Gallery of prints for sale

Monday, 17 January 2022

Adolphe Crauk’s engraving, “La Danse de L’Opéra”, late 1800s, after Jean-Baptiste Carpeaux

Adolphe Crauk (1865–1945)

“La Danse de L’Opéra”, late 1800s, hand-signed by the artist with a dedication written in pencil, after Jean-Baptiste Carpeaux’s (1827–1875) sculpture, “La Danse”, 1868, with the original sculpture now in the Musée d'Orsay and a copy of it executed in 1963 by the sculptor Jean Juge (1898–1968) on the facade of the Palais Garnier (see https://fr.wikipedia.org/wiki/La_Danse_(Carpeaux)).

Note that my attribution of the date (late 1800s) is based on the description by Fine Printed Inc.com of a similar engraving by Adolphe Crauk, “La Vierge A La Pomme”, after Hans Memling (see https://fineprintedinc.com/adolphe-crauk-hans-memling-the-virgin-madonna-with-an-apple-1800s-1119-p.asp) and the certainty that “La Danse de L’Opéra” must have been executed after Carpeaux had completed his sculpture in 1868.

Engraving on wove paper, hand-signed in pencil by the artist with a pencil inscribed dedication to René Padovani(?), trimmed with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 42.5 x 26 cm; (plate) 39.9 x 25 cm; (image borderline) 34.6 x 20.8 cm.

Lettered in plate below the image borderline: (left) “J.B.CARPEAUX SCULPTEUR”; (centre) “LA DANSE DE L’OPÉRA”; (right) “A.CRAUX GRAVEUR”.

Hand-signed in pencil by the artist with a pencil inscribed dedication at lower right.

Condition: a well-printed impression with small margins laid upon an archival support sheet of millennium quality washi paper. There are marks in the margin at lower left, otherwise the sheet is in a good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this large and exquisitely rendered engraving by a somewhat forgotten engraver—note that (surprisingly) none of the major art museums hold a print by this artist—for the total cost of AU$242 (currently US$174.36/EUR152.74/GBP127.48 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 extraordinarily subtle and technically superb engraving—a true tour de force of engraving—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Saturday, 15 January 2022

Richard van Orley’s etching with engraving, “Christ and St Peter Walking on the Water”, c1685

Richard van Orley (1663–1732)

“Christ and St Peter Walking on the Water” (aka “Christ walks on water”; “Christus loopt over het water”), c1685, after the design by Jan van Orley (1665–1735) from the series of twenty-eight prints made by the brothers, Richard and Jan van Orley, “Scenes from the New Testament” (aka “Scènes uit het Nieuwe Testament”). Regarding the series in which this print features, the Rijksmuseum advises that originally “the series would consist of 32 prints; therefore numbers from 1–32 may appear below the prints (see inv. no. RP-P-OB-24.326).

Etching and engraving on laid paper, trimmed with a narrow margin around the image borderline and the text lines and backed with a support sheet.

Size: (sheet) 21.1 x 25.4 cm; (image borderline) 19.4 x 25 cm.

Numbered and lettered in plate below the image borderline: (left) 27/ J.v. orley inventor”; “Domine Salvum me fac, et Continuo Jesus extendens Manum aprehendit eum Math: 14” [(transl.) Lord, save me, and immediately Jesus stretching out his hand takes hold of him (Mathew: 14)]; (right) R.v. orley fecit”.

Hollstein 3–30 (FWH Hollstein 1956, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Meer–Ossenbeeck”, vol. 14, Amsterdam, Menno Hertzberger, p. 191, cat. no. 3–30); Jacobs G49 (Alain Jacobs 2003, “Richard van Orley [Brussel 1663–Brussel 1732]”, exhib. cat., Brussel, Koninklijke Bibliotheek van België, pp. 60–67, cat. no. 35 [G49]).

The Rijksmuseum and the British Museum offer the following descriptions of this print: “The apostles' boat has come into a great storm, and Christ is coming to help them. He walks with Peter on the water. Peter is afraid and clings to Christ's hand. Below the image a Latin verse from Math. 14.” (http://hdl.handle.net/10934/RM0001.COLLECT.159749); “Christ and St Peter walking on the water; Christ at left pulls St Peter by the arm, St Peter's arms are raised, one fisherman on a boat at right, mountains and a castle in the left background
Etching and engraving” (
https://www.britishmuseum.org/collection/object/P_1868-0612-380).

Note that the British Museum holds a cut fragment of this etching rather than the whole image and the Rijksmuseum holds the whole print.

Condition: a well-printed early impression (based on the scratch guidelines for the inscribed text being visible and have not worn away as would be the case with later impressions), trimmed within the platemark on the top and sides and laid upon an archival support sheet of millennium quality washi paper. Beyond minor age toning, the sheet is in very good condition with no tears (?), holes, folds, abrasions, significant stains or foxing.

I am selling this rare and very beautiful etching (with engraving) showing Jesus walking on the sea with the faith-challenged St Peter—note how St Peter’s left foot is slightly submerged in the water as Jesus pulls him to the surface and the very subtle suggestion of a halo around Jesus’ head—for the total cost of AU$286 (currently US$206.22/EUR180.64/GBP150.75 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 amazing etching capturing a scene of turbulent water, sparkling light and drama, 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, 14 January 2022

James McArdell’s mezzotint, “Rubens with his Wife and Child”, c1750, after Rubens

James McArdell (1729–1765)

Rubens with his Wife and Child”, c1750 (1746–1765), after the painting by Peter Paul Rubens (aka Petrus Paulus Rubenius) (1577–1640), “Rubens, Helena Fourment (1614–1673), and Their Son Frans (1633–1678)”, 1635, in the collection of the Metropolitan Museum, New York  (inv.no.1981.238).

The MET offers the following insights about Rubens’ painting that McArdell translated into mezzotint: “The artist, his wife Helena, and one of their sons appear within an idealized version of the garden at Rubens’s mansion in Antwerp, which survives to this day. The leather strap across Rubens’s chest alludes to his right, as a nobleman, to carry a sword, while the rhyming ribbon tied across his son’s chest playfully positions him as his father’s heir. There was a nearly forty-year age gap between Rubens and his second wife, whom contemporaries widely recognized as his muse and model. The juxtaposition of her plump and pearlescent young hand with his ruddy and weathered one emphasizes both their physical disparities and their erotic connection” (https://www.metmuseum.org/art/collection/search/437532?searchField=All&sortBy=Relevance&ft=Rubens+wife&offset=0&rpp=20&pos=1).

Mezzotint on laid paper with a small margin around the platemark.

Size: (sheet) 56.5 X 41.5 cm; (plate) 49.8 x 34.8 cm; (image borderline) 46.3 x 34.7 cm.

Lettered in plate below the image borderline: (left) “ Sr. Peter Paul Rubens pinxt,,” (centre) “Rubens with his Wife and Child/ From the Original in the Collection of His Grace the Duke of Marlborough at Blenheim.”; (right) “ Js,, Mc,, Ardell fecit,”.

State ii (of ii) with lettered publication details.

Goodwin 121 ii/ii; Schneevogt, Rubens 84; Chaloner Smith 159; Corpus Rubenianum XIX 141 (copy 3); Dutuit 52 ii/ii

The British Museum offers the following description of this print: “Triple portrait, after a self-portrait, of the painter standing in garden with his second wife Hélène Fourment and their unnamed young son, all whole-length; Rubens to front, looking at his wife, who is facing the boy as he looks up at her, guiding him by a rein; ornamental arch and fountain behind; published state. Mezzotint” (https://www.britishmuseum.org/collection/object/P_1902-1011-3379).  

See also the description of this print offered by the MET: https://www.metmuseum.org/art/collection/search/771892?searchField=All&sortBy=Relevance&ft=Rubens+wife&offset=0&rpp=20&pos=4.

Condition: a richly inked, well-printed and well-preserved impression (i.e. there are very few/virtually none of the usual abrasions to the delicate surface of the mezzotint) with margins (approx. 3cm). Beyond a few margin nicks and minor handling marks, the sheet is in an excellent condition for its large size and age.

I am selling this superb mezzotint in museum-quality condition showing Rubens’ famous painting of the artist and his family in their garden for the total cost of AU$345 (currently US$248.76/EUR217.91/GBP181.84 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 grand scale mezzotint that it is so extraordinarily rich in eye-catching contrasts that (to my eye) it seems to shimmer with light, 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 












Thursday, 13 January 2022

Paolo Fidanza’s two etchings, “Plate 22: Apollo” and “Plate 23: Calliope”, c1757





Paolo Fidanza (fl.1731–1785)

“Plate 22: Apollo” and “Plate 23: Calliope”, c1757, from the series of twenty-four heads after Raphael’s fresco, “The Parnassus” (c1510) (see https://commons.wikimedia.org/wiki/File:Parnaso_02.jpg) in the Stanza della Segnatura, Vatican. The Royal Collection Trust proposes (see https://www.rct.uk/collection/852467) that the prints may also be plates in the two-volume series of the 180 prints (not all by Fidanza), “Recueil De Têtes Choisies De Personnages Illustres Dans Les Lettres Et Dans Les Armes Exactement Dessinées Et Gravées De La Grandeur Des Originaux Par Paul Fidanza Peintre Romain D'Après Les Peintures De Raphaël D'Urbin Et Autres Grands Maîtres Existantes Au Vatican Et Dans Plusieurs galeries De Rome Ouvrage Contenant CLXXXX” ([Trans.] “Collection Of Selected Heads Of Illustrious Personages In Letters And In Arms Exactly Drawn And Engraved From The Grandeur Of The Originals By Paul Fidanza Roman Painter From The Paintings Of Raphael D'Urbino And Other Great Masters Existing In The Vatican And In Several Galleries Of Rome Book Containing 180 [plates]”), published by Bouchard et Gravier (Giovanni Bouchard and Jean Joseph Gravier) (fl.1750–1789) in Rome in 1785. Note that the dimensions of the sheets of this pair of prints are larger than the published volumes by Buchard et Gravier suggesting that these prints are from the earlier c1757 edition (or certainly a different edition).

Etchings with engraving with pale plate tone on laid paper with wide margins as published.

Size of each print: (sheet) 57.5 x 42.3 cm; (Apollo plate) 39.2 x 29.8 cm; (Calliope plate) 37.7 x 26.9 cm.

Inscribed in plate on “Plate 22: Apollo”: (upper right corner) “Tav. 22.”; (lower edge) “APOLLO, detto anche Febo figlio di Giove, e di Latona. I Poeti lo fanno il Dio della Divinazione, e della Sapienza, e Inventore/ assieme con Esculapio suo figliuolo della Medicina; Rappresentato da Rafaele nel monto Parnaso in mezzo alle nove Muse.”

(Google Transl.) “APOLLO, also called Phoebus son of Jupiter, and of Latona. The Poets make him the God of Divination, and of Wisdom, and Inventor/ together with Aesculapius, his son of Medicine; Represented by Rafaele in the Parnassus mountain in the midst of the nine Muses.”

Inscribed in plate on “Plate 23: Calliope”: (upper right corner) “Tav. 23.”; (lower edge) “CALLIOPE, la prima delle nove Muse, la quale trovo le Lettere, e il verso Eroico, fu figurata da/ Rafaele nel suo Monte Parnaso vicino ad Apollo.”

(Google Transl.) “CALLIOPE, the first of the nine Muses, which I find the Letters, and the Heroic verse, was depicted by / Rafaele in his Mount Parnassus near Apollo.”

Condition: richly inked and well-printed early impressions (based on the linework showing no sign of wear to the printing plates) with generously wide margins (as published) in excellent condition.

I am selling this pair of large etchings in superb condition for their considerable age for the total cost of AU$440 for the pair (currently US$320.51/EUR279.46/GBP233.58 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 grand scale etchings based on figures in Raphael’s fresco, “The Parnassus”, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

These prints have been sold 












Valentine Green’s mezzotint, “Joseph Carreras, in the Common Parlour at Houghton”, 1775

Valentine Green (1739–1813)

“Joseph Carreras, in the Common Parlour at Houghton”, 1775, plate 15 from the series of 129 prints “Houghton Gallery” (vol. 1, featuring 62 plates)—the series showcases paintings that were once in the collection of Sir Robert Walpole at Houghton Hall, Norfolk, but are now in the collection of the Hermitage—after the intermediary drawing by George Farington (1752–1788), after the painting by Sir Godfrey Kneller (aka Gottfried Kniller) (1646–1723), published in London by John Boydell (1719–1804).

Mezzotint printed in warm black ink on laid paper with small margins.

Size: (sheet) 21.6 x 16.7 cm; (plate) 17.6 x 12.7 cm; (image borderline) 15.4 x 12.6 cm.

Lettered in plate below the image borderline: (left) “Sr.Godfrey Kneller Pinxt.,/ G. Farington delint./ F1  F1 ./ Size of the picture 2.4½ by 2.10 in height.”; (centre) “JOSEPH CARRERAS./  In the Common Parlour at Houghton./ Published Novr. 1. 1775 by [crest with motto ‘Fari Quae Sentiat’] Jno. Boydell Engraver in Cheapside London.”; (right) “Val. Green Engraver/ to his Majesty fecit.”

LeBlanc 74; Chaloner Smith 20; Whitman 54

The British Museum offers the following description of this print:

“Portrait, half-length, sitting at a table, writing, turned to left, a leather strap hanging diagonally from left shoulder, bare-headed with shirt collar open, looking across to right; after Kneller. Plate 15 of Vol.1 of the 'Houghton Gallery'. 1775 Mezzotint” (https://www.britishmuseum.org/collection/object/P_Kk-4-17).

The Metropolitan Museum of Art offers the following information regarding Joseph Carreras (fl.1686; died 1732): “a Spanish poet and cleric who served as chaplain to Catherine of Braganza, the dowager queen of Charles II” (https://www.metmuseum.org/art/collection/search/368853).

Condition: a strong and well-printed impression with small margins. There are light surface abrasions and verso has thinness at the corners where the print must once have been hinged, otherwise the sheet is in very good condition with no tears, holes, folds, significant stains or foxing.

I am selling this exquisite small mezzotint of great beauty—my eye is drawn to the velvety jet blacks contrasting with the finely rendered white collar and the subtle tonal transitions rendering the leather strap angled across the figure’s chest—for a total cost of AU$264 (currently US$192.42/EUR168.14/GBP140.28 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 small mezzotint masterwork, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.