Gallery of prints for sale

Tuesday, 16 August 2022

Robert Strange’s engraving with etching, “Charles I and the Duke of Hamilton”, 1782, after Van Dyck


Robert Strange (aka Sir Robert Strange) (1721–1792)

“Charles I and the Duke of Hamilton”, 1782, after the painting, “Charles I at the Hunt” (aka “Le Roi à la Chasse”), c1635, (collection of the Louvre) by Anthony van Dyck (aka Anthoni [Ridder] van Dijck; Anthony van Dijck; Antoon van Dijk; Anton van Dyck) (1599–1641) (see https://en.wikipedia.org/wiki/Charles_I_at_the_Hunt; see also the preparatory study “squared for transfer” held by the British Museum: https://www.britishmuseum.org/collection/object/P_1861-0112-97 ).

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

Size: (support sheet) 69.5 x 51.6 cm; (sheet)  63 x 47.3 cm; (image borderline) 58.5 x 45.5 cm.

Lettered in plate below the image borderline: (left) “Antonius Vandiick Eques pinxit.”; (centre with abraded text) “Carolo Imo. MAGNÆ BRITANNIAE REGI, &c./ [Jaco]bus Hamiltonius, Marchio ab Hamilton, [S]acri [S]tabuli Comes, adstat./ [E Ta]bula Antonii Vandiick Equitis, [8 pedes et 9 digitos alta, 6 pedes et 10] digitos lata, in Pinacotheca Regis Christianissimi conservata.”; (right) “Robertus Strange delint. atque sculpsit A.D. 1782.”

State iii (of iii) with the addition of the text.

LeBlanc 45 (Charles Le Blanc 1888, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, vol. 3, Paris, p. 604, cat. no. 45).

The British Museum offers the following description of this print: “Charles I standing in profile, one hand on his hip on a hill overlooking a river with a ship sailing, and the Duke of Hamilton behind him, under a tree, with one hand on the mane of the king's horse; after Van Dyck. 1782” (https://www.britishmuseum.org/collection/object/P_S-1-12).

Condition: a strong impression but with many restorations for abrasions and small tears, trimmed around the platemark and laid upon a support sheet of archival (millennium quality) washi paper.

I am selling this famous engraving after Van Dyck’s masterwork showing Charles I of England (1600–1649) in civilian clothing with his page attending to the King’s horse—interestingly, Wikipedia points out that the “page is Charles' picture-buying agent”—for the total cost of AU$517 (currently US$368.34/EUR356.66/GBP303.44 at the time of posting this print) including postage and handling to anywhere in the world, but no (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this large masterwork of engraving (with etching), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Monday, 15 August 2022

Charles Maldant’s etching, “Une Rue a Chalon-Sur-Saone", 1906

Charles Maldant (1836-1915)

“Une Rue a Chalon-Sur-Saone", 1906, published in “Revue de l’Art ancient et moderne” (1906), printed by Ch. Wittmann (fl. 1891–1907) in Paris.

According to the article accompanying this etching when it was published in 1906 in the “Revue de l’Art ancient et moderne”, 1906, Maldant was a somewhat unknown artist who lived a provincial life around Savigny-lès-Beaune in the Côte-d'Or without seeking the limelight of Paris (see https://fr.wikisource.org/wiki/Page:Revue_de_l%27art_ancien_et_moderne,_juillet_1906.djvu/117). Although largely self-taught, Maldant’s experience of using a reed pen and Indian ink for drawing seems clear in the bold patterning of darks in this etching.

Etching with plate tone on laid paper (watermarked “CH WITTMANN”) with full margins as published.

Size: (sheet) 29.3 x 22.1 cm; (plate) 21.1 x 14.7 cm; (image borderline) 18.1 x 11.2 cm.

Inscribed in plate within the image borderline along the lower edge: (left) “C. M.”; (right) “Chalon S/ Saone”.

Lettered in plate below the image borderline: (centre) “imp. Ch. Wittmann”.

Condition: a strong and well-printed (near flawless) impression in near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this marvellous etching capturing the bold pattern of shadows in the beautiful timber-framed houses of Chalon-sur-Saône in France, for the total cost of AU$186 (currently US$131.43/EUR128.40/GBP108.59 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 remarkable etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Sunday, 14 August 2022

Nicolaes Berchem’s etching, “Cows”, c1679

Nicolaes Berchem (aka Nicolaes Pietersz. Berchem; Nicolaes Berchen; Niclas Berghem; Claes Berighem; Nicolaes Pietersz.Berrighem) (1624–1683)

“Cows” (aka “Les vâches” [Bartsch title]; “Staande en liggende koe met schapen en koe die gemolken wordt” [Rijksmuseum title]; “Standing and lying cow with sheep and cow being milked”), c1679 (based on the life dates of the publisher), plate 1 from a series of six plates showing various animals, “Dieren”, published by Nicolaes Visscher I (aka Claes Claesz Visscher; Nicolaas Visscher) (1618–1679) with privilege by the States General (Belgium Federation).

Etching on fine laid paper with a small margin around the platemark.

Size: (sheet) 13.1 x 18.4 cm: (plate) 12.2 x 17.3 cm.

Lettered in plate along the lower edge: “Delin: et: Sculpt: per N: Berchem et in lucem edit: per Nicolaus Visscher cum Privil: Ordin. general: Belgii Fæderat./ 1”.

State iii (of iii) with the addition of the artist’s name and publication details.

TIB 7(5).13(264) (Otto Naumann 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 7, New York, Abaris Books, p. 59, cat. no. 13 [ 264]); Hollstein 13.

The British Museum offers the following description of this print: “A standing cow seen almost in profile with body facing left and a resting cow seen from the front with head turned to the right, surrounded by sheep and other cows; from a series of six prints showing different animals” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-3867).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.38015.

For those interested in the origins of names, I have always believed the old story that Nicholaes Berchem had acquired his name from the cries of his mates who yelled, “Berg hem! Berg hem!” (Save him! Save him!), when Nicolaes was trying to escape the wrath and a beating from his father—the famous still-life painter, Pieter Claesz. Although I still love this story, the truth may be much less colourful, as Michael Prodger (2020) explains: “Berchem is the name of his father’s home town” (see “The greats outdoors: How Nicolaes Berchem offered vistas of a golden Arcadia …” [https://www.newstatesman.com/uncategorized/2020/05/greats-outdoors-how-nicolaes-berchem-offered-vistas-golden-arcadia]).

Condition: a richly inked and well-printed (near faultless) impression with a small margin (approx. 5mm) around the platemark. The sheet is in a museum quality (near pristine) condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this truly superb impression by one of the best known of the Dutch Golden Age artists of pastoral scenes, for the total cost of AU$278 (currently US$198.06/EUR193.09/GBP163.17 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 sensitively executed and subtly animated etching—note the marvellous way that Berchem has captured the cow on the left chewing its cud and the cow in the distance happily mooing—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 










Saturday, 13 August 2022

Chiquet’s etching and engraving, “Renommée”, c1900, after Louis-Ernest Barrias

Eugène Marie Louis Chiquet (1863–1942)

Renommée”, c1900, after Louis-Ernest Barrias’(1841–1905) silver and ivory statuette, “La Renommée”, c1890 (given to Victor Hugo but destroyed in a fire) with editioned copies by the foundry, Susse Frères (fl. 1839–1970s), in 1896, published in Paris in “La Revue de L'Art Ancien et Moderne”.

Etching and engraving printed in two colours (ochre and blue-black) on cream wove paper with full margins as published.

Size: (sheet) 28.9 x 21.2 cm; (plate) 22.6 x 16 cm.

Lettered in plate along the lower edge: (left) “E. Barrias inv./ Revue de l’Art ancient et moderne”; (centre) “RENOMMÉE/ Statuette en argent et ivoire”; (right) “Eug. Chiquet sc.”

Condition: a strong impression with full margins as published. Beyond minor toning to the edges the sheet is in near pristine condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this exceptionally fine colour etching showing Louis-Ernest Barrias’ statuette of the personification of fame that the sculptor gave to Victor Hugo (now destroyed in a fire), for the total cost of AU$247 (currently US$175.98/EUR171.56/GBP144.97 at the time of posting this print) including postage and handling to anywhere in the world, but no (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this remarkable etching—note the delicacy of the printer’s touch to merge the two colours and (importantly) to wipe away the residue colour from the surface of the plate so that the impression would be perfect—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, 12 August 2022

Eugène Bléry’s etching, “L'Arbre enché par un temps d'orage”, 1837


Eugène Bléry (aka Alexandre Stanislas Eugène Bléry) (1805–1887)

“L'Arbre enché par un temps d'orage” (The Tree Leaning in Stormy Weather), 1837.

Etching on wove paper, trimmed with a small margin around the image borderline and backed with a support sheet.

Size: (support sheet) 34 x 30.8 cm; (sheet) 11.4 x 14.4 cm; (image borderline) 10.5 x 13.6 cm.

Le Blanc 10 (Charles Le Blanc 1854, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, vol. 1, Paris, p. 359, cat. no. 10); Beraldi 224 (214–295 [10]) (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. II, Paris, Librairie L. Conquet, pp. 129–130, cat. no. 214–195, no. 10; see https://archive.org/details/lesgraveursdu19e02berauoft/page/130/mode/1up).

Le Blanc offers the following description of this print: (transl.) “10. The Tree Leaning in Stormy Weather… above a stone, an oak [tree] leans over a pond; on the left, a chalet and deep in the trees in the shade; covered sky” (p. 359).

Condition: a richly inked impression with minor staining and laid upon a support sheet of archival (millennium quality) washi paper to provide wide margins.

I am selling this dark and moody etching showing a tree eerily lit in a thunderstorm, for the total cost of AU$294 (currently US$209.16/EUR203.05/GBP172.05 at the time of posting this print) including postage and handling to anywhere in the world, but no (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this small and nuggety gem of landscape etching rarely seen on the art market, 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