Gallery of prints for sale

Saturday, 30 April 2022

Jan Luyken’s etching, “The Conversion of St Paul”, 1708 (2nd impression)


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

“The Conversion of St Paul” (aka “La Conversion de Saint Paul”; “Paulus Bekeering” [titles inscribed in French and Dutch on plate]; “St. Paul on Road to Damascus”), 1708, plate 58 from a series of sixty-two Old and New Testament biblical prints first published by Pieter Mortier (1661–1711) in 1708. This impression is from either the 1729 or the 1743 edition published by Jan Covens (1697–1774) and Corneille Mortier (fl.1688–c1743) in “Biblia Sacra, dat is, de H. Schriftuer van het Oude, en het Nieuwe Testament, naer de laetste Roomsche keure der gemeine Latijnsche overzettinge, in nederduitsch vertaeld (...)”. (Note that this information is based on another dealer’s description selling the same print from the later 1743 edition: https://www.1stdibs.com/furniture/wall-decorations/prints/antique-bible-print-conversion-paul-j-luyken-1743/id-f_9329201/.)

Etching on fine laid paper with wide margins and flattened centrefold.

Size: (sheet) 49 x 56.9 cm; (plate) 34.3 x 44.3 cm; (image borderline) 32.9 x 43.4 cm.

Lettered on plate below the image borderline: (left) “Edit. à J. Covens et C. Mortier.”; (left of centre) “Paulus Bekeering. Handeling: IX.v: 4.”; (right of centre) “La Conversion de Saint Paul. Actes [sic] IX. vs: 4.”; (right) “Johannes Luyken Inv. et Fecit./ 58.”

State ii (of ii) with the change of publisher from Pieter Mortier I to his son, Corneille Mortier and Corneille’s brother-in-law, Jan Covens, and the erasure of the privilege. Lifetime/early impression (based on the crisp quality of the lines showing no sign of wear to the printing plate).

Van Eeghen 3740 (Pieter van Eeghen & Johan Philip van der Kellen 1905, “Het werk van Jan en Casper Luyken”, Amsterdam, Frederik Muller & Co., vol. 2, p. 665, cat. no. 3740).

This publication is available for online viewing or free download at archive.org (note that the page numbering is challenging and the URL below may be helpful):

https://archive.org/details/gri_33125001866108/page/n295/mode/2up (see cat. no. 3740).

Condition: richly inked and well-printed, near faultless impression with generously wide margins and with the centre-fold of publication flattened. The sheet in near pristine/museum quality condition.

I am selling this museum-quality etching in an exceptionally fine state of preservation for AU$281 (currently US$198.57/EUR188.25/GBP157.97 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 spectacular etching portraying an unworldly blinding light—note how Luyken convincingly suggests a blazing spiritual light by strong tonal contrast and by contrast between the mechanically straight lines of the shafts of light with the organic curves of the silhouetted tree at left and the turmoil of fragmented curves of the soldiers below—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This is the second impression of this huge etching that I have listed. The previously listed copy has been sold.

This print has been sold 










Christian Wilhelm Ernst Dietrich’s etching, “The Hermit on the Bridge”, 1744


Christian Wilhelm Ernst Dietrich (aka Christian Wilhelm Ernst Dietricy) (1712–1774)

“The Hermit on the Bridge” (aka “Der Einsiedler auf der Brücke”; “Landschap met kerk en links een kluizenaar op de brug”; “Landscape with a Church Amid Trees on a Mound and a Wooden bridge”), 1744, after a pen and black ink drawing by the artist in the collection of the British Museum (see https://www.britishmuseum.org/collection/object/P_1854-1020-320). Not that the British Museum does not appear to hold a copy of this etching. 

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

Size: (sheet) 16 x 19.7 cm; (plate) 15.3 x 19 cm.

State iii (of v) with the reworked fir trees in the abyss and rock at right added by Dietrich in 1764 and with the mottled toning to the sky above the bridge added by Adrian Zingg (1734–1816), but before the addition of the number “54” at upper right corner. Alternatively, this impression may be from state v with the number erased, but this is unlikely as there are still traces of the borderline on the right which is no longer visible in state iv (see Linck [1846] pp. 238–240).

Linck 146 (J F Linck 1846, “Monographie der von dem vormals K. Poln. und Churfürstl. Sächs. Hofmaler und Professor etc. C. W. E. Dietrich radirten, geschabten und in Holz geschnittenen . Abrisse der Lebensgeschichte des Künstlers”, Berlin, pp. 238–240, cat. no. 146).

The Rijksmuseum offers descriptions of this print in its first and second states: (state i) http://hdl.handle.net/10934/RM0001.COLLECT.105704; & (state ii) http://hdl.handle.net/10934/RM0001.COLLECT.105705.

Condition: a richly inked and well-printed impression trimmed with a narrow margin around the platemark and laid onto a support of archival (millennium quality) washi paper. There are replenished losses to the margin, otherwise the sheet is in a very good condition with no stains or foxing.

I am selling this curiously interesting etching—note the unusual composition with the vertical alignment of the foreground fir tree and distant bell tower, and what I see as a stylistic leaning to the sparkling landscapes of Allaert van Everdingen (1621–1675)—for AU$215 in total (currently US$151.93/EUR144.03/GBP120.87 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 portrayed sundrenched landscape with a distant hermitage (according to J F Linck [1846]) and a monk with a cane crossing a bridge above a waterfall by an artist who is famous for his considerable skill in referencing the styles of earlier artists—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Friday, 29 April 2022

Albrecht Altdorfer’s woodcut, “Death of the Virgin”, c1513

Albrecht Altdorfer (1482/5–1538)

“Death of the Virgin” (aka “Le Trépas de la Vierge”; “Dood van Maria”), c1513, thirty-eighth 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, first state/lifetime impression (before damages to the borderline on the left and right sides), trimmed with a narrow margin around the image borderline.

Size: (sheet) 7.6 x 5 cm; (image borderline) 7.3 x 4.8 cm.

Signed in plate with with the artist’s monogram at upper-left corner: “AA”.

Lifetime impression. State i (of iii) before damage to the borderline on the left and right sides (compare with state ii impression held by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.30766).

TIB 14(8).38(75) (Robert A Koch 1980, “The Illustrated Bartsch: Early German Masters”, vol., 14, New York, Abaris Books, p. 144, cat. no. 38 [75]); New Hollstein (German) w.38 (Ursula Mielke [comp.] 1997, “The new Hollstein: German Engravings, Etchings and Woodcuts 1400–1700: Albrecht and Erhard Altdorfer”, Rotterdam, Sound and Vision Interactive, p. 109, cat. no. w.38); Dodgson 38 (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. 38).

The British Museum offers the following description of this print: “Death of the Virgin; seated Virgin holding candle, surrounded by apostles. c.1513/ Woodcut” (https://www.britishmuseum.org/collection/object/P_1895-0122-345).

Condition: a richly inked and well-printed (near faultless) impression, trimmed with a narrow margin around the image borderline. Beyond remnants of hinges verso, the sheet is in an excellent condition with no tears, holes, folds, losses, abrasions, stains, foxing or significant signs of handling.

I am selling this small woodcut that is a superb lifetime impression (based on the quality of the line showing no sign of wear to the printing plate and none of the later breaks/damages to the border line) by one of the Nuremberg Little Masters (Kleinmeister) for AU$516 in total (currently US$369.16/EUR350.45/GBP295.07 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










Thursday, 28 April 2022

Narcisse Diaz de la Peña’s lithograph, “Woman with Two Lovers and a Matchmaker”, 1844


Narcisse Diaz de la Peña (aka Narcisse Virgile Diaz de la Peña; Narcisse Virgile Diaz) (1807–1876)

“Woman with Two Lovers and a Matchmaker” (aka “Vrouw met twee minnaars en een koppelaarster”; “Les Fous Amoureux”), 1844, published in Paris by Leon Curmer (aka Henri-Leon Curmer) (1801–1870) in “Les Beaux-Arts”, vol. 3, 1844, and printed by Victor Jacques Bertauts (fl.1830s–1880).

Lithograph printed in black on warm gey chine collé on wove paper with the publisher’s blindstamp at lower right and backed with a support sheet.

Size: (sheet) 30.4 x 22.7 cm; (image borderline) 20.2 x 15.2 cm.

Signed in the stone within the image borderline: (lower left corner) “N. Diaz”.

Lettered in the stone above the image borderline: (centre); “DIAZ”.

Lettered in the stone below the image borderline: (left) “Diaz lith.”; (centre) “Les fous amoureux.”; (right) “Imp. Betauts.”

Blindstamped below the image borderline: (right) “L. CURMER/49/rue Richelieu” (not in Lugt).

IFF 2 (Département des Estampes 1930–, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale, vol., 6, p. 568, cat. no. 2); Beraldi [unnumbered] (Henri Béraldi 1889, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. 5, Paris, Conquet, p. 225).

The British Museum offers the following description of this print: “In the foreground, in a wooded scene, a man and woman seated, the man kissing her hand while she looks towards another figure (the same man?) just beyond, whose outstretched arm is restrained by an older woman wearing a cowl who holds a bleeding stump in her free hand./ Lithograph” (https://www.britishmuseum.org/collection/object/P_1886-1012-241).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.105489.

Condition: a strong and well-printed impression in excellent condition with no tears, holes, folds, abrasions, stains or foxing and laid onto a support of archival (millennium quality) washi paper.

I am selling this romantic lithograph showing a a moonlight tryst between two love-smitten young men and a young woman interrupted by a matchmaker who restrains the ardent advance of one of the men with her right hand while holding what the British Museum tells me is “a bleeding stump in her free hand” (see BM inv. no. 1886,1012.241)—a graphic warning that Goya would no doubt have loved if this detail were more easily seen—for AU$252 in total (currently US$179.45/EUR170.37/GBP143.09 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 wonderfully inventive lithograph of romance and symbolism by an artist closely connected to the Barbizon School—note that scene may well be set in the forest of Fontainebleau and the fractured glimpse of what is happening in the moonlight is arguably a step towards the Impressionists' fascination with effects of light—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.









Wednesday, 27 April 2022

Jost Amman’s woodcut, “The Fowler”, 1568


Jost Amman (aka Jost Ammon) (1539–1591)

The Fowler” (aka “Auceps. Der Vogler”), 1568, from the series of 133 woodcut illustrations to Hartmann Schopper’s (1542–c1595) “Panoplia Omnium illiberalium mechanicarum aut sedentariarum artium ...” (aka “Book of Trades”), published by  Sigmund Feierabend (aka Sigmund Feyerabend; Sigismund Feyrabend) (1528–1590) in 1568 in Frankfurt am Main.  

Jane S Peters ([ed]. TIB 20, Part 2 [1985]) offers the following translation of the lenthy title of the publication in which this woodcut features: “A Panoply of all practical, mechanical or sedentary trades which were ever devised by the ancients or by various men of our time, briefly and clearly set forth. This constitutes the first book of poems which is then made useful and pleasurable to read through a marvelously varied supply of newly invented topics and terms. Also included are the most elegant illustrations providing the reader with a vivid picture of the activity of all the artisans, the like of which has heretofore never been seen or published. By Hartmann Schopper of Nuremberg. Published in Frankfurt am Main, 1568.” (p. 667, cat. no. 8 [371]).

Woodcut on fine laid paper trimmed with a narrow margin around the image borderline and backed with a support sheet.

Size: (sheet) 8.3 x 6.5 cm; (image borderline) 7.9 x 6.1 cm.

TIB 20.8.102 (371) (Jane S Peters 1985, “The Illustrated Bartsch: German Masters of the Sixteenth Century”, vol. 20 [Part 2], New York, Abaris Books, p. 693, cat. no. 8.102 [ 371]); New Hollstein (German) 51.102.

The British Museum offers the following description of this print: “One of 133 woodcut book-illustrations, showing an open landscape with a huntsman, on his right side a dog, and on his left hand a falcon, across his shoulders a rifle, in the background a lake with waterfowl” (https://www.britishmuseum.org/collection/object/P_1904-0206-103-101).

Condition: a richly inked and well-printed (near faultless) impression showing no sign of wear to the printing plate suggesting that this is a lifetime/early impression, trimmed with a narrow margin around the borderline and laid onto a support of archival (millennium quality) washi paper providing larger margins. The lower left margin corner is clipped otherwise the sheet is in an excellent condition.

I am selling this superb (museum quality) woodcut showing a hunter with his gun, dog and falcon for AU$288 in total (currently US$206.56/EUR194.35/GBP164.25 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 this marvellous impression—possibly a lifetime impression from 1568 based on the quality of the line showing no sign of wear to the printing plate—by one of the most famous of the old master printmakers, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I would prefer to sell this print with Heinrich Knoefler’s wood engraving, “A Hunter Meeting Saint Wolfgang”, 1866, after Ludwig Seitz (see https://www.printsandprinciples.com/2022/04/heinrich-knoeflers-wood-engraving.html) for the total combined price for the two prints of AU$435 (currently US$311.80/EUR293.56/GBP248.01).

This print has been sold (along with the print by Knoefler)