Lucien Marcelin Gautier, “Les Chantiers du Pharo, à Marseille”, 1883 (2nd copy)

Lucien Marcelin Gautier (1850–1925)

“Les Chantiers du Pharo, à Marseille” (Pharo Construction Sites in Marseille), 1883, from the series of fifteen etchings, “Vues de Marseille” (Beraldi 17–31), printed by François Liénard (fl.c. 1860s–80s) and published in Paris in the art periodical, “L’Art”.

Etching on laid paper with partial watermark (Ingres d’Arches) and full margins as published.

Size: (sheet) 29.2 x 42.6 cm; (approx./soft platemark) 24.9? x 40? cm; (image borderline) 19.8 x 37.3 cm.

Lettered in plate below the image borderline: (left) “L’Art.”; (centre) “Lucien Gautier, del. et sculp./ LES CHANTIERS DU PHARO, À MARSEILLE.”; (right) “F. Liénard, Imp.”

Beraldi 28 (Henri Beraldi 1887, “Les graveurs du 19e siècle; guide de l'amateur d'estampes modernes”, vol. 6, Paris, L Conquet, p. 251, cat. no. 28).

Condition: a strong and well-printed impression in an excellent (near pristine) condition with no tears, holes, folds, abrasions or significant stains. There are remnants of mounting verso.

I am selling this magnificent and large etching showing ship-building in the port of Marseille in the quarter of the city known as Pharo—note the gleaming white limestone Phare de Sainte Marie lighthouse in the distance that had been opened only 28 years before Gautier made this etching, but is now inactive—for AU$293 (approximately US$189.41, EUR 166.37 or GBP 140.02), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this very revealing view of wooden ship construction in the late nineteenth century, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Conrad Faber von Kreuznach, “Cornelius Scipio forming an alliance with the King of Numidia, Masinissa”, 1530

Conrad Faber von Kreuznach (aka Konrad Faber von Creuznach; [formerly] “Master of the Holzhausen Portraits”) (1495–1558)

“Cornelius Scipio forming an alliance with the King of Numidia, Masinissa”, 1530, woodcut illustration with German text (recto and verso) to pages 164 and 165 (verso shows page CLXIIII [164]) published in 1533 in Mainz in the German edition of the Roman Historian, Livy’s (aka Titus Livius) (59/64 BC–17 AD) “Römische Historien” (Roman Histories), edited by Johannes Schoeffer (c1475–1531), and translated from Latin by Bernhard Schöfferlin (c1436–1501) and Ivo Wittich (1456–1507) with contributions by Nicolaus Carbach (aka Nicolaum Carbachium) (1485–c1534) and Jakob Micyllus (aka Jacobum Micyllum) (1503–1558).

Note that the title I’ve given to this woodcut is descriptive only and based on my reading (with mistakes) of the German Fraktur text above the woodcut: “Wie Cornelius Scipio durch sein vernunssc vnnd cugendt/ bewegt Masinissam den Fonig Numidie / vnnd Siphacem den tonig Affrice/ Das sie fich zu den Romern inn freuntschafft vnd bundtnus begaben.” Transl. “Just as Cornelius Scipio, through his reason and virtue, persuaded Masinissam, the king of Numidia, and Siphacem, the powerful Affrica, to enter into friendship and alliance with the Romans.”

I understand that the scene shows the Roman general, Cornelius Scipio (aka Scipio Africanus) making an alliance of the Numidian kings with Rome during the Second Punic War.

Archive.org offers an online view of the later 1538 edition of this publication with the woodcut illustrating an event featuring Hannibal on page CCLXXX (280); see https://archive.org/details/gri_33125011080492/page/n583/mode/2up.  

Woodcut with letterpress German text recto and verso on fine laid paper with full margins as published and with ink annotations in the margin (verso) by an old hand.

Size: (sheet) 30.6 x 19.7 cm; (image borderline) 14.5 x 14.8 cm.

Condition: a strong and well-printed (near faultless) lifetime impression (based on the quality of the printed line showing no sign of wear to the printing plate). Beyond the early ink inscriptions verso, the sheet is in an excellent condition for its considerable age with no tears, folds, abrasions or significant stains.

I am selling this superb leaf with a Renaissance period woodcut for AU$308 (approximately US$199.28, EUR 174 or GBP 147.36), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this superb leaf featuring a large woodcut of extraordinary quality—note that the image is very likely to be a composite of four plates—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

Marco Pitteri, “St Paul”, 1742, after Giovanni Battista Piazzetta

Marco Pitteri (aka Marco Alvise Pitteri; Giovanni Marco Pitteri) (1702–1786)—famous for developing “an original method of engraving (not etching), using parallel lines, which are thickened at regular intervals along their length with more deeply engraved sections” (see https://www.britishmuseum.org/collection/term/BIOG42160)

“St Paul” (aka “Sanctus Paulus”), 1742, from the series “The Holy Family and Apostles”, after the painting by Giovanni Battista Piazzetta (aka Giambattista Piazzetta) (1682–1754) (see https://www.kollerauktionen.ch/en/337441-0001-1196-GIOVANNI-BATTISTA-PIAZZETTA.-H-1196_493349.html).

Engraving on fine laid paper trimmed within the platemark with loss of text below the image borderline and backed with a support sheet.

Size: (sheet) 10.4 x 7.8 cm.

Ravà 109 (Aldo Ravà 1922, “Marco Pitteri: Incisore Veneziano”, Florence, p. 21, cat. no. 109).

Note that the Rijksmuseum offers descriptions of two versions of this print: the larger version, Ravà 108: https://id.rijksmuseum.nl/200244630 and the smaller version, that I am showcasing, Ravà 109: https://id.rijksmuseum.nl/200244636.

See also the description of the larger version offered by Maria Agnese Chiari Moretto Wiel (ed.) 1966, “L’eredità di Piazzetta: volti e figure nell’incisione del Settecento”, exh. cat. Palazzo Ducale, Venice, p. 28, cat. no. 28.

Condition: a strong and well-printed impression trimmed within the platemark (with loss of the text lines) and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet has no tears, holes, abrasions or stains.

I am selling this superb engraving executed in Pitteri’s remarkable technique of employing parallel lines interrupted with “dots”—somewhat like knots in string—to render form in dramatic light, for AU$329 (approximately US$212.45, EUR 186.85, or GBP 157.48), including express mail shipping worldwide.  Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this jewel of an engraving that despite its somewhat diminutive size is arguably one of Pitteri's masterpieces” (see Maria Agnese Chiari Moretto Wiel [1966], p. 28), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Tancrède Abraham, “Wetlands of Anjou”, 1868

Tancrède Abraham (1836–1895)

“Wetlands of Anjou”—the marsh at Anjou in the lower Loire valley, north-western France (my apologies if this information is incorrect, but the proposed site of the scene was given to me by the art dealer from whom I purchased the print and the etching is so rare that I have been unable to find other impressions of it or descriptions in the standard catalogues of Abraham's work by Beraldi and the IFF), 1868.

Etching wove paper with small margins around the image borderline, flattened gate-folds of publication and backed with a support sheet.

Size: (sheet) 25.1 x 35.5 cm; (image borderline) 22 x 34.7 cm.

Inscribed in plate within the image borderline: (lower right edge) “T. ABRAHAM PINXIT [et?] SCVL/ 1868”.

For catalogue references, see Henri Beraldi 1885, “Les Graveurs du XIX Siecle”, Paris, Librairie L. Conquet, vol. 1, pp. 11–12 (https://archive.org/details/lesgraveursdu19e01berauoft/page/10/mode/2up]) and Jean Laran 1930-33, “Inventaire du Fonds Français après 1800: Abbéma–Beaumontr”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 1, pp. 21–22 (https://gallica.bnf.fr/ark:/12148/bpt6k54886103/f25.item).

Condition: a richly inked and well-printed impression with small margins around the image borderline and laid onto a support of archival (millennium quality) washi paper providing wide margins. Beyond the flattened gate-fold of publication, the sheet is in an excellent condition with no tears, holes, abrasions or significant stains.

I am selling this remarkably strong etching of light fading on a herdsman and his cow in the wetlands of Anjou (north-western France) for AU$239 (approximately US$153.77, EUR 135.47, or GBP 114.28), including express mail shipping worldwide.  Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this marvellously etching rich in tonal contrast and detail, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.