I Fecit”, but advises that beyond “The Virgin of Sorrows” which is signed as “scalpsit” by Jan Sadeler I, “The others [in the series] may have been engraved by a member of his [Sadeler’s] family or by Jacob Kempeneer, his apprentice” (p.120, cat. no. [7001].312–.329).

Engraving on laid paper trimmed with a narrow margin around the platemark and backed with a support sheet.

Size: (sheet) 19.4 x 13.8 cm: (plate) 19 x 13.5 cm; (image borderline) 17.5 x 12.8 cm.

Inscribed in plate within the image borderline: (lower left corner) “Sadler excud./ M. de Vos figura.”

Lettered in two lines of Latin text below the image borderline: “DOROTHEA idolis quia Sacra offerre negabat,/ Offertur Summo victima grata Deo.”

State i (of i) Lifetime impression (based on the quality of the line showing no sign of wear to the printing plate).

TIB 7001. 328 (Isabelle de Ramaix 2001, “The Illustrated Bartsch”, vol. 70, Part 2 [Supplement], New York, Abaris Books, p. 135, cat. no. [7001].321); Hollstein 353 (Dieuwke de Hoop Scheffer [comp.] 1980, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Aegidius Sadeler to Raphael Sadeler II: text”, vol. 21, Amsterdam, Van Gendt & Co, cat. no. 350); Hollstein (Vos) 955 (Christiaan Schuckman [comp.] 1996, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Maarten de Vos: text”, vol. 44, Rotterdam, Sound and Vision Rijksprentenkabinet, p. 205, cat. no. 955); Edquist 96a (p. 156).

The British Museum offers the following description of this print:

“St Dorothea, seated with fruit on her lap, a sword beside her and holding the palm of martyrdom, with in the background a scene of her execution; after Maarten de Vos Engraving” (https://www.britishmuseum.org/collection/object/P_1871-0429-461).

See also the description offered by the Rijksmuseum:  http://hdl.handle.net/10934/RM0001.COLLECT.168526).

Condition: a strong and well-printed impression trimmed with a thread margin around the platemark and laid onto a support of archival (millennium quality) washi paper. Beyond a replenished hole in the lower right margin, the sheet is in a very good condition for its considerable age with no significant stains or foxing.

I am selling this superb impression of a sensitively executed and very beautiful engraving by one of the most famous of the Flemish old masters, for AU$370 (currently US$276.96/EUR237.93/GBP200.94 at the time of posting this print) including Express Mail (EMS) 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 small masterwork of engraving showing the patron saint of brewers, brides, newlyweds, florists, midwives and gardeners (see https://en.wikipedia.org/wiki/Dorothea_of_Caesarea), 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











Monday, 18 October 2021

Jan Luyken’s etching, “Gideon Defeats the Medianites”, 1708

Jan Luyken (aka Johannes Luyken; Jan Luijken) (1649–1712)

“Gideon Defeats the Medianites” (aka “Gidion verslaat de Medianiten”; “Gedéon défait les Madianites” [titles inscribed in Dutch and French in the plate]), 1708, plate 27, from a series of sixty-two Old and New Testament biblical prints first published by Pieter Mortier (1661–1711) in 1708 in Amsterdam in “Icones Biblicae Veteris et Novi Testamenti”. This impression is from the 1732 edition published in Amsterdam by Jan Covens (1697–1774) and Corneille Mortier (fl.1688–c1743) in “Histoire les plus Remarquables de l'Ancien et du Nouveau Testament” (Most notable stories from the Old and New Testaments).

Etching on fine laid paper with small margins

Size: (sheet) 36.5 x 47.8 cm; (plate) 33.7 x 43.6 cm; (image borderline) 32.1 x 42.5 cm.

Lettered on plate below the image borderline: (left) “Edit. à J. Cóvens et C. Mortier.”; (left of centre) “.Gidion verslaat de Medianiten. Judicum VIII.v.19”; (righr of centret) “Gedéon défait les Madianites. Juges VII.v.19.”; (right) “Johannes Luyken In. et Fecit./ 27.”

State ii (of ii)

Van Eeghen 3713 (Pieter van Eeghen & Johan Philip van der Kellen 1905, “Het werk van Jan en Casper Luyken”, Amsterdam, Frederik Muller & Co., vol. 2, p. 662, cat. no. 3713 [https://archive.org/details/gri_33125001866108/page/n293/mode/2up]).

Van Eeghen (1905) offers the following description of this print: (Transl.) “The Midianites encamped in a plain are startled in the night by the three small bands of Gideon, which appear on the hills with their torches, and flee in disorder” (p. 662).

See also the description of this print offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.337022

For those unfamiliar with the portrayed Biblical scene, the following three verses of Judges 7:19-21 (New International Version) may be helpful:

19 Gideon and the hundred men with him reached the edge of the camp at the beginning of the middle watch, just after they had changed the guard. They blew their trumpets and broke the jars that were in their hands. 20 The three companies blew the trumpets and smashed the jars. Grasping the torches in their left hands and holding in their right hands the trumpets they were to blow, they shouted, “A sword for the Lord and for Gideon!” 21 While each man held his position around the camp, all the Midianites ran, crying out as they fled.”

(https://www.biblegateway.com/passage/?search=Judges%207%3A19-25&version=NIV).

Condition: richly inked and well-printed impression with flattened centre-fold and small margins around the platemark. There are remnants of previous mounting on the upper edges (recto), otherwise, the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this extraordinary and large etching showing the Medianite army fleeing into the night after having been startled by trumpets blaring, blazing torches and pots being smashed—note the shards of pitchers on the hillock at left—for AU$284 (currently US$211.60/EUR181.64/GBP153.71 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 amazing etching of epic proportions—a print that is so "packed to the rafters” with incidents that it can only be fully appreciated by slow examination—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











Johannes Visscher’s engraving with etching, “Aurora”, c1670, after Nicolaes Berchem

Johannes Visscher (aka Jan de Visscher) (1633/4–1712)

“Aurora” (aka “Ochtend”; “Dawn”), c1670 (16451701), plate 1 from the series of four plates by Visscher (Hollstein 1–4), “Times of Day” (aka “De vier delen van de dag”; “The Four Parts of the Day”), after Nicolaes Berchem (aka Nicolaes Pietersz. Berchem; Nicolaes Berchen; Niclas Berghem; Claes Berighem; Nicolaes Pietersz.Berrighem) (1621/2–1683), published by Justus Danckertsz (aka Justus Danckerts; Justus Danckers; Justus Dankerts) (1635–1701).

Engraving and etching on laid paper trimmed unevenly with a small margin around the image borderline, with partial loss of the text lines below the image borderline (viz. the title and Visscher’s name), backed with a support sheet.

Size: (sheet) 31.4 x 37.9 cm; (image borderline) 30.1 x 36.9 cm.

Lettered in plate below the image borderline: (left) “Berghem inventor.”; (right) “Justus Danckerts Excudit."

State ii (of ii).

Hollstein Dutch 1-II(2) (Christiaan Schuckman [comp.] 1992, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Johannes Visscher to Robert van Voerst”, vol XLI, Roosendaal, Koninklijke Van Poll, p. 8, cat. no. 1 [II]).

The British Museum offers the following description of this print:

“Dawn; a peasant saddles his donkey with a bell around its neck with a horned cow standing nearby; at left a blacksmith struggles to put a shoe on the hind foot of a donkey watched by a peasant woman carrying her child; after Nicolaes Berchem” (https://www.britishmuseum.org/collection/object/P_1870-0709-256 &

https://www.britishmuseum.org/collection/object/P_1839-0413-263).

See also the description of this print offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.319641.

Condition: a strong and well-printed impression with small margins around the image borderline and loss of some of the text lines. The sheet has been laid onto a support of archival (millennium quality) washi paper. There are fractures/small tears to the lower edge of the sheet, otherwise the sheet is in a good condition for its considerable age with no significant stains.

I am selling this large engraving (with etching) showing a fascinating view of rural life during the Dutch Golden Age—note for example, how the child on the far left plays with a spinning top; how an untethered donkey is shod or has its hoof scraped; how a donkey is saddled with a bell around its neck—for the total cost of AU$294 (currently US$218.30/EUR188.08/GBP158.75 at the time of posting 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 finely rendered light dappled scene, 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