Gijsbert van Veen, “In Flagrante Delicto”, c.1607/12

Gijsbert van Veen (aka Gysbrecht van Veen; Gijsbert Vaenius; Gisbert Venius) (1558–1628), possibly designed in collaboration with his brother, Otto van Veen’s (aka Otho Venius; Octavio van Veen; Otho Vaenius) (1556–1629)—the teacher of Rubens

“In Flagrante Delicto” (“In Blazing Offence”, with the colloquial meaning: “caught red-handed in the act of sexual activity”) (aka “Animi Servitus” [Servant of the Soul]), c1607/12, published in Antwerp by Prostant apud Philippum Lisaert in 1612, as an illustration to page 29 in Otto van Veen’s “Quinti Horatii Flacci Emblemata, Imaginibus in Æs Incisis, Notisque, Illustrata” (The emblems of Quintus Horatius Flaccus, illustrated with images engraved on them, and noted) with accompanying lines from Horace’s (aka Quintus Horatius Flaccus) (65–8 BCE) “Odes”, Book III.

Engraving on fine laid paper with Latin letterpress text verso, trimmed around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 17.9 x 14.7 cm.

The following accompanying Latin verses by Horace on the facing page for this illustration may help to give the flavour of the writing (apologies for errors in translation): “Quid refert, uri virgis ferroque necari?” (What does it matter, being burned alive, or killed by a sword?)/ Auctoratus eas, an turpi clausus in arca,” (You are a slave, or shut up in a vile chest,)/ “Quo te demisit peccati conscia herilis,” (Where the master's sin-conscious servant has lowered you,)/ “Contractum genibus tangas caput?” (To touch your head with your knees [in the sense of a humiliating posture]) (p. 28).

Archive.org offers an online view of this print in its context in the publication: https://archive.org/details/quintihoratiifla00veen/page/28/mode/2up.

See also the images in the publication offered by Emblematica Online: http://emblematica.library.illinois.edu/detail/book/618513612/emblems.

Condition: a strong and well-printed (near faultless) impression, trimmed around the image borderline and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent (near pristine) condition with no tears or significant stains.

This allegorical print, designed to ponder the agonizing choice between cruel punishment and degrading humiliation, is available for AU$237 (approx. US$155.99, EUR 133.42, or GBP 115.63). Express shipping is included worldwide. Import duties are the buyer's responsibility.

If you wish to acquire this dramatic depiction of a clandestine affair, please contact me at oz_jim@printsandprinciples.com. I will send you a PayPal invoice for your convenience.

Henri Fantin-Latour, “Siegmund and Sieglinde”, 1886

Henri Fantin-Latour (aka Ignace Henri Jean Théodore Fantin-Latour) (1836–1904)

“Siegmund and Sieglinde” (aka “La Valkyrie; Acte 1: “Sieglinde et Siegmund” [published title]), 1886, an original lithograph illustrating a scene first performed in 1870 from Richard Wagner's (1813–1883) opera, “Die Walküre” [The Valkyrie], Act I, published in Paris in 1886 by Jules Rouam (fl.c.1880) in Adolphe Jullien's (1803–1879) “Richard Wagner: Sa Vie Et Ses Œuvres”, facing page 202 (see https://gallica.bnf.fr/ark:/12148/btv1b10072618s/f137.item).

Lithograph (with scraping on stone) on laid paper backed with a support sheet providing wide margins.

Size: (sheet) 27.9 x 19.9 cm; (image borderline) 23 x 15.3 cm.

Fantin-Latour 1322 (Mme Fantin-Latour 1911, “Catalogue de l'Oeuvre Complet de Fantin-Latour”, Paris, Henri Floury, cat. no. 1322); Hédiard 70 (Germain Hédiard 1906, “Fantin-Latour: Catalogue de l'oeuvre lithographie du Maître”, Paris, Librairie de l'Art Ancien et Moderne, cat. no. 70).

See also the description of this lithograph offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1899-0420-178.

Condition: a strong (near faultless) impression in an excellent condition with no tears, holes, folds, abrasions or stains and laid upon an archival support sheet of millennium quality washi paper providing wide margins.

I am selling this marvellous lithograph bathed in dramatic light as brother and sister twins, Sieglinde and Siegmund, who have been separated since childhood, meet as strangers and fall in love, for the total cost of AU$220 (approximately US$144.64, EUR 123.71 or GBP 107.20), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

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

Lisa Smith, “Steve”, 1983

© Lisa Smith

Lisa Smith, “Steve”, 1983, graphite drawing on cartridge paper, 115 x 83.5 cm.

A drawing by Lisa Smith, a former student from the early 1980s, has resurfaced, and it's simply stunning. The nude portrait of her partner, Steve, is a testament to her remarkable skill with pencil and the large graphite sticks so popular back then. I vividly recall Steve visiting our studio for a haircut – a buzz cut, then a dramatic bleaching to a striking golden blonde, culminating in a playful, leopard-print black-dot dye job. The whole experience was a blast, and Steve's transformed hair was undeniably cool; it perfectly captured the spirit of the times.

Condition: beyond two closed tears midway on the left and right sides, the sheet is in an excellent condition for its large size and age with no holes, folds, abrasions or significant stains.

I am selling this life-size graphite study of a male nude for AU$600 (approximately US$194.92, EUR 337.77 or GBP 292.74), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

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

Léopold Flameng, “The Blue Boy, par Gainsborough” (2nd copy)

Léopold Flameng (aka Léopold Joseph Flameng) (1831–1911)

“The Blue Boy, par Gainsborough” (as inscribed in plate), 1862, after Thomas Gainsborough’s (1727–1788) famous portrait (c.1770) in the Huntington Library, San Marino (California), first published in “La Gazette des Beaux Arts”, 1862, vol. 13, and printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) between pages 112 and 113 (see https://archive.org/details/gazettedesbeauxa13pari/page/112/). The plate was republished in c.1890 by Imprimerie Charaire et Cie and printed by Chardon-Wittmann (fl.c.1884–1890) in Paris, in Teodor de Wyzewa’s “Les Chefs-D'Oeuvre de l'Art au XIXe siècle”, p. 120 (see https://archive.org/details/leschefsdoeuvred04michuoft/page/120/). This impression is from the earlier edition.

The fame of Gainsborough’s painting, reputed to be a portrait of Jonathan Buttall (1752–1805) dressed in a manner similar to Van Dyck's portrait of Charles II as a boy in “The Children of King Charles I of England”, 1637, rests to a large part on it representing a rebuttal of advice (shown below) advocated by his rival Sir Joshua Reynolds (1723–1792)—founder and first president of the Royal Academy of Arts:

“It ought, in my opinion, to be indispensably observed, that the masses of light in a picture be always of a warm, mellow colour, yellow, red, or a yellowish white, and that the blue, the grey, or the green colours be kept almost entirely out of these masses, and be used only to support or set off these warm colours; and for this purpose, a small proportion of cold colour will be sufficient. Let this conduct be reversed; let the light be cold, and the surrounding colour warm, as we often see in the works of the Roman and Florentine painters, and it will be out of the power of art, even in the hands of Rubens and Titian, to make a picture splendid and harmonious” (see Ronald Sutherland Gower 1903, “Thomas Gainsborough”, G. Bell and Sons. pp. 77–78).

Etching on buff coloured chine collé (China) on heavy wove paper with margins as published.

Size: (sheet) 24.7 x 15 cm; (plate) 22.2 x 11.9 cm; (chine collé) 19.8 x 11.9 cm.

Inscribed on plate within the image borderline: (lower right) “FLAMENG. S.”

Lettered in plate along the lower edge: (left) “Gazette des Beaux-Arts.”; (centre) “THE BLUE BOY, PAR GAINSBOROUGH”; (right) " Imp. A. Delâtre Paris.”

Beraldi 102 (Henri Beraldi 1885, “Les Graveurs du dix-neuvième siècle”, vol. 11, p. 162, cat. no. 102); IFF 104 (“Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes”, Paris, 1930).

The British Museum offers a description of this print before lettering with publication details: https://www.britishmuseum.org/collection/object/P_1895-1015-100.

Condition: richly inked and well-printed impression with small margins and laid upon an archival support sheet of millennium quality washi paper providing wide margins. Beyond a closed tear in the margin at lower left, the sheet is in an excellent condition with no holes, folds, abrasions or stains.

I am selling this etching of Gainsborough’s famous portrait by one of the major printmakers of the 19th century, for the total cost of AU$233 (approximately US$152.56, EUR 130.39 or GBP 112.57), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this superb etching showing great insight about using line to connote space—note, for example, how Flameng has shaded the boy’s further back leg with horizontal strokes to set it slightly more into the distance and in shadow—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Angèle Delasalle, “Le Couvreur”, 1910

Angèle Delasalle (aka Mathilde Angèle Delasalle) (1867–1939)

“Le Couvreur” (The Roofer), 1910, published in Paris in the art periodical, “Gazette des Beaux-Arts”, vol. 2, 1912, between pages 320 and 321 (see this print in its context in the publication: https://gallica.bnf.fr/ark:/12148/bpt6k6110506x/f348.item).

Etching and drypoint with plate tone on buff coloured heavy wove paper with flattened binding fold at left and full margins as published.

Size: (sheet) 28 x 20cm; (plate); 22.3 x 14.4 cm.

Inscribed in plate along the lower edge: (left) “A Delasalle”.

IFF 10 (Jean Adhémar & Jacques Lethève 1953, “Inventaire du Fonds Français après 1800: Daumont-Dorange”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 6, p. 165, cat. no. 10 [see https://gallica.bnf.fr/ark:/12148/bpt6k54891736/f177]).

Adventures in the Print Trade, presents a marvellous discussion about Delasalle’s prints including interesting insights about this etching: http://adventuresintheprinttrade.blogspot.com/2008/01/.

Condition: a richly inked and near faultless impression in a near pristine condition with no tears, holes, abrasions or significant stains (there are several dot marks in the margins).

I am selling this bold etching of a workman standing atop a roof with a spreading city view below (possibly Paris?) by a somewhat overlooked female artist of great personal vision and technical daring for the total cost of AU$244 (approximately US$159.72, EUR 136.07 or GBP 117.40), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this graphically expressive 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