Jean Cousin, “Funerary Procession of Indigenous Brazilians”, 1558

Attributed to, or from the circle of, Jean Cousin the Younger (c. 1525–c. 1595), and/or Jean Goujon (c. 1510–c. 1565/68), and/or Germain Pilon (1535–1590) (see attribution offered by Christie’s Auctions: https://www.christies.com/en/lot/lot-5909342)

“Funerary Procession of Indigenous Brazilians” (descriptive title only), 1558

Technical Details & Condition:

This rare wood-engraving is executed on fine laid paper, trimmed around the image borderline, and backed with a support sheet of archival quality washi paper. It was published in Paris in 1558 by Maurice de La Porte (II) (1490–1558) as an illustration on page 83 of André Thevet’s (1502/16–1590) Les Singularitez de la France antarctique, autrement nommée Amérique: & de plusieurs terres & isles decouvertes de nostre temps. This work chronicles early European observations of the New World and its inhabitants.

The impression is strong and near faultless, with the sheet in pristine condition—free of tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 8.9 x 11.2 cm
• Image borderline: 8.7 x 11 cm

References:

Archive.org offers an online view of this print along with its contextual background in the publication: https://archive.org/details/DELTA54095RES/page/n191/mode/2up.

To give a flavour of the accompanying text describing this detailed wood-engraving, here is an extract (translated):
“The children of the deceased, after a month, will invite their friends to hold some feast and solemnity in his honour. And there they will gather people of various colours, plumage, and other attire in their own style, performing a thousand … ceremonies. I will mention in this place certain birds in this regard, having a similar cry and voice to that of an owl of this country, drawn upon the mournful one: which these Savages hold in such great reverence that one would not dare touch them, saying that by this mournful song these birds weep for the death of their friends: which makes them remember them.” (p. 83)

Price & Shipping:

AU$247 (approximately US$165.38 / €141.07 / £122.84), including worldwide express shipping. Import duties and taxes are the buyer’s responsibility.

If you wish to acquire this extraordinary wood-engraving—an early depiction of indigenous Americans, executed during Michelangelo’s lifetime—please contact me at oz_jim@printsandprinciples.com. I will be happy to send a PayPal invoice for a seamless purchase.

This print has been sold 

Stefano della Bella, “Seated Monkey Facing Right”, c. 1641

Stefano della Bella (1610–1664)

“Seated Monkey Facing Right”, circa 1641

Technical Details & Condition:

Etching on fine laid paper, with a narrow margin around the platemark. The impression is strong and well-printed—a near faultless lifetime impression (based on the quality of the line showing no sign of wear to the printing plate). The sheet is in excellent condition, free from tears, holes, folds, abrasions, or significant stains. This is plate 3 from the series of twenty-five plates (including the title plate), “Diversi Animali” (Various Animals). It is an impression from state iii (of iii), with the publisher’s details for Pierre Mariette I (c. 1603–1657) erased from the former state.

Dimensions:

• Sheet: 8.4 x 10.6 cm
• Plate mark: 8 x 10.4 cm

Plate Lettering:

• Lower left: “3 Stef. della Bella fecit”
• Lower centre: “Cum priuilegio”

References:

• De Vesme/Massar 692 (Alexandre de Vesme, revised by Phyllis Dearborn Massar, 1971, Stefano della Bella: Catalogue Raisonné, New York, Collectors Editions, [text] p. 111, cat. no. 692, [ill.] p. 133).
• The British Museum describes this print in its second state: https://www.britishmuseum.org/collection/object/P_1877-0811-572].

Price & Shipping:

AU$266 (approximately US$178.15 / €151.59/ £132.28), including worldwide express shipping. Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this finely rendered etching of a monkey in profile with two other monkeys in the distance, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

This print has been sold

Gustave Greux, “Heliodorus Expelled from the Temple”, 1882, after Eugène Delacroix

Gustave Greux (also known as Gustave Marie Greux) (1838–1919)
“Heliodorus Expelled from the Temple” (also referred to as “Héliodore chassé du Temple [Fresque dans la Chapelle des Saints Anges à Saint-Sulpice.]”), 1882

Technical Details & Condition:

An etching on fine laid paper with generous margins. This print is after Eugène Delacroix’s (also known as Ferdinand Victor Eugène Delacroix) fresco (oil and wax on plaster), created between 1854 and 1861, located in the Saints-Anges' chapel of the church of Saint-Sulpice in Paris. (See https://commons.wikimedia.org/wiki/File:Eug%C3%A8ne_Delacroix_-_Heliodoros_Driven_from_the_Temple_-_WGA06222.jpg). The etching was printed by François Liénard (active circa 1860s–1880s) and published in Paris in the renowned art periodical L'Art in 1882.

The impression is richly inked and well-printed (near faultless). The sheet is in near pristine condition, free of tears, holes, folds, significant stains, or signs of handling.

Dimensions:

• Sheet: 42.4 x 29.4 cm
• Plate mark: 33 x 23 cm
• Image border: 28.2 x 18.9 cm

Lettering within the plate beneath the image border:

• Left: “Eugène Delacroix pinx./ L’Art.”
• Centre: “HÉLIODORE CHASSÉ DU TEMPLE (Fresque dans la Chapelle des Saints Anges à Saint-Sulpice.)”
• Right: “Gustave Greux sc./ F. Liénard. Imp. Paris.”

References:

• IFF 27 (Jean Adhémar & Jacques Lethève, 1960), Inventaire du Fonds Français après 1800: GAVARRET–GUILLARD, vol. 9, Paris, Bibliothèque Nationale de France, p. 377, cat. no. 27. (See https://gallica.bnf.fr/ark:/12148/bpt6k54892064/f389.item)
• Additionally, see the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1883-0414-38

Price & Shipping:

AU$223 (approximately US$148.85 / €126.68 / £110.47), inclusive of worldwide express shipping. Please note that import duties and taxes are the buyer’s responsibility.

This compelling etching by Gustave Greux, after Eugène Delacroix’s painting, vividly depicts the moment when three angels descend upon Heliodorus—the treasurer of King Seleucus IV, sent to confiscate the Temple’s treasures in Jerusalem. The high priest Onias observes from above with outstretched arms at the veiled entrance to the Ark of the Covenant. One angel guides his steed with his knees while raising a rod of command, and the other angels are caught mid-flight, scourging Heliodorus with a whip.

If you are interested in acquiring this striking and highly detailed etching, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Wijnand Otto Jan Nieuwenkamp, “Arab Quarter in Semarang, Java”, 1915

Wijnand Otto Jan Nieuwenkamp (1874–1950)
“Arab Quarter in Semarang, Java” (also known as “Arabisches Viertel in Semarang auf Java”, “Houses by the Water in Semarang”, and “In de Kampong, Semarang [Indonesia]”), 1915

The scene depicted in Nieuwenkamp’s etching highlights a historically significant part of the port district known as Kampung Melayu in North Semarang, Java, Indonesia. This area has long been inhabited by Arab merchants and traders. Central to the view is the Menara Mosque (Tower Mosque), built in 1802, with its distinctive Hadramaut-style minaret visible on the left. The landscape also features a variety of architectural styles, including a building with a tiered roof on the right, reflecting the diverse cultural influences and centuries of trade that have shaped this vibrant community.

While Nieuwenkamp’s father was involved in the East India trade with his fleet of ships, W.O.J. Nieuwenkamp made his own mark through a different path. Although he is best known as a painter, printmaker, and sculptor, he was also an acclaimed writer, architect, explorer, ethnologist, and collector of East Asian art. Interestingly, in 1931, Nieuwenkamp proposed the “Borobudur Lake Theory,” suggesting that the Kedu Plain was once a lake, with the Borobudur complex envisioned as a lotus flower floating on its surface (see https://en.wikipedia.org/wiki/W._O._J._Nieuwenkamp). This theory remains a fascinating aspect of his legacy in understanding the ancient history of the region.

Technical Details & Condition:

Etching with plate tone printed in brown ink on handmade cream wove paper with full margins and deckle edges as issued. The etching was published in Vienna in 1915 by the Society for Reproductive Art (Gesellschaft für Vervielfältigende Kunst), facing page 8 in The Graphic Arts, volume 38 (XXXVIII), issue 1 (“Die Graphischen Künste, Jahrgang XXXVIII Wien Gesellschaft für Vervielfältigende Kunst 1915 Heft 1”).

This is a strong, near faultless, impression and the sheet is in pristine condition—free of tears, holes, folds, abrasions, stains, or signs of handling.

Dimensions:

• Sheet: 40.4 x 30.5 cm
• Plate mark: 20.5 x 22 cm
• Image Border: 18.6 x 20.1 cm

Letterpress lettering along the lower edge of the sheet:

• Left: “W.O.J. NIEUWENKAMP, ARABISCHES VIERTEL IN SEMARANG AUF JAVA. RADIERUNG.”
• Right: “VERLAG DER GESELLSCHAFT FÜR VERVIELFÄLTIGENDE KUNST, WIEN.”

Reference:

Art of the Print offers a wonderful discussion about this print and the artist: https://www.artoftheprint.com/artistpages/nieuwenkamp_wijnand_otto_jan_arabischesviertelinsemarangaufjava.htm

Price & Shipping:
AU$263 (approximately US$176/ €149.94 / £130.76), inclusive of worldwide express shipping. Please note that import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this historically important visual record of the port district in North Semarang (Java, Indonesia), please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.