Orazio Borgianni, “God Appears to Moses in a Pillar of Smoke”, 1615, after Raphael

Orazio Borgianni (aka Orazio Borgiani) (c.1578–1616)

“God Appears to Moses in a Pillar of Smoke” (aka “God Appearing to Moses in the Column of Clouds” [TIB title]), 1615 (inscribed in plate), plate 36 from the series of 52 etchings, “Paintings in the Loggia of Raphael” (aka “Schilderingen in de Loggia van Rafaël”), after Raphael’s (1483–1520) Loggia frescoes in the Vatican.

Etching on fine laid paper, trimmed around the platemark and backed with a support sheet.

Size: (sheet) 15.9 x 19.2 cm.

Inscribed in plate: (lower left) “36”; (within the image borderline at lower left) “1615/ [monogram of the artist]”.

TIB 38.36 (Walter L Strauss [ed.] 1979, “The Illustrated Bartsch”, vol. 38, New York, Abaris Books, p. 362, cat. no. 36 [318]).

See also the descriptions of this print offered by the British Museum and the Rijksmuseum: https://www.britishmuseum.org/collection/object/P_1890-0415-19; https://id.rijksmuseum.nl/200163756.

Condition: a strong impression trimmed around the platemark laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this interesting etching executed in the last year of the artist’s life and based on the design of the legendary Raphael who had passed away only 95 years before this print was created, for AU$287 (approximately US$186.49, EUR 161.93 or GBP 137.63), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this rare Renaissance period print, 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

Orazio Borgianni, “God Creating the Sun and Moon”, 1615, after Raphael

Orazio Borgianni (aka Orazio Borgiani) (c.1578–1616)

“God Creating the Sun and Moon” (aka “Dieu Créant le Soleil et la Lune”), 1615 (inscribed in plate), plate 3 from the series of 52 etchings, “Paintings in the Loggia of Raphael” (aka “Schilderingen in de Loggia van Rafaël”), after Raphael’s (1483–1520) Loggia frescoes in the Vatican.

Etching on fine laid grey paper, trimmed irregularly within the platemark with loss of outer corners and backed with a support sheet.

Size: (irregularly cut sheet) 13.8 x 20.4 cm.

Inscribed in plate at lower left: “1615/ [monogram of the artist]”.

State i? (of ii) Although the corners that are lost in this impression would have clarified the state—mindful that in the second state the corners show inscribed additions to the plate—the scratches below the portrayed figure of God of the first state are still evident before they were erased/worn away in the second state. Compare the first state impression held by the Rijksmuseum (inv. no. RP-P-OB-35.412) and the second state impression held by the British Museum (BM inv. no. 1890,0415.120).

TIB 38.3 (Walter L Strauss [ed.] 1979, “The Illustrated Bartsch”, vol. 38, New York, Abaris Books, p. 362, cat. no. 3 [316]).

The Rijksmuseum offers the following description of this print: (transl.) “God, an old man with a beard, hovers above the earth. With his left hand he creates the sun. With his right hand he creates the moon.” (https://id.rijksmuseum.nl/200163724).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1890-0415-12.

Condition: a strong impression trimmed irregularly within the platemark laid onto a support of archival (millennium quality) washi paper providing wide margins. Beyond a replenished hole, the sheet is in a good condition with no significant stains.

I am selling this interesting etching executed in the last year of the artist’s life and based on the design of the legendary Raphael who had passed away only 95 years before this print was created, for AU$287 (equivalent to approximately US$186.45, EUR 164, or GBP 137.73 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country, if any, are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$287).

If you are interested in purchasing this rare Renaissance period print, 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

Orazio Borgianni, “The Fall of Jericho”, 1615, after Raphael

Orazio Borgianni (aka Orazio Borgiani) (c.1578–1616)

“The Fall of Jericho” (aka “La Prise de Jéricho”; “Val van Jericho”), 1615 (inscribed in plate), plate 38 from the series of 52 etchings, “Paintings in the Loggia of Raphael” (aka “Schilderingen in de Loggia van Rafaël”), after Raphael’s (1483–1520) Loggia frescoes in the Vatican.

Etching on fine laid paper, trimmed irregularly within the platemark and backed with a support sheet.

Size: (irregularly cut sheet) 17.2 x 20.8 cm.

Inscribed in plate at lower left corner (the rest of the inscription has been lost): “[1]615”.

State i (of i)

TIB 38.38 (Walter L Strauss [ed.] 1979, “The Illustrated Bartsch”, vol. 38, New York, Abaris Books, p. 397, cat. no. 38 [319]).

The Rijksmuseum offers the following description of this print: (transl.) “The walls of the city of Jericho are collapsing. In the foreground soldiers. On the left priests carrying the Ark of the Covenant” (http://hdl.handle.net/10934/RM0001.COLLECT.85390).

See also the description of this print offered by the British Museum: http://hdl.handle.net/10934/RM0001.COLLECT.85390.

Condition: a strong impression trimmed irregularly within the platemark with no tears, holes, folds or significant stains and laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this interesting etching executed in the last year of the artist’s life and based on the design of the legendary Raphael who had passed away only 95 years before this print was created, for AU$287 (currently US$194.94/EUR177.78/GBP148.75 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$287) as this is my currency.

If you are interested in purchasing this rare and very interesting Renaissance period print—note that the image not only captures the sense of movement that one might expect in a battle scene, but also suggests the less frequently portrayed senses of sound (viz. the drummers at right), smell and possibly even taste (hinted at by rising dust in the middle distance and the plumes of smoke in the distance)—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

Orazio Borgianni’s etching, “Adoration of the Golden Calf”, 1615, after Raphael

Orazio Borgianni (aka Orazio Borgiani) (c1578–1616)

“Adoration of the Golden Calf” (aka “The Israelites Adoring the Colden Calf”), 1615 (inscribed in plate), plate 34 from the series of 52 etchings, “Paintings in the Loggia of Raphael”, after Raphael’s (1483–1520) Loggia frescoes in the Vatican.

Etching on fine laid paper.

Size: (sheet) 17.9 x 21.4 cm; (plate) 16 x 19.5 cm.

Inscribed in plate: (outside the image borderline at lower-left ) “34”; (within the image borderline at lower-left) “1615/ [monogram of artist]”.

Lifetime impression, state i (of i) (my attribution of this impression to a lifetime copy is based on the quality of line showing no sign of wear to the printing plate).

TIB 38.34 (Walter L Strauss [ed.] 1979, “The Illustrated Bartsch”, vol. 38, New York, Abaris Books, p. 393, cat. no. 38 [318]).

The Rijksmuseum offers the following description of this print: (transl.) “The Israelites dance and kneel before the golden calf. In the background on the left, Moses, out of anger over the idolatry of the Israelites, smashes the tablets of the law” (http://hdl.handle.net/10934/RM0001.COLLECT.85386).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1893-1018-19-30.

Condition: a strong impression with small margins (approx. 1 cm) in an excellent condition for its considerable age with no tears, holes, folds or significant stains.

I am selling this superb etching executed in the last year of the artist’s life and based on the design of the legendary Raphael who had passed away only 95 years before this print was created, for AU$287 (currently US$188.75/EUR174.02/GBP148.68 at the time of this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this rare and very interesting Renaissance period print—note the artist’s somewhat crude attempt to create the illusion that the image is edged with a window-box frame by portraying light and shadow cast on it from a light source at upper right—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

Nicolas Chaperon’s etching, “The Baptism of Christ”, 1649

Nicolas Chaperon (aka Nicolas Chapron) (1612–1654/5)

“The Baptism of Christ” (aka “Doop van Christus”; “Jésus-Christ Baptisé dans le Jourdain par Saint Jean”), 1649, plate 52 from the series of 54 plates, “Sacrae Historiae Acta a Raphael Urbin in Vaticanis Xystis ad Picturae Miraculum Expressa” (aka “Raphael Bible”), reproducing the series of frescoes executed by Raphael’s workshop in the vaulted ceiling of the Raphael Loggia at the Vatican, published in Rome in 1649 (see the Curator of the British Museum’s description of this series: https://www.britishmuseum.org/collection/object/P_L-66-1).

Etching on laid paper with a small margin (with restorations) around the platemark and backed with a support sheet.

Size: (support sheet) 35.7 x 53 cm; (sheet) 24 x 40.7 cm; (plate) 21.6 x 39.2 cm.

Lettered in plate below the image borderline: (left) “R.V.I.”; (centre) “Venit Jesus, à Nazareth, et Baptizatus:/ est à Johanne in Iordane. Marc.C.I.”; (right) “N.C.F. [Nicolas Chaperon Fecit]/ 51.”

IFF 51 (Département des estampes 1939–, “Inventaire du Fonds Français: Graveurs du XVIIe Siècle”, vol. 2, Paris, Bibliothèque Nationale, p. 270, cat. no. 51); Robert-Dumesnil 53 (Robert-Dumesnil 1835, “Le peintre-graveur français, ou Catalogue raisonné des estampes gravées par les peintres et les dessinateurs de l'école française: ouvrage faisant suite au Peintre-graveur de M. Bartsch”, vol. 6, Paris, p. 230, cat. no. 53 [see https://archive.org/details/bnf-bpt6k65576943/page/n249/mode/2up]).

See also the descriptions of this print offered by The British Museum, The Royal Collection Trust and The Rijksmuseum: https://www.britishmuseum.org/collection/object/P_L-66-53; https://albert.rct.uk/collections/raphael-collection/vatican-frescoes/the-baptism-of-christ-1; http://hdl.handle.net/10934/RM0001.COLLECT.775498.

Condition: a strong impression with tears and restorations in the margin at right and laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this reasonably large etching after the famous fresco executed by Raphael’s workshop in the vaulted ceiling of the Raphael Loggia at the Vatican—I understand that it is the thirteenth bay—for the total cost of AU$280 (currently US$188.70/EUR177.31/GBP157.41 at the time of this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this strong and superbly executed etching in its visually striking octagonal format, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that in my last post I showed Francesco Villamena’s engraving (1626) of the same design after Raphael and, in a much earlier post, I showed Orazio Borgianni's etching (1615) which are interesting to compare with this etching by Nicolas Chaperon (1649).

This print has been sold