Marcantonio Bellavia, “A River God Sitting on His Urn and Holding an Oar in His Left Hand”, c.1670

Marcantonio Bellavia (fl. 1668–1670)

“A River God Sitting on His Urn and Holding an Oar in His Left Hand” (TIB title) (aka “Autre fleuve. Il est assis sur son urne, et tient une rame de la main gauche”; “River God Watching Pan Pursuing Syrinx”), c.1670 (1660–1680), incorrectly inscribed as being after the design by Annibale Carracci (1560–1609). Regarding the inscribed attribution to Annibale Carracci, the British Museum advises: “His plates are all from his own designs, although later publishers added the name of the Carracci to many of them” (https://www.britishmuseum.org/collection/term/BIOG19083).

Etching on laid paper with a small margin around the platemark.

Inscribed in plate: (lower left edge)  “A.c. IN.”; (lower right corner) “\[B]III” (possibly the artist’s initials in reverse [“MB”], but I understand that the artist’s monogram is often “MAB” or “MABI”)

Size: (sheet) 12.6 x 12.1 cm; (plate) 26.5 x 16.8 cm;.

TIB 44.50 (Paolo Bellini & Mark Carter Leach [eds.] 1983, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 44, New York, Abaris Books, p. 54, cat. no. 50).

Condition: a strong and well-printed impression. Beyond remnants of mounting verso, the sheet is in an excellent condition, free of tears, holes, folds, abrasions, or significant stains.

Price & Shipping: AU$366 in total (approximately US$239.65 / €207.61 / £182.19), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you are interested in purchasing this bold etching of a mythological river god watching the attempted seduction of the nymph Syrinx by Pan, 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

Alphonse Leroy, “Young Boy”, c1858, after Agostino Carracci (formerly Annibale Carracci)

Alphonse Leroy (aka Alphonse Alexandre Leroy) (1820–1902)

“Young Boy” (aka “Jeune Garçon”), c.1858, after the chalk study “Portrait de Jeune Homme”, 1585/1592, in the collection of the Musée du Louvre (inv. no. 7381, Recto [see https://collections.louvre.fr/ark:/53355/cl020004306]) by Agostino Carracci (aka Augustin Carrache) (1557–1602), plate 17 (XVII) from the series of 31 plates commissioned under the patronage of Count Alfred Émilien O'Hara van Nieuwerkerke (1811–1892) after old master drawings transcribed as engravings to be used as drawing lesson studies (“Cours de Dessin”) in “Collection de dessins originaux de grands maîtres gravés en fac-simile par Alphonse Leroy; avec texte explicatif par MM. F. Reiset et F. Villot, conservateurs du Musée Imperial du Louvre”, printed by L Eudes (fl.1876–1888) and published in 1857–1859 (for plates 1–20) and 1860 (for plates 21 to 31) by Dusacq & Cie (fl.1864–1869) in Paris.

Note that the inscription in the plate along the lower edge attributes the original drawing to Annibale Carracci with the life dates of 1560–1618 (instead of 1560–1609). This is a former attribution proposed by the renowned connoisseur, Pierre-Jean Mariette (1694–1774), and the drawing is now attributed to Agostino Carracci (see inv. no. 7381, Recto).

Crayon-manner engraving with dot roulette, aquatint and plate tone, printed in a sanguine-coloured ink on buff-coloured chine collé (China paper) on light blue wove paper.

Size: (sheet) 43.5 x 38.5cm; (platemark) 44.5 X 30.8cm; (chine collé unevenly cut) 42.5 x 29cm; (image borderline) 36.5 x 24.9cm.

Lettered and numbered in plate above the image borderline: (centre) “COURS DE DESSIN/ FAC-SIMILE DES GRANDS MAÎTRES.”; (right) “Pl. XVII.”.

Lettered in plate below the image borderline: (left) “Dessiné par Annibal Carrache.”; (left of centre) “Carrache (Annibal) Peintre Bolonais, né en 1560, mort en 1618.”; (centre) “Imp^e. Eudes, Paris.”; (right) “Gravè par Alphonse Leroy./ DUSACQ & C^ie, B^t Poissonnière,14, Paris”.

Guermonprez & Lothe 60 (Paul Guermonprez & José Lothe 2007, “Alphonse Leroy Graveur 1820–1902”, Paris, Héritage Architecturel, p. 154, cat. no. 60).

Condition: a well-printed impression in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this large crayon-manner engraving designed as a study for copying by art students, for AU$245 (currently US$158.37/EUR150.21/GBP125.49 at the time of posting this print) 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$245) as this is my currency.

If you are interested in purchasing this exceptionally beautiful engraving after a chalk study by Agostino Carracci (in the collection of the Louvre), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Alphonse Leroy, “Head of a Young Boy”, c1858, after Annibale Carracci

Alphonse Leroy (aka Alphonse Alexandre Leroy) (1820–1902)

“Head of a Young Boy” (“Tête d’enfant”), c1858, after the chalk study “Buste d'enfant, la tête tournée de trois quarts vers la gauche”, 1585/1592, in the collection of the Musée du Louvre (inv. no. 7376 [see https://collections.louvre.fr/ark:/53355/cl020004301]) by Annibale Carracci (aka Annibal Carrache) (1560–1609), plate 15 (XV) from the series of 31 plates commissioned under the patronage of Count Alfred Émilien O'Hara van Nieuwerkerke (1811–1892) after old master drawings transcribed as engravings to be used as drawing lesson studies (“Cours de Dessin”) in “Collection de dessins originaux de grands maîtres gravés en fac-simile par Alphonse Leroy; avec texte explicatif par MM. F. Reiset et F. Villot, conservateurs du Musée Imperial du Louvre”, printed by L Eudes (fl.1876–1888) and published in 1857–1859 (for plates 1–20) and 1860 (for plates 21 to 31) by Dusacq & Cie (fl.1864–1869) in Paris.

Crayon-manner engraving with aquatint and plate tone, printed in a sepia-coloured ink on chine collé (China paper) on light blue wove paper.

Size: (sheet) 50.3 x 36.1 cm; (platemark) 43.5 X 29.8 cm; (chine collé) 41.6 x 28 cm; (image borderline) 33 x 25.2 cm.

Lettered and numbered in plate above the image borderline: (centre) “COURS DE DESSIN/ FAC-SIMILE DES GRANDS MAÎTRES.”; (right) “Pl. XV”.

Lettered in plate below the image borderline: (left) “Dessiné par Annibal Carrache.”; (left of centre) “Carrache (Annibal), Peintre Bolonais, né en 1560, mort en 1618.”; (centre) “Imp^e. Eudes, Paris./ DUSACO & C^ie, 14,Boul^t Poissonnière, Paris”; (right) Gravè par Alphonse Leroy.”

Guermonprez & Lothe 58 (Paul Guermonprez & José Lothe 2007, “Alphonse Leroy Graveur 1820–1902”, Paris, Héritage Architecturel, p. 153, cat. no. 58).

Condition: a well-printed impression in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this large crayon-manner engraving (with aquatint) designed as a drawing lesson study, for AU$245 (currently US$164.92/EUR148.30/GBP125.13 at the time of posting this print) 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$245) as this is my currency.

If you are interested in purchasing this exceptionally beautiful engraving after a study by Annibale Carracci, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Carlo Cesio’s engraving, “Room with Stucco Ornaments”, c1661, after Pietro da Cortona

Carlo Cesio (1626-1686) (based on the attribution given by the British Museum; see https://www.britishmuseum.org/collection/object/P_1937-0915-167).

__________

Note that I have reservations about the British Museum’s attribution of this unsigned print to Carlo Cesio.

“The Illustrated Bartsch” (1987) in its catalogue of Carlo Cesio’s works (vol. 47, p. 99 [TIB 4771]), reproduces Cesio’s print with difference and in the reverse direction. Consequently, I feel better proposing, that this engraving is by an unidentified printmaker from the circle of Carlo Cesio. Interestingly, Neal Auctions listed a different impression of this engraving in a group of three prints with the inscription: “Ann. Carache [sic] Pinxit/Fr. de Pouilly Scul.” (see the lowest image: https://www.nealauction.com/auction-lot/three-italian-or-french-figural-engravings_6D56DDC231). This inscription, however, is problematic, as Annibale Carracci (1560–1609) did not paint the ceiling; it was executed by Pietro da Cortona (aka Pietro Berrettini) (1597–1669). Moreover, with the anomalies in the spelling of the painter’s name, I also wonder about the spelling of the printmaker’s name, “Fr. de Pouilly”, as I am not familiar with this artist—unless it’s François de Poilly I (1622–1693) who is a marvellous printmaker and more than capable of executing this print (see the two prints by De Poilly that I have listed previously: https://www.printsandprinciples.com/search/label/Poilly%20I%20%28Fran%C3%A7ois%20de%29).

__________

“Room with Stucco Ornaments” (aka “Pièce avec des Ornemens de Stuc” [Bartsch title]; “Composition with Stucco Ornaments of a Man and Woman Viewed from the Rear” [TIB title]), c1661, from the series of eight plates (according to the BM, but sixteen plates according to TIB (see vol. 47 [Part 1], p. 99, cat. no. .071]), “Galleria dipinta nel Palazzo del Prencipe Panfilio ...”, after a section of the stucco work and fresco ceiling painted by Pietro da Cortona in the Galleria of the Palazzo Pamphili in Rome.

The Curator of the British Museum offers the following insights about this print: “One of eight plates […] from a rejected set of plates after the frescoes on the history of Aeneas painted by Pietro da Cortona on the ceiling of the Galleria of the Palazzo Pamphili in Piazza Navona in 1651-4” (BM inv. no. 1937,0915.167).

Engraving on laid paper with a French watermark of grapes with stem and crown (see an interesting discussion about this and related watermarks featuring grapes offered by the University of Michigan Library: https://blogs.lib.umich.edu/beyond-reading-room/watermark-wednesdays-grapes), with a flattened centrefold and small margins.

Size: (sheet) 38 x 55.5 cm; (plate) 36.5 x 54.5 cm.

Condition: a strong and well-printed early impression showing no sign of wear to the printing plate, trimmed with small margins that are cropped on the corners. There are small tears to the margins and there is a pencil inscription verso, otherwise the sheet is in a good condition with no holes, abrasions or significant stains.

I am selling this large engraving showing a section of ceiling ornamentation featuring male and female figures in the manner of Michelangelo’s ignudi supporting an oval space, for the total cost of AU$298 (currently US$199.22/EUR183.01/GBP154.26 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$298) as this is my currency.

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

Carlo Cesio, “Mercury Bringing the Golden Apple to Paris”, 1656/7, after Annibale Carracci

Carlo Cesio (aka Carlo Cesi) (1622–1682)

“Mercury Bringing the Golden Apple to Paris” (aka “Mercure apportant à Paris la pomme d’or”; “Mercurius brengt Paris de gouden appel”), 1656/7, Plate 3 from the series of 45 plates, “The Farnese Gallery Panels”, after a fresco by Annibale Carracci (1560–1609) in the Palazzo Farnese in Rome, initially published in Rome with the privilege of Pope Alexander VII by François Collignon (aka Louis François Collignon) (c.1610–1687). This impression was published by Arnold van Westerhout (1651–1725) (as inscribed in the plate).

Etching on heavy buff-coloured laid paper.

Size: (sheet) 39.1 x 27.4 cm; (platemark) 35.3 x 24.5 cm.

Lettered in plate along the lower edge: (left) “Ann. Caracci Inu.”; (left of centre) “C. Cesius del. et Sculp. Romæ.”; (right of centre) “Arnoldo Van Westerhout formis Cum Privi8l […].”; (right) “3.”

State ii (of iii) with the addition of the address for Westerhout, but before the number 3 is erased in state iii.

TIB 4705.023 S2 (Paolo Bellini [ed.] 1987, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 47 [Commentary, Part 1], New York, Abaris Books, p. 81 cat. no. [4705] .023 [S2]).

The British Museum offers the following description of this print: “Plate 3: Mercury delivering the golden apple to Paris; Mercury seen flying over Paris, handing the golden apple over to him; the shepherd seen seated, holding a stick and with his hand open; a dog seen in the foreground to left; printed from an octagonal plate 1657/ Etching” (https://www.britishmuseum.org/collection/object/P_A-3-6).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.595245.

Condition: a well-printed impression in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this curious octagonal etching showing what I understand is the now extinct and formidable Molossian hound (aka Epirus mastiff) with an interesting fluffy curled tail echoing the curved end to the shepherd’s crook that Paris (for a reason that I don’t understand) is resting his right foot upon, for AU$301 in total (currently US$191.76/EUR180.56/GBP154.70 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.

If you are interested in purchasing confidently executed etching with subtle messages of symbolism—note for example, the dead stump of a tree beside a living tree shown in the distance that may be a symbolic reference to the cycle of death and regeneration and the upside down shepherd’s crook that may be a symbolic biblical reference to the initial “J” and to Jesus Christ as the good shepherd (my apologies if my proposals are flawed)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.