Samuel Colman, “Amalfi, Italy”, 1880

Samuel Colman (1832–1920)—American painter (linked with the Hudson River School) and printmaker

“Amalfi, Italy”, 1880, an etching possibly related to the sketchbook page, “Sketches from Amalfi, Italy”, featured by OMNIA (Smithsonian Design Museum) showing a very similar view in reverse: https://www.omnia.ie/index.php?navigation_function=2&navigation_item=190bbc7bf584e7f4da198b16c932b22a&repid=2.

Etching with plate tone printed in a warm black ink on laid paper.

Size: (sheet) 29.2 x 22 cm; (platemark) 16.8 x 11 cm; (image borderline) 14.8 x 9.6 cm.

Inscribed in plate with the artist’s monogram (lower-left corner) “[ligature initials] SC”.

See the brief description of this print offered by the National Gallery of Art (Washington DC): https://www.nga.gov/collection/art-object-page.182500.html.

Interestingly, Sylvester Rosa Koehler (1837–1900)—the first curator of prints at the Museum of Fine Arts, Boston—in his 1880 review of a group of nine prints by Colman (including this etching) proposes: “It may unhesitatingly be affirmed that Mr. Colman’s plates are among the most interesting of the works so far produced by the etchers of America” (“The American Art Review, 1880”, Vol 1, pp. 387–88 [https://archive.org/details/sim_american-art-review_1880_1/page/n522/mode/1up]).

Condition: a richly inked and well-printed (near faultless) impression. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this insightfully composed etching by an artist who was so concerned about his compositions that I understand he destroyed most of his earlier plates and only kept a select few that he considered were his best which he monogrammed with his interlaced initials, “SC”—as shown here in the lower-left corner of the image—for the total cost of AU$241 (currently US$163.86/EUR149.34/GBP124.80 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$241) as this is my currency.

If you are interested in purchasing this very rare etching—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

David Lucas, “A Sea Beach”, 1830, after John Constable

David Lucas (1802–1881)

“A Sea Beach” (aka “A Seabeach” [as titled in the plate]), 1830, mezzotint after an oil sketch dated c.1824 by John Constable (1776–1837), from a series of mezzotints published by John Constable, described by the Victoria & Albert (V&A) Museum as “one of the most important series of mezzotints ever to be published”, “English Landscape” (aka “Various Subjects of English Landscape, Characteristic of English Scenery, from Pictures Painted by John Constable, R.A.”); see a description of this series offered by the V&A: https://collections.vam.ac.uk/item/O1357423/a-seabeach-print-constable-john-ra/.

Note that this impression is from the rare first edition published by John Constable in 1830 (as lettered in plate below the title) before the more common Bohn edition published in 1855.

Mezzotint on laid paper, trimmed along the platemark and backed with a support sheet.

Size: (sheet) 18.9 x 25.3 cm; (image borderline) 14 x 22 cm.

Lettered in plate below the image borderline: (left) “Painted by John Constable.”; (centre) “A SEABEACH./London Pub^d. by M^r. Constable. 35. Charlotte S^t. Fitzroy Square.1830.”; (right) Engraved by David Lucas.”

Condition: a strong and near faultless impression in a near pristine condition with no tears, holes, folds, abrasions or significant stains, trimmed along the platemark and laid onto a support of archival (millennium quality) washi paper.

I am selling this masterwork of mezzotint that the V&A explains was designed by Constable (along with the other 21 mezzotints in the series) “to highlight nature’s guiding principle of chiaroscuro showing the influence of light and shadow upon landscape” (op. cit.), for AU$346 in total (currently US$236.81/EUR214.6/GBP180.05 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$346) as this is my currency.

If you are interested in purchasing this rare and important mezzotint, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

“Sphinx of Giza”, c.1900

Unidentified lithographer

“Sphinx of Giza”, c.1900, colour lithograph signed in the plate (I have not been able to decipher the name) on wove paper backed with a support sheet providing wide margins. Sadly, I have been unable to find any publication details about this subtly beautiful and large(ish) lithograph that is not held in any of the major museum collections or showcased on the art market—extraordinary for such an amazing and memorable image!

Size: (sheet) 24 x 31 cm.

Condition: beyond a mark on the lower edge which may be a part of the image the sheet is in a near pristine condition, laid onto a support of archival (millennium quality) washi paper with no tears, holes, folds, abrasions or significant stains.

I am selling this rare and exceptionally atmospheric portrayal of the Great Sphinx illuminated in either the first rays of morning light or the last traces of evening light, for the total cost of AU$255 (currently US$175.29/EUR158.72/GBP133.03 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$255) as this is my currency.

If you are interested in purchasing this sensitively executed lithograph—a true “breath on glass” representation of the Sphinx in a dust storm—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Nicolaes Berchem, “Three Horses”, c.1679/80

Nicolaes Berchem (aka Nicolaes Pietersz. Berrighem; Niclas Berghem; Claes Berighem) (1621/22–1683)

“Three Horses” (aka “Group of Horses” [TIB title]; “Drie Paarden”; “Les Chevaux”), c.1679/80, plate 2 from the series of six plates showing different animals, “Dieren” (aka “Animals”; “Set of the Animals” [Hollstein title 13–18]).

Pieter Biesboer et al. (2006) explains that this print “belongs to a four-part series of animals after drawings made around 1679” (p. 156). Biesboer also advises in the same commentary note: “The design for this etching is in Paris (Musée du Louvre, Rothschild Collection; Stefes 1997, no. 17)”. Moreover, the “reclining horse is a recurring motif in Berchem’s work” (ibid.).

Etching on laid paper (with a partial watermark) with full margins and binding holes in the left margin. The image has been lightly inscribed with a squared grid in sanguine chalk and pencil numbers by a past collector—possibly for copying the design.

Size: (sheet) 22.8 x 29.2 cm; (platemark) 12 x 17 cm.

Inscribed in plate along the lower edge: (centre) “cum Privilegio”; (right of centre) “[artist’s ligature monogram] NB.”; (right corner) “2”.

State iii (of iii) with the addition of the artist’s monogram (“NB”).

TIB 7.14 (Otto Naumann 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 7, New York, Abaris Books, p. 60, cat. no. 14); Hollstein Dutch 14.III.

See also: Pieter Biesboer et al. 2006, “Nicolaes Berchem: In the Light of Italy”, Haarlem, Ludion, p. 156, cat. no. P87.

The British Museum offers the following description of this print: “Two standing horses, one with its head on the back of the other, and a recumbent horse in the foreground, a goat between them, a shepherd to the left, a tree to the right; from a series of six prints showing different animals” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-3869).

I am selling this interesting etching showing the original binding holes in the left margin and how the print was used by what may have been an early art student who has lightly gridded the image for copying using sanguine coloured chalk and numbered the squares at right in pencil—for the total cost of AU$304 (currently US$209.99/EUR189.62/GBP158.05 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$304) as this is my currency.

If you are interested in purchasing this sensitively executed and subtly animated etching, 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

Mortimer Menpes, “Dutch Eel Schuyts”, 1889

Mortimer Menpes (aka Mortimer Luddington Menpes) (1855–1938)

“Dutch Eel Schuyts”, 1889, plate 10 from the series of twelve plates, “The Grey River”, published in London by Seeley and Co. Ltd., in 1889 and printed by the artist in a limited edition of 230 impressions. Julie Robinson (2014) advises that “The Grey River” series represents “... views along the River Thames, spanning the area from Westminster to Greenwich” (p. 50). Gary Morgan (2012) notes that the series was exhibited at the Royal Society of Painter-Etchers and Engravers (RE) exhibition, in London in 1890 and, interestingly, the portfolio of the twelve prints were originally sold for “5 guineas per set” (p. 212).

Etching with drypoint and plate-tone printed in brown ink on fine buff-coloured laid paper (with watermark), pencil-signed by the artist and also signed in the plate. A pencil line border has been drawn by a previous collector around the outer edge of the margin.

Size: (sheet) 16.4 x 20.3 cm; (plate) 10.7 x 14.9 cm.

Inscribed in plate: (lower left corner) “Menpes del. et imp.”

Inscribed in pencil below the platemark: (right) “Menpes imp.”

Lifetime impression of the only state.

Morgan 144 (Gary Morgan 2012, “The Etched Works of Mortimer Menpes [1855–1938]”, vol. 1 [“The Early Years, 1855–1900”], Adelaide, Stuart Galleries, p. 214, cat. no. 144).

Condition: a richly inked and sensitively wiped impression. Beyond two wormholes in the margin at right and a pencil line around the edges of the margin, the sheet is in an excellent condition.

I am selling this subtlety nuanced pencil-signed drypoint for AU$504 in total (currently US$348.27/EUR313.23/GBP260.88 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$504) as this is my currency.

If you are interested in purchasing this small gem of a sensitively wiped drypoint and etching—mindful that Menpes explained in 1891 that he sought “to get the tone of my proofs as close to the tone of ivory as possibly” (Morgan [2012], vol. 1., p. 25)—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