Conrad Faber von Kreuznach, “Hannibal Refused to Accept the Surrender of his People”, c.1530-33

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

“Hannibal Refused to Accept the Surrender of his People” (title based on my reading of the introductory lines), c.1530, original leaf with woodcut (printed recto and verso), page 117 (CXVII), published c.1533 in Mainz in the German edition of the Roman Historian, Livy’s (aka Titus Livius) (59/64 BC–17 AD) “Roemische 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 later 1538 edition of the same publication has the two images printed on this leaf separated on different pages: the upper image is shown facing page 114 (CXIIII) (see https://archive.org/details/gri_33125011080492/page/n255/mode/2up) and the lower image is shown facing page 117 (CXVII) (see https://archive.org/details/gri_33125011080492/page/n261/mode/2up).

Woodcut with letterpress German text recto and verso on fine laid paper with margins as published.

Size: (sheet) 30.6 x 19.3cm; (image borderline) 15.4 x 14.6cm.

Condition: a strong and well-printed lifetime impression (based on the quality of the printed line). The sheet is in an excellent condition for its considerable age with no tears, holes folds, abrasions or significant stains.

I am selling this superb leaf of Renaissance period woodcuts for AU$308 in total (currently US$200.14/ EUR190.13/ GBP157.74 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$308) as this is my currency.

If you are interested in purchasing this superb leaf with a double panel woodcut of extraordinary quality and in an excellent condition, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This leaf has been sold

Abel Jamas, “Triumph of Pan”, 1925, after Nicolas Poussin

Abel Jamas (1862– fl.c.1941)

“Triumph of Pan”, 1925, a pencil-signed artist’s proof, inscribed as the first impression (of two), after Nicolas Poussin’s (1594–1665) painting (1636) in the collection of the National Gallery in London (inv. no. NG6477; see https://www.nationalgallery.org.uk/paintings/nicolas-poussin-the-triumph-of-pan).

Etching on thin laid paper with wide margins, pencil-signed with the edition number (1 of 2) and an inscribed note advising that the impression is from the 4^th (?) state, backed with a support sheet.

Size: (sheet) 53 x 50.5cm; (plate) 43 x 47.9cm; (image borderline) 34.5 x 39.8cm.

Inscribed in pencil below the image borderline: (right) “4[?] ^e Etat 1/2/ [artist’s signature] Abel Jamas”.

Condition: a strong and well-printed impression with generously wide margins laid onto a support of archival (millennium quality) washi paper. Beyond minor marks and tears in the margin, the sheet is in an excellent condition for its huge size with no significant stains.

I am selling this large and very beautiful etching after Poussin’s painting showing an unruly Bacchanalian festival with gavotting dancers, trumpets blaring, tambourines jingling and lots of nudity overseen by an armless statue of Pan, for AU$302 (currently US$196.73/ EUR185.93/ GBP154.45 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$302) as this is my currency.

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

Note that I have previously listed another large etching by Abel Jamas that is currently still available: “Portrait of Chopin”, c.1938, after Delacroix (see https://www.printsandprinciples.com/2024/04/abel-jamas-portrait-of-chopin-c1938.html).

Salvatore Castiglione, “The Raising of Lazarus”, 1645

Salvatore Castiglione (1620–1676)—brother of Giovanni Benedetto Castiglione (aka Il Grechetto) (1609–1664)

“The Raising of Lazarus” (TIB title) (aka “La Résurrection du Lazare”; “Opwekking van Lazarus”; “Resurrection of Lazarus”), 1645

Etching on laid paper with wide margins, backed with a support sheet.

Size: (sheet) 19.1 x 28.8cm; (plate) 11.5 x 21.6cm; (image borderline) 11 x 21.1cm

Inscribed in plate: (lower left corner) “Salvatore Cast Genov 1645”.

TIB 46.1 (Paolo Bellini [ed.] 1982, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 46, New York, Abaris Books, p. 68, cat. no 1 [43]); Bartsch 1 (XXI.43.1) (Adam Bartsch, “Le Peintre Graveur”, Vienna).

The British Museum and the Rijksmuseum offer descriptions of this print: https://www.britishmuseum.org/collection/object/P_1982-U-4171 (BM inv. no. 1982,U.4171); https://id.rijksmuseum.nl/200169558.

Condition: a well-printed impression with wide margins laid onto a support of archival (millennium quality) washi paper. Beyond minor marks and faint light burn from previous mounting, the sheet is in a very good condition for its considerable age with no tears, holes, folds or significant stains.

I am selling this rare and marvellous etching portraying with great clarity the Biblical episode in which Christ, shown here in a blaze of heavenly light, brings back to life the previously deceased body of Lazarus, seen in the foreground emerging from the tomb with his shroud stretched out to the left, for AU$571 (currently US$371.96/ EUR351.54/ GBP292.02 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$571) as this is my currency.

If you are interested in purchasing this bold composition of great breadth, possibly designed by the artist’s famous brother, Giovanni Benedetto Castiglione (as proposed by the Curator of the British Museum [see BM inv. no. W,6.29]), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Notwithstanding the catalogue entries that this etching is the “only known print by the artist” (see https://www.britishmuseum.org/collection/object/P_W-6-29), recent research has reattributed another very beautiful print that was once considered to be by the hand of Giovanni Benedetto Castiglione to Salvatore Castiglione (see https://www.rijksmuseum.nl/nl/collectie/object/Hoofd-van-een-oude-man-met-baard--0ea11280d87683ce9c09256c944c1c91?tab=data) and this reattributed print is (surprisingly) currently still available in an earlier listing: https://www.printsandprinciples.com/2021/01/salvatore-castigliones-etching-head-of.html. 

This print has been sold

Pierre Joseph Redouté, “Wallflower”, 1805

Pierre Joseph Redouté (1759-1840)

“Wallflower” (aka “Cheiranthus Cheiri / Géroflee Violier” [as titled in the plate])—a plant that I understand is often found growing in cracks in stone walls, 1805, engraving in colour (described in the title page as “IMPRIMÉES EN COULEURS” [printed in colour] see https://archive.org/details/mobot31753000809605/mode/1up), published in 1805 in Paris by Delachaussée as plate 8 to “La botanique de J.J. Rousseau: ornée de soixante-cinq planches, imprimées en couleurs d'après les peintures de P.J. Redouté” (The Botany of J.J. Rousseau: decorated with sixty-five plates, printed in colour after the paintings of P.J. Redouté), printed by Vincent Marie Langlois (aka Langlois frères; Langlois Jeune) (1756–still active c.1805). Archive.org offers and online view of this publication: https://archive.org/details/mobot31753000809605/page/7/mode/2up.

Stipple engraving printed in colour (or more likely hand-coloured, based on close examination of the print, despite the description as “printed in colour” on the title sheet) on cream wove paper.

Size: (sheet) 34.7 x 25.5cm.

Lettered in plate: (next to the relevant details of the flower) “a” ([faint] petal); “b” (flower stripped of its petals); “c” (flower stripped of the calyx and corolla); “d” (stamen); “e” (pistil); “f” (silique); (left) “CHEIRANTHUS CHEIRI./ par P. J. Redoute,”; (centre) “de L’Imprimerie de Langlois.”; (right) “Géroflee Violier.”

Condition: a strong and well-printed impression. Beyond small tears in the edges, the sheet is in a very good condition for its age with no significant stains.

I am selling this rare colour engraving, arguably, by the “greatest botanical illustrator of all time” who even earned the nickname, ”the Raphael of flowers“ (see https://en.wikipedia.org/wiki/Pierre-Joseph_Redout%C3%A9), for AU$267 (currently US$174.13/ EUR164.62/ GBP136.94 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$267) as this is my currency.

If you are interested in purchasing this technically demanding and impressive colour engraving of great beauty, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Frank Short, “Lucerne”, 1896, after Turner

Frank Short (aka Sir Frank Short) (1857–1945)

“Lucerne” (aka “Moonlight on the River” [BM title]), 1896, mezzotint, pencil-signed by the artist, after an unpublished drawing in the collection of the National Gallery (Henry Vaughan Bequest) by Joseph Mallord William Turner (1775–1851) for the “Liber Studiorum”.

Mezzotint printed in sanguine coloured ink, pencil-signed, on laid paper with full margins as published.

Size: (sheet) 28.9 x 42.7cm; (plate) 21.7 x 29cm; (image borderline) 21.2 x 28.3cm

Inscribed with the artist’s monogram within the image borderline: (lower right corner). “S” (on shield).

Lettered in plate below the image borderline: (left) “Drawn by J.M.W.Turner R.A.”; (centre) “LUCERNE From an Unpublished Drawing for the Liber Studiorum in possession of Henry Vaughan Esq”; (right) “Engraved by F. Short 1896.”

Published lettered state with the artist’s monogram.

Hardie 42 (Martin Hardie 1938, “The Liber Studiorium Mezzotints of Sir Frank Short after J.M.W. Turner, R.A.”, London, The Print Collector’s Club, pp. 73-4, cat. no. 42).

The British Museum offers the following description of this print: “The sky with moon above dominates image; to left and right on the banks of a river, a town, connected by a bridge; in the foreground, a crowd and boats, right of centre. 1896/ Mezzotint” (https://www.britishmuseum.org/collection/object/P_1901-0424-13 [BM inv. no. 1901,0424.13]).

Condition: a well-printed impression in an excellent condition with no tears, holes, folds, abrasions or significant stains—note, however, that the low edge is darkened and there are pencil notations along this lower edge.

I am selling this pencil-signed, moonlit scene executed in glowing mezzotint showing the famous wooden footbridge—the Kapellbrücke or Chapel Bridge—spanning the river Reuss in Lucerne (Switzerland), for AU$397 (currently US$257.52/ EUR244.13/ GBP203.38 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$397) as this is my currency.

If you are interested in purchasing this very rare mezzotint with the interesting note in Hardie’s catalogue raisonné (1938) by W.G. Rawlinson that Turner’s drawing that this print reproduces is “very slight in its execution” and may be one of the last drawings “made by Turner for the Liber [Studiorium]” (see p. 73), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.