Marcantonio Bellavia, “A River God Sitting on His Urn and Holding an Oar in His Left Hand”, c.1670

Marcantonio Bellavia (fl. 1668–1670)

“A River God Sitting on His Urn and Holding an Oar in His Left Hand” (TIB title) (aka “Autre fleuve. Il est assis sur son urne, et tient une rame de la main gauche”; “River God Watching Pan Pursuing Syrinx”), c.1670 (1660–1680), incorrectly inscribed as being after the design by Annibale Carracci (1560–1609). Regarding the inscribed attribution to Annibale Carracci, the British Museum advises: “His plates are all from his own designs, although later publishers added the name of the Carracci to many of them” (https://www.britishmuseum.org/collection/term/BIOG19083).

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

Inscribed in plate: (lower left edge)  “A.c. IN.”; (lower right corner) “\[B]III” (possibly the artist’s initials in reverse [“MB”], but I understand that the artist’s monogram is often “MAB” or “MABI”)

Size: (sheet) 12.6 x 12.1 cm; (plate) 26.5 x 16.8 cm;.

TIB 44.50 (Paolo Bellini & Mark Carter Leach [eds.] 1983, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 44, New York, Abaris Books, p. 54, cat. no. 50).

Condition: a strong and well-printed impression. Beyond remnants of mounting verso, the sheet is in an excellent condition, free of tears, holes, folds, abrasions, or significant stains.

Price & Shipping: AU$366 in total (approximately US$239.65 / €207.61 / £182.19), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you are interested in purchasing this bold etching of a mythological river god watching the attempted seduction of the nymph Syrinx by Pan, 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

Thomas Riley, “Roxana”, 1882

Thomas Riley (1856–1892)

“Roxana,” 1822, commissioned by Philip Gilbert Hamerton (1834–1894) and published in London in 1882 by Seeley & Co (also known as L & G Seeley, fl. 1839–1900s) in the art periodical, “The Portfolio.”

Based on the commentary on page 25 of “The Portfolio” (1882), I understand that at the time Riley created this etching, he was working with the renowned English painter Sir Edward John Poynter (1836–1919), assisting him in painting the figures for the decoration of the Dome of St Paul’s. The subject of this etched portrait is described as “an Indian girl.” Interestingly, the commentary highlights the “leafy background,” suggesting that it “appears to have been suggested by decorative painting,” and noting that such a background “has rarely been attempted in etching” (ibid.).

Etching with plate tone printed in umber ink on cream laid paper (watermark “MBM. PORTFOLIO”) with full margins as published.

Size: (sheet) 34.5 x 23.9 cm; (plate) 26.5 x 23.9 cm; (image borderline)  24.4 x 18 cm.

Inscribed in plate: (lower left corner) “Tho. Riley”.

Condition: a richly inked and well-printed impression. The sheet is in a near pristine condition, free of tears, holes, folds, abrasions, or significant stains.

Price & Shipping: AU$288 in total (approximately US$188.44 / €162.84 / £143.29), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

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

Jean-Baptiste Lucien, “Two Ornamental Vases”, c. 1778, after André-Louis Caillouet

Jean-Baptiste Lucien (c. 1748–1806)

“Two Ornamental Vases” (descriptive title only), c. 1778, plates 2 (left image) and 3 (right image) from the twelfth book of designs after André-Louis Caillouet (fl. c. 1778–1817), published in Paris in 1778 by Jacques François Chereau (1742–1794) in “Principes d'Ornemens: Contenant les Premières Esquisses, Feurons, Chapiteaux, Modillons, Frises, Vases et Autres Parties d'Architecture” (Ornament Principles: Containing the First Sketches, Feurons, Capitals, Modillions, Friezes, Vases and Other Parts of Architecture) and later in 1803 by François Étienne Joubert (fl. 1787–1836) (see the account of this publication offered by the Metropolitan Museum of Art (https://www.metmuseum.org/art/collection/search/712263) and view these prints in the context of the publication offered by archive.org:  ([plate 2] https://archive.org/details/gri_33125010924575/page/n70/mode/2up; [Plate 3] https://archive.org/details/gri_33125010924575/page/n69/mode/2up.

These impressions are from the first edition by Chereau and were published with Royal privilege (“C. P. R.” [Cum Privilegio Regis]).

Soft-ground etchings with stipple roulette in the crayon manner (Manière de crayon) printed in sanguine coloured ink on laid paper trimmed within the platemark with loss of the plate numbers.

Size of plate 2: (sheet) 38.5 x 24.2 cm.

Inscribed in plate: (upper right) “I”.

Inscribed in plate along the lower edge: (left) “Caillouet Del.”; (left of centre) “Chereau Exc.” (right of centre) “C. P. R.”; (right) “Lucien sculp.”

Condition: strong and well-printed lifetime impressions. Beyond minor chips and handling marks, both sheets are in a very good condition with no stains of other significant issues.

Price & Shipping: AU$324 in total for the set of both etchings (approximately US$213.38 / €183.47 / £161.53), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you are interested in purchasing this marvellous pair of crayon-manner etchings designed to showcase principles of ornament, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Cornelis Schut, “Thisbe Mourns the Dying Pyramus”, c. 1636

Cornelis Schut (I) (1597–1655)

“Thisbe Mourns the Dying Pyramus” (aka “Thisbe treurt bij de stervende Pyramus”), c. 1636 (1618–1655), published by Cornelis Schut with privilege.

Etching on fine laid paper trimmed with narrow margins around the platemark.

Size: (sheet) 18.8 x 23.9 cm; (plate) 17.9 x 23.4 cm; (image borderline) 16.3 x 22.6 cm.

Inscribed in plate below the image borderline: (left) “Cornelius Schut inuentor cum privilegio”.

Hollstein Dutch 114 (F W H Hollstein 1982, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700”, vol. 26, Van Gendt & Co, Amsterdam).

The Rijksmuseum offers the following description of this print: (transl.) “At the foot of the fountain, Thisbe throws herself upon the body of the dying Pyramus. In the background walks the lion whose mouth stained Thisbe's veil with blood, thus leading to the misunderstanding” (https://id.rijksmuseum.nl/200253225).

See also the description of the print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1870-0514-1269

Condition: a well-printed impression with thread margins around the plate mark. There is a fine closed tear at upper left and beyond remnants of mounting verso the sheet is in an excellent condition.

Price & Shipping: AU$386 (approximately US$254 / €218.89 / £192.25), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you're interested in this striking print that captures the exuberance of the Flemish High-Baroque style—depicting the tragic story of two Babylonian lovers, Pyramus and Thisbe. The scene shows Thisbe collapsed upon her dead lover after Pyramus, believing she had been killed by the lion in the distance, takes his own life. Please contact me at oz_jim@printsandprinciples.com. I will gladly send you a PayPal invoice to facilitate an easy and secure purchase.

This print has been sold