Ignace Duvivier, “The Tempest”, c1800

Ignace Duvivier (aka Ignaz Duvivier; Joseph Ignace Duvivier; Ignace Vivier; Ignace "du" Vivier; Matthäus Ignaz [Edler von] Vivier) (1758–1832)

“The Tempest”, c1800, from the series of landscape etchings, "Divers sujets de paisages dessiné et gravé par I. Viviers 1800". Note: the title page to the series is signed, titled and dated (1800).

Etching on heavy laid paper,

Size: (sheet) 22.3 x 29.2 cm; (plate) 16.1 x 24.4 cm; (image borderline) 14.6 x 22.7 cm.

For those interested in Ignace Duvivier’s etchings, see the collection of twenty prints by the artist held by the Philadelphia Museum of Art: https://www.philamuseum.org/search/collections?from=0&size=12&filters=%7B%22artist%22%3A%5B%22Ignace%20Duvivier%22%5D%7D.

Condition: a richly inked and well-printed (near faultless) lifetime impression (based on the quality of line showing no wear to the printing plate) in an excellent (near pristine) condition with no tears, holes, folds, abrasions or stains. There is a pencil notation verso by a previous collector giving the title of the print and pertinent details about it.

I am selling this confidently executed and freely drawn etching in a Rembrandtesque manner for AU$243 (equivalent to approximately US$155.93, EUR 136.96, or GBP 116.35 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 are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$243).

If you are interested in purchasing this rare 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

Ignace Duvivier’s etching, “Landscape in Oval with Travelers by Campfire” (2nd impression), c1790–1800

Ignace Duvivier (aka Ignaz Duvivier; Joseph Ignace Duvivier; Ignace Vivier; Ignace "du" Vivier; Matthäus Ignaz [Edler von] Vivier) (1758–1832)

“Landscape in Oval with Travelers by Campfire”, c1790–1800, from the series of four oval landscape etchings, "Divers sujets de paisages dessiné et gravé par I. Viviers 1800". Note: the title page to the series is signed, titled and dated (1800).

Etching on wove paper, trimmed with a small margin around the platemark and backed with a support sheet.

Size: (support sheet) 34 x 41.1 cm; (sheet) 16 x 24.7 cm; (plate) 14.7 x 23.3 cm; (oval borderline) 13.9 x 19 cm.

The Philadelphia Museum of Art holds this print and others in the same series; see: https://www.philamuseum.org/collection/object/3355.

Condition: a richly inked early impression with small margins around the platemark and laid onto a support of archival (millennium quality) washi paper providing wide margins. Beyond minor dustiness, the sheet is in an excellent condition with no tears, folds, abrasions or significant stains.

Note that this is the second impression of this rare print that I have listed. The previous copy has been sold.

I am selling this very romantic and freely drawn etching for the total cost of AU$292 (currently US$202.33/EUR197.98/GBP168.63 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 very beautiful etching with its Rembrandtesque leaning, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Ignace Duvivier's etching, “Landscape in Oval with Travelers Sleeping”, 1800

Ignace Duvivier (aka Ignaz Duvivier; Joseph Ignace Duvivier; Ignace Vivier; Ignace "du" Vivier; Matthäus Ignaz [Edler von] Vivier) (1758–1832)

“Landscape in Oval with Travelers Sleeping”, 1800, from the series of four oval landscape etchings, "Divers sujets de paisages dessiné et gravé par I. Viviers 1800". Note: the title page to the series is signed, titled and dated (1800).

Etching on cream wove paper.

Size: (sheet) 22.4 x 29.4 cm; (plate) 15 x 22 cm; (oval borderline) 13.8 x 18.9 cm

The Philadelphia Museum of Art holds this print and others in the same series: http://www.philamuseum.org/collections/permanent/3354.html?mulR=1749063782%7C14

and

http://www.philamuseum.org/collections/results.html?searchTxt=&bSuggest=1&searchNameID=1925

Condition: richly inked, crisp impression—undoubtedly a lifetime impression based on the superb quality of the printed lines—with generous margins and in very good condition (i.e. there are no tears, holes, folds, abrasions and stains, but there is faint foxing in the margins).

I am selling this very romantic image for the total cost of [deleted] 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 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

Ignace Duvivier"s etching, “Landscape in Oval with Travellers Resting”, 1800

Ignace Duvivier (aka Ignaz Duvivier; Joseph Ignace Duvivier; Ignace Vivier; Ignace "du" Vivier; Matthäus Ignaz [Edler von] Vivier) (1758–1832)

“Landscape in Oval with Travellers Resting”, 1800, from the series of four oval landscape etchings, "Divers sujets de paisages dessiné et gravé par I. Viviers 1800". Note: the title page to the series is signed, titled and dated (1800).

Etching on cream wove paper.

Size: (sheet) 22.5 x 29.4 cm; (plate) 15 x 22 cm; (oval borderline) 14.4 x 19.6 cm

The Philadelphia Museum of Art holds this print and others in the same series; see: http://www.philamuseum.org/collections/permanent/3353.html?mulR=1014347096|7  and http://www.philamuseum.org/collections/results.html?searchTxt=&bSuggest=1&searchNameID=1925

Condition: richly inked, crisp impression—undoubtedly a lifetime impression based on the superb quality of the printed lines—with generous margins and in very good condition (i.e. there are no tears, holes, folds, abrasions and stains, but there is faint foxing in the margins).

I am selling this very romantic image for the total cost of [deleted] 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 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

Ignace Duvivier’s etching, “Landscape in Oval with Travelers by Campfire”, 1800

Ignace Duvivier (aka Ignaz Duvivier; Joseph Ignace Duvivier; Ignace Vivier; Ignace "du" Vivier; Matthäus Ignaz [Edler von] Vivier) (1758–1832)

“Landscape in Oval with Travelers by Campfire”, 1800, from the series of four oval landscape etchings, "Divers sujets de paisages dessiné et gravé par I. Viviers 1800". Note: the title page to the series is signed, titled and dated (1800).

Etching on cream wove paper.

Size: (sheet) 20.5 x 29.4 cm; (plate) 14.4 x 23.2 cm; (oval borderline) 13.9 x 19 cm

The Philadelphia Museum of Art holds this print and others in the same series; see: http://www.philamuseum.org/collections/permanent/3355.html?mulR=1175251812|5 and http://www.philamuseum.org/collections/results.html?searchTxt=&bSuggest=1&searchNameID=1925  

Condition: richly inked, crisp impression—undoubtedly a lifetime impression based on the superb quality of the printed lines—with generous margins and in very good condition (i.e. there are no tears, holes, folds, abrasions and stains, but there is faint foxing in the margins).

I am selling this very romantic image, freely drawn and using the chiaroscuro lighting harking back to the tradition of Rembrandt for the total cost of [deleted] including postage and handling to anywhere in the world.

If you are interested in purchasing this rare 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

At the time that this etching was executed at the close of the 18^th century, there were the beginnings of the “battle” that was to gather force between printmakers who valued engraving and those that favoured etching. In many ways the disagreements were significant as they reflected the decline of the Art Academies by the mid-19^th century with their reverence for Raphael and engraving and the re-evaluation of Rembrandt and the merits of etching.

The reason that I mention this “battle” is because Duvivier is clearly engaged in the same debate between the practices of engraving and etching in this print. In his treatment of the sky, for instance, Duvivier employs a visual device usually reserved for engraving: using ruled horizontal lines to portray the tone of the sky with curved parallel strokes to give three-dimensional form to clouds. By contrast, the rest of the composition is largely executed using freely laid lines typifying the approach of the etcher. To my eyes, this leap between the treatment of the sky with its disciplined rigor of tightly controlled horizontal lines and the treatment of the foreground with its seemingly immediate, loosely drawn—sketchy—marks crystallises Duvivier’s dilemma.  

Ignace Duvivier’s etching, “Landscape in Oval with Travelers on Bridge”, 1800

Ignace Duvivier (aka Ignaz Duvivier; Joseph Ignace Duvivier; Ignace Vivier; Ignace "du" Vivier; Matthäus Ignaz [Edler von] Vivier) (1758–1832)

“Landscape in Oval with Travelers on Bridge”, 1800, from the series of four oval landscape etchings, "Divers sujets de paisages dessiné et gravé par I. Viviers 1800". Note: the title page to the series is signed, titled and dated (1800).

Etching on cream laid paper with margins (as published?)

Size: (sheet) 22.2 x 29.5 cm; (plate) 16.4 x 24 cm; (oval borderline) 15 x 19.9 cm

The Philadelphia Museum of Art holds this print and others in the same series; see: http://www.philamuseum.org/collections/permanent/3356.html?mulR=429539863|6 and http://www.philamuseum.org/collections/results.html?searchTxt=&bSuggest=1&searchNameID=1925

Condition: richly inked, crisp impression—undoubtedly a lifetime impression based on the superb quality of the printed lines—with generous margins and in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing). There are pencil notations (recto and verso) giving details about the print.

I am selling this visually striking and poetically romantic etching of a bevy of travellers on a curved bridge in a mountainous landscape framed within the curve of an oval borderline for the total cost of [deleted] including postage and handling to anywhere in the world.

If you are interested in purchasing this rare 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

I suspect that many folk like round and oval images simply because they are just that little bit different, especially after seeing so many rectangular images in everyday life. Indeed, I wonder if we even register that the format shape of a rectangular picture is rectangular (i.e. quado) at all—the shape is psychologically invisible.

Certainly, a round/circular image (i.e. tondo) catches the eye and I understand that during the early Renaissance this shape was deemed “the shape of cosmic perfection” (see Rudolf Arnheim’s “The Power of the Center: A Study of Composition in the Visual Arts” [1983]). As the fascination with divine symmetry faded, the use of oval formats (i.e. ovato tondi [oval tondi]) became increasingly popular especially during the Mannerism and Baroque periods. I mention this shift from the “cosmic perfection” of the tondi to the Baroque excess of the ovato tondi because the key feature of this marvellous etching is the Duvivier’s free use of line. In short, I equate the nervous energy of Duvivier’s line work as being a perfect complement to the oval frame.