Johann Jakob Frey the Elder, “St Romuald”, c. 1720, after Andrea Sacchi

Johann Jakob Frey the Elder (1681–1752)— Swiss-born printmaker active in Rome

“St Romuald”, circa 1720

Background insights:

The portrayed scene features St Romuald of Ravenna (circa 950–1027)—founder of the Camaldolese monastic order—seated in a white habit beneath a tree at the right, recounting his vision to five fellow monks with an upward gesture. His hand points toward the background scene of monks ascending a ladder to heaven.

The print is based on a painting, now in the Pinacoteca Vaticana, by the Roman Baroque painter Andrea Sacchi (circa 1599–1661). It bears an in-plate dedication from Frey to (in translation) “the most Reverend Father Dom Clement Reginald Archibuserius, the most vigilant Abbot General of the entire Camaldolese Order.”

Interestingly, G.K. Nagler (1837) in his catalogue of Frey’s graphic works offers the following comment about this print (in translation): “This was Frey’s favourite piece, known as ‘The White Monk.’” Nagler also notes that: “Jakob Frey drew with greater nobility and accuracy than the majority of his compatriots and possessed great painterly qualities; he etched skilfully in a disciplined style—which he reinforced with burin work—and was the most distinguished engraver … of his time.”

Technical Details & Condition:

Engraving and etching on heavy laid paper with a flattened centrefold.

The impression is strong and crisp, revealing no wear to the printing plate. Aside from minor tears in the upper margin and minor surface dustiness, the sheet remains in good condition for its large size and age with no holes or significant stains.

Dimensions:

• Sheet: 68.7 x 43.9 cm
• Platemark: 64.8 x 35.4 cm
• Image borderline: 58.4 x 33.7 cm

In-Plate Lettering (below the image):

• Right: “Andreas Sacchus pinx.”
• Centre: “Rev^mo: Pri D. Clementi Reginaldo Archibuserio. / totius Camaldulensis Ordinis Abbati Gererali vigilantifsimo. / obsequentif: ^mi animi monumentum D. D. D.  Jac: Freÿ.”
• Right: “I: Freÿ del: et Sculp: Ro[m]æ”

References:

• Nagler 486 (G.K. Nagler, “Neues allgemeines Künstler-Lexicon,” vol. 4, 1837, p. 486)
• The British Museum: Museum Number 1850,0823.8 — https://www.britishmuseum.org/collection/object/P_1850-0823-8

Price & Shipping:

AU$296 (approximately US$207.97 / €182.41 / £156.92, subject to daily exchange rates). Price includes worldwide express shipping. Please note that destination import duties and local taxes remain the sole responsibility of the buyer.

If you’re interested in acquiring this large in finely executed etching with engraving, please contact me directly at oz_jim@printsandprinciples.com. I will gladly provide a secure PayPal invoice for a seamless purchase.

Samuel Colman, “The Lakeside”, 1882

Samuel Colman (1832–1920) — Celebrated for his expansive landscapes within the Hudson River School, Colman was also a pioneering figure in the American Etching Revival.

“The Lakeside”, 1882

Note: This print complements a previously listed etchings of Amalfi from 1880, also by Colman — see https://www.printsandprinciples.com/2026/08/samuel-colman-amalfi-harbour-1881.html and https://www.printsandprinciples.com/2024/10/samuel-colman-amalfi-italy-1880.html

Technical Details & Condition:

Etching printed in rich brown ink with delicate atmospheric plate tone on cream laid paper, featuring full, uncut margins as issued.

It is a flawless, strong, and exceptionally clean impression of museum quality. The sheet remains in near-pristine condition, entirely free of tears, holes, folds, handling marks, or stains.

Provenance:

This etching was created for the landmark fine art anthology Poets and Etchers, published in Boston by James R. Osgood and Co. (1882). It is one of four distinct landscape contributions by Colman appearing alongside works by major revival printmakers A.F. Bellows, Henry Farrer, R. Swain Gifford, and J.D. Smillie.

Dimensions:

• Sheet: 22.1 x 29.2 cm
• Platemark: 10.1 x 15 cm

In-Plate lettering:

• Lower-left corner: (artist’s monogram of ligature initials) “SC”

References:

• Groskopf 4 (Christopher Groskopf, “Samuel Colman: A Catalogue of the Artist’s Etchings”, cat. no. 4) — https://colmanetchings.com/#11
•  Colman’s original drawing “Below the Maple Masses Meet” on which this etching is based is held at the Cooper Hewitt, Smithsonian Design Museum — https://www.si.edu/object/below-maple-masses-meet:chndm_1939-85-101    
• Syracuse University Art Museum: Object Number 2017.0090 — https://onlinecollections.syr.edu/objects/41670/the-lakeside

Price & Shipping:

AU$241 (approximately US$169.32 / €148.63/ £127.83, subject to daily exchange rates). Price includes worldwide express shipping. Please note that destination import duties and local taxes remain the sole responsibility of the buyer.

If you’re interested in acquiring this luminous etching of the lakeside at Lake Winnipesaukee in New Hampshire as it appeared in the late 1800s, please contact me directly at oz_jim@printsandprinciples.com. I will gladly provide a secure PayPal invoice for a seamless purchase.

This print has been sold

Léon Gaucherel, “Où diable l'amour va-t-il se nicher!”, 1873, after Charles-Édouard de Beaumont

Léon Gaucherel (1816–1886)

“Où diable l'amour va-t-il se nicher!” (Where the devil will love go to nest?), 1873

Background insights:

This etching is based on the design of a painting by Charles-Édouard de Beaumont (1821–1888), which parodies Charles Nègre’s iconic 1853 photograph “Le Stryge” (The Vampire). Where Nègre captured the photographer Henri Le Secq looking out over Paris alongside Notre-Dame's famous stone demon. Beaumont and Gaucherel replaced the image of Le Secq with a pair of trysting lovers huddled high in the cathedral's stone gallery.

This impression was printed in Paris by Charles Delâtre (active circa 1872–1876). It was issued as an illustration for the satirical article “Paris en Voyage” in the avant-garde journal Paris à l'eau-forte (No. 22). As noted by the Paris Musées / Maison de Victor Hugo, the image cleverly visualises a line from the text: “Lovers, in spring, love old towers, just like the 'hirodelel' [swallow] sung by Victor Hugo." This nods to Hugo’s celebrated poetry collection Les Contemplations (1856), drawing a witty parallel between private birds nesting away from the world and human lovers seeking shelter amid the dizzying, demonic architecture of Paris.

Technical Details & Condition:

Etching with drypoint printed on cream laid paper with a partial watermark and full margins as issued.

The impression is crisp, strong, and evenly printed. Aside from a flattened historical fold in the upper margin safely isolated from the image matrix, the sheet is in excellent condition—free of tears, foxing, modern restoration, or surface stains.

Dimensions:

• Sheet: 27.8 x 18.5 cm
• Platemark: 18.0 x 12.2 cm
• Image borderline: 16.6 x 11.0 cm

In-Plate Lettering:

• Above image (Right): “A d.”
• Within image (Right): “E. Beaumont” (Reproducing the painter’s signature)
• Below image (Left): “Imp: C. Delatre”
• Below image (Centre): “Où diable l'amour va-t-il se nicher!”
• Below image (Right): Léon Gaucherel del”

References:

• IFF 159 (Jean Adhémar & Jacques Lethève, “Inventaire du Fonds Français après 1800: FOLLET–GAVARNI”, 1954, vol. 8, Paris, Bibliothèque Nationale de France, p. 441, cat. no. 159) — https://gallica.bnf.fr/ark:/12148/bpt6k5489221t/f453.image

• Paris Musées Collections: Maison de Victor Hugo Inventory Number 2017.0.4053 —  https://www.parismuseescollections.paris.fr/fr/maison-de-victor-hugo/oeuvres/ou-diable-l-amour-va-t-il-se-nicher
• For an expanded historical context on the architectural and photographic history of the specific composition, see the Princeton University Graphic Arts Collection — https://www.princeton.edu/~graphicarts/2012/07/du_diable_lamour_ya-t-il_se_ni.html

Price & Shipping:

AU$224 in total (approximately US$157.38 / €138.22 / £119.01), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you are interested in purchasing this sensitively executed etching celebrating love in unexpected and dizzying places, please contact me directly at oz_jim@printsandprinciples.com. A secure PayPal invoice will be generated to complete your transaction seamlessly.