Gallery of prints for sale

Sunday, 3 July 2022

Albrecht Altdorfer’s woodcut, “The Flagellation of Christ”, c1513

Albrecht Altdorfer (1482/5–1538)

“The Flagellation of Christ” (aka “Flagellation” [TIB] “La Flagellation” [Bartsch]; “Geseling van Christus” [Rijksmuseum]), c1513 (c1506–1538), twenty-third plate from the series of forty prints, “Fall and Redemption of Man” (aka “De val en verlossing van de mensheid”; “The Fall and Salvation of Mankind Through the Life and Passion of Christ”).

Woodcut on fine laid paper, trimmed with a narrow margin around the image borderline.

Size: (sheet) 7.4 x 5.1 cm; (image borderline) 7.2 x 4.8 cm.

Signed in plate with the artist’s monogram at lower right on column: “AA”.

Lifetime impression based on the quality of line showing very few signs of wear to the printing plate.

TIB 14(8).23(74) (Robert A Koch 1980, “The Illustrated Bartsch: Early German Masters”, vol., 14, New York, Abaris Books, p. 129, cat. no. 23 [74]); New Hollstein (German) w.23 (Ursula Mielke [comp.] 1997, “The New Hollstein: German Engravings, Etchings and Woodcuts 1400–1700: Albrecht and Erhard Altdorfer”, Rotterdam, Sound and Vision Interactive, p. 106, cat. no. w.23); Dodgson 23 (Campbell Dodgson 1911, “Catalogue of Early German and Flemish Woodcuts Preserved in the Department of Prints and Drawings of the British Museum”, vol. 2, London, British Museum, p. 225, cat. no. 23).

The British Museum offers the following description of this print: “The Flagellation; Christ tied to a column at r, two henchmen beating him with scourges. c.1513/
Woodcut” (https://www.britishmuseum.org/collection/object/P_1895-0122-330).

See also the description of this print offered by the Rijksmuseum and the MET: http://hdl.handle.net/10934/RM0001.COLLECT.30749 and https://www.metmuseum.org/art/collection/search/429640.

Condition: a richly inked and well-printed impression, trimmed with a narrow margin around the image borderline. Beyond remnants of hinges verso and minor areas of thinning, the sheet is in an excellent condition with no tears, holes, folds, losses, stains or foxing.

I am selling this small woodcut that is a superb lifetime impression (based on the quality of the line showing few signs of wear to the printing plate) by one of the Nuremberg Little Masters (Kleinmeister) for AU$516 in total (currently US$351.23/EUR336.60/GBP290.47 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 tiny woodcut masterwork from the Renaissance, I will send you a PayPal invoice to make the payment easy.

This print has been sold 










Saturday, 2 July 2022

Franz Edmund Weirotter’s etching, “Stone Sarcophagus and Ancient Architectural Fragments”, 1767

Franz Edmund Weirotter (aka Franz Edmund Weyrotter) (1733–1771)

Stone Sarcophagus and Ancient Architectural Fragments” (aka “Steinsarkophag und antike Architekturbruchstűcke”), 1767, plate 2 from the series, “Fifth Series of Different Regions of Old Buildings consists of 24 Sheets” (aka “Fűnfte Folge von Unterschiedlichen Gegenden Alter Gebäude bestehand in 24 Blat”).

Etching on laid paper trimmed around the image borderline with narrow margins.

Size: (sheet) 6.8 x 17.8 cm; (image borderline) 6.6 x 17.6 cm.

Numbered in plate outside the image borderline: (left) “2”.

State i (of i); possibly a lifetime impression (based on the quality of line showing no sign of wear to the printing plate).

Winterberg 175 (Thilo Winterberg 1998, “Franz Edmund Weirotter, der Landschaftsradierer”, Heidelberg, Galeria Palatina, p. 376, cat. no. 175).

Thilo Winterberg (1998) offers the following description of this print: (transl.) “In the left part of the picture there is a rough antique stone sarcophagus next to the fragments of different parts of the building in the middle of the picture. On the right in the foreground two men are sitting on a block of rock and are talking. On the right edge in the distance, you can see a round temple” (p. 376).

Note that the British Museum describes the two men in the foreground at right as “shepherds” (see https://www.britishmuseum.org/collection/object/P_1854-1020-951), but to my eyes, the figures look like infantry men as the left figure has a plumed hat and the right figure seems to be holding a spear with a tasselled point rather than a shepherd’s crook.  

Condition: a richly inked and well-printed impression showing no sign of wear to the printing plate, trimmed unevenly around the image borderline with small margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this very fine impression in near faultless condition executed by one of the major Austrian printmakers of 18th century, for the total cost of AU$232 (currently US$158.18/EUR151.71/GBP130.69 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 romantic vision of ancient ruins—note the memento mori (Latin for "Remember that you must die”) symbolism posed by the overgrown massive stone sarcophagus at left and its possible link to the figures (soldiers?) at right—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Unidentified French Orientalist’s two drawings of figures, c1830


Unidentified French Orientalist from the circle of Eugène Delacroix (1798–1863) working in the area of Morocco and Algeria in the early 1800s—note that the dealer/collector from whom I purchased these drawings advised me that they were executed c1830.

(left) “Bearded Man in a Djellaba Holding Prayer Beads and a Staff”, c1830, pencil and watercolour on wove paper backed with a support sheet, 18 x 12.2 cm.

(right) “Berber Musician Playing the Traditional Flute (Taghanimt)”, c1830, pencil and watercolour heightened with white gouache on tan wove paper backed with a support sheet, 18.5 x 11.2 cm.

Condition: both sheets are in an excellent condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling and laid upon separate sheets of millennium quality washi paper providing wide margins.

I am selling this pair of skilfully executed pencil and watercolour studies for the total price of AU$446 for the pair (currently US$304.08/EUR291.65/GBP251.25 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 these very beautiful drawings, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Friday, 1 July 2022

Louis Joseph Masquelier’s etching, “Monument à la Gloire du Roi et de la France”, c1775, after Louis Touzé


Louis Joseph Masquelier (the elder) (1741–1811)

“Monument à la Gloire du Roi et de la France”, c1775, plate 2 after the design by Jacques Louis Touzé (1747–1807), published in 1775 as a fold-out illustration to Charles-François de Lubersac de Livron’s (1730–1804) “Discours sur les Monumens publics de tous les âges et de tous les peuples connus” (Discourse on the Public Monuments of all Ages and All Known Peoples), in Paris by J.G. Clousier (fl.1773–1775). The lettered text advises that the portrayed monument was dedicated and presented to King Louis XVI (and France) by the Abbot of Lubersac, Abbot of Noirlac and Prior of Brive.

Etching with engraving on laid paper trimmed unevenly around the image borderline with flattened folds and backed with a support sheet.

Size: (sheet) 60.4 x 33.7 cm; (image borderline) 55.5 x 30.8 cm.

Lettered in plate below the image borderline: (centre) “MONUMENT À LA GLOIRE DU ROI LOUIS XVI ET DE LA FRANCE./ PAR M. L’ABBÉ DE LUBERSAC VĨC. GEAL. DE NARBONNE, ABBÉ DE NOIRLAC ET PR. DE BRIVE./ ESQUISSE AU PREMIER TRAIT.”; (right): “L J Masquelier aqua forti”

Paris Musées offer a description of this print: https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/monument-a-la-gloire-du-roi-et-de-la-france#infos-principales.

Condition: a strong and well-printed impression trimmed unevenly around the platemark on the bottom and sides and along the image borderline at top. The sheet has significant flattened folds and surface marks and has been laid upon an archival support sheet of millennium quality washi paper.

I am selling this large etching of a monument dedicated to Louis XVI and the glory of France for the total price of AU$246 (currently US$167.36/EUR160.08/GBP138.13 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 grand scale etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.









Thursday, 30 June 2022

Matthäus Merian I’s etching, “Swedish Fireworks. Year 1650”, 1650

Matthäus Merian I (Matthaeus Merian) (1593–1650)

“Swedish Fireworks. Year 1650" (aka "Schwedischen Feuerwerks. Anno 1650."), 1650, plate 41 (?) from a series of what I understand were 104 plates illustrating events in the Thirty Years' War (1618–48)—a hideous war that arguably claimed up to 8 million lives and possibly 50% of the population in some areas of Germany—published by Matthäus Merian the elder and his sons (Matthäus the Younger and Caspar) in Frankfurt in the 21 volumes of “Theatrum Europaeum" (European Theatre). See details of the publication (including this print) in Sotheby’s Auctions, 2021, Books and Manuscripts, Lot 16: https://www.sothebys.com/en/buy/auction/2021/livres-et-manuscrits-3/recueil-factice-de-104-gravures-la-plupart-tirees.

Etching on laid paper with small margins around the plate mark and replenished losses at lower right, backed with a support sheet.

Size: (sheet) 30.2 x 39.5 cm; (plate) 26.3 x 37.9 cm; (image borderline) 26 x 37.5 cm.

Lettered in plate: (on banderole at top centre) “Schwedischen Feuerwerks. Anno 1650.”; (on inset square at lower right and above the portrayed columns at right of centre) “CR/ CGP VIVAT”.

Staatlichen Kunstbibliothek 2835 (Staatliche Kunstbibliothek [Fwd: Hermann Schmitz] 1939, “Katalog der Ornamentstichsammlung der Staatlichen Kunstbibliothek, Berlin”, Berlin, Verlag für kunstwissenschaft, p. 366, cat. no. 2835).

Condition: a well-printed but lightly abraded impression with replenished losses at lower right corner and other minor restorations. The published centre-fold is flattened and the sheet has been laid upon an archival support sheet of millennium quality washi paper.

I am selling this wonderful and eye-catching etching featuring a display of what the title advises are "Schwedischen Feuerwerks” (Swedish fireworks) that enlivened the sky above the firing range that was west of Nuremburg in 1650—note a partial view of the city in the distance—for the total price of AU$322 (currently US$221.74/EUR212.31/GBP182.68 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 amazing and rare etching—note the Discordia figure (personifying the chaos of the fireworks) that is shown above the display screen in the middle distance and which is presented again as an enlarged detail at lower-right—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed another print by Matthäus Merian I, “The Battle of Rain am Lech”, 1632, from the same series and is currently still available: https://www.printsandprinciples.com/2021/06/matthaus-merian-is-engraving-battle-of.html.