Johann Elias Haid’s mezzotint, “Voltaire”, 1783, after Barbié, Houdon and Gravelot

(Attributed to) Johann Elias Haid (1736–1809)—attribution by the Rijksmuseum (see http://hdl.handle.net/10934/RM0001.COLLECT.120687) and Ch. LeBlanc (cat. no. 108)

“Voltaire”—an influential French writer, wit and philosopher (aka François Marie Arouet) (1694-1778), 1783, mezzotint published in Augsburg by Johann Jakob Haid (1704-1767), after the etching in the reverse direction, “M. F. A. de Voltaire Mort à Paris...”, by Jacques Barbié (fl.c1755–1779) (see https://www.britishmuseum.org/collection/object/P_1868-0822-7757), after the sculpture of Voltaire by Jean Antoine Houdon (1741–1828) and after the battle scene drawing, “Il monte: il a déjà de ses mains triomphantes..”, by Gravelot (aka Hubert François Bourguignon Gravelot) (1699–1773) (see https://www.nga.gov/collection/art-object-page.58344.html). Note that Augustin de Saint-Aubin (1736–1807) made a similar print sixteen years after this mezzotint, but in the reverse direction and without the battle scene (see https://www.britishmuseum.org/collection/object/P_1900-1231-199).

Mezzotint with etching printed in a brown-black ink on laid paper trimmed with a narrow margin around the image borderline with loss of publication details and backed with a support sheet.

Size: (sheet) 21.5 x 13.4 cm.

Inscribed in plate below the battle scene: “Il monte, il a déj[à] de ses mains triomphantes,/ Arboré de ses lys les Enseignes Flotantes. Henriade Ch. VI” ([transl.] He ascends, he already has with his triumphant hands, / Emblazoned with his lilies the Floating Ensigns. Henriade Ch. VI).

LeBlanc 108 (Ch. Leblanc 1888, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, vol. 2, Paris, p. 334, cat. no. 108).

The British Museum offers the following description of this print: “Portrait of Voltaire, head and shoulder in profile to left, nude, and wearing no wig, in oval frame surmounting a scene from ‘L'Henriade’ showing Henri IV victorious at the siege of Paris (canto VI). 1783/ Mezzotint” (https://www.britishmuseum.org/collection/object/P_1901-1022-939).

Condition: a strong impression trimmed around the image borderline with no tears, holes or folds or significant stains and laid upon a support sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this visually eye-catching portrait of the great writer of the French Enlightenment accompanied by an illustration to a few lines from his epic poem “La Henriade” (see https://en.wikipedia.org/wiki/Henriade), for AU$257 in total (currently/approximately US$174.40/EUR159.86/GBP134.26 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$257) as this is my currency.

If you are interested in purchasing this very fine and beautiful mezzotint, 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

Johann Elias Haid’s mezzotint, “Portrait of Printmaker, Francesco Bartolozzi”, c.1773, after Sir Joshua Reynolds

Johann Elias Haid (1736–1809)

“Portrait of Printmaker, Francesco Bartolozzi” (aka “Francis Bartolozzi Esqr.”), c.1773, mezzotint after the portrait of the famous printmaker and founder member of Royal Academy of Arts, Francesco Bartolozzi (1728–1815), by the first President of the Royal Academy in 1768, Sir Joshua Reynolds (aka Joshua Reynolds) (1723–1792), published in London by James Birchall (fl.1781–1794).

Note that there are other reproductive print variations of Reynold’s portrait of Bartolozzi (https://www.nationaltrustcollections.org.uk/object/872094). Five years after Haid’s circular mezzotint was executed, Thomas Watson (1743–1781) published a rectangular mezzotint portrait of Bartolozzi dated 1778 after Reynolds (see https://www.artnet.com/artists/thomas-watson/portrait-of-francesco-bartolozzi-after-sir-joshu-aa-RsuuCPyKax1tSbSQjyAo6g2) and fifteen years after Haid’s mezzotint, Robert Samuel Marcuard (1751–1792)—a pupil of Bartolozzi—etched an oval variation of Reynold’s portrait (1788) showing Bartolozzi holding an etching needle in his right hand; see http://hdl.handle.net/10934/RM0001.COLLECT.623579.

Mezzotint with etching on heavy laid paper.

Size: (sheet) 28.1 x 20.2 cm; (plate) 21.7 x 14.3 cm; (image borderline diameter) 13 cm.

Lettered in plate below the image borderline: (left) “S^r Joshua Reynolds Pinx^t.”; (centre) “FRANCIS BARTOLOZZI ESQ^r.”; (right) “J. E. Haid fecit.”

Mortzfeld A 959 (Peter Mortzfeld & Herzog August 1996, “Die Porträtsammlung der Herzog August Bibliothek Wolfenbüttel”, Munich, K.G. Saur, p. 124, cat. no. A 959); Drugulin 1025; Singer 5234.

See also the description of this print offered by the British Museum:  https://www.britishmuseum.org/collection/object/P_1875-0710-3844.

Condition: a strong impression showing no sign of wear to the printing plate with wide margins around the platemark in a near pristine condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this rare mezzotint—note that the Rijksmuseum does not hold a copy in their large collection of prints by Johann Elias Haid—showing an historically important portrait after Joshua Reynolds of the famous printmaker, Francesco Bartolozzi , who popularised the "crayon manner" of stipple engraving, for the total cost of AU$259 (currently US$173.12/EUR156.64/GBP137.88 at the time of posting 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 skilfully executed and very beautiful mezzotint, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Johann Elias Haid’s mezzotint, “Portrait of Johann Caspar Lavater”, 1777, after Georg Friedrich Schmoll

Johann Elias Haid (1739–1809)

“Portrait of Johann Caspar Lavater”, 1777, after Georg Friedrich Schmoll (c1745–1785).

Note that this profile view of JC Lavater—a Swiss poet, writer, philosopher, physiognomist and theologian (1741–1801) may have added significance for some viewers. From my reading of the article on Lavater offered by Wikipedia (see https://en.wikipedia.org/wiki/Johann_Kaspar_Lavater), Lavater is famous for his treatise, “Physiognomische Fragmente zur Beförderung der Menschenkenntnis und Menschenliebe” (Physiognomic fragments to promote knowledge of human nature and love of mankind), published at the time of this portrait. This publication introduced the idea that an examination of a person’s profile could determine their character through “lines of countenance.” Although Lavater’s theories were influential at the time—viz. Franz Xaver Messerschmidt's (1736–1783) sculpted “character heads”—the idea of there being meaningful science behind Lavater’s ideas have since faded.

Mezzotint and etching on laid paper backed with a support sheet.

Size: (sheet) 28.1 x 19.1 cm; (plate) 22.1 x 13.9 cm; (image borderline) 20.9 x 13.2 cm.

Lettered in plate within the image borderline: (on plinth) “IOHANN CASPAR/ LAVATER,/ gebohren zu Zurich,/ den 15 Novemb. 1741.” (IOHANN CASPAR/ LAVATER,/ born in Zurich,/ 15 November. 1741.)

Lettered in plate below the image borderline: (left) “Schmoll, del:”; (right) “J.E. Haid Sculp: Aug. Vind. 1777.”

LeBlanc 41 (Charles Le Blanc 1854, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, vol. 2, p. 332, cat. no. 41); HAB A 12117 (Peter Mortzfeld 1986-2008, “Katalog der graphischen Porträts in der Herzog August Bibliothek Wolfenbüttel 1500-1850. Reihe A: Die Porträtsammlung der Herzog August Bibliothek Wolfenbüttel”, Munich, KG Saur, cat. no. A12117); Drugulin 11479.

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.120787.

Condition: a strong and well-printed impression (possibly with a daub of ink on the figure’s coat?) and laid onto a sheet of archival (millennium quality) washi paper that provides larger margins. The sheet is in an excellent condition for its considerable age with no tears, holes, folds, abrasions or significant stains.

I am selling this mezzotint portrait of the man who popularised cut-out silhouette portraits believing that the profile of a person could reveal their character, for AU$277 in total (currently US$198.28/EUR173.56/GBP146.27 at the time of posting 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 amazing portrait—note the incremental development of the face through the different states where the sitter’s features, especially the nose, become increasingly pronounced—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Johann Jakob Haid & Johann Elias Haid’s mezzotint, “The Prodigal Son in the Greatest Misery”, c1775

Johann Jakob Haid (aka Johann Jacob Haid, Johann Jacobus Haid) (1704–1767) and his son, Johann Elias Haid (1739–1809)

“The Prodigal Son in the Greatest Misery” (aka “L'Enfant Prodigue Dans la Plus Grande Misère”; “Der Ungerathne Sohn im Elend”; “The Unwary Son in Misery”), c1775, plate 4 from the series of 6 mezzotints, “The Prodigal Son”, based upon Sébastien Leclerc II's (1676–1763) series, "L'Histoire de l'Enfant Prodigue” (1751), published in Augsburg by Johann Jakob Haid and his son.

Mezzotint with etching on thick laid paper trimmed slightly within the image borderline and text, backed with a support sheet.

Size: (sheet) 32.4 x 39.8 cm; (image borderline) 29.2 x 39.8 cm.

Lettered in plate below the image borderline: (centre) "L'Enfant prodigue dans la plus grande Misere. Der ungerathne Sohn im Elend”; (right) “J. J. Haid et filius excud A. [V.]"

The Library Company of Philadelphia offers the following description of this print:

“Plate 4 from a circa 1775 Prodigal Son series of prints depicting the Prodigal Son in misery. Shows a young white man in the middle of a pen of pigs and in front of a barn. The man stands with his hands clasped, his head tilted to the right, and his eyes gazing up. He wears a tri-corn hat, an open shirt, breeches, a long coat, stockings, and slipper shoes. In the left, two pigs eat from a trough. In the right, two pigs stand and a third pig lies down. In the right background, countryscape is visible” (http://pacscl.exlibrisgroup.com:48992/F?func=direct&doc_number=000333698&solr).

See also the description of this print offered by the Yale Center for British Art: https://collections.britishart.yale.edu/catalog/tms:23259.

Condition: a strong impression with replenished losses in the sky and dots within the image, trimmed slightly within the platemark and laid onto a sheet of archival (millennium quality) washi paper.

I am selling this velvety and glowing mezzotint showing the key moment in the story of the prodigal son where his extravagantly careless lifestyle has led him living with swine—note the artists’ curiously comical interpretation of what a contrite young man might look like—for the total cost of AU$236 (currently US$168.50/EUR149.36/GBP126.37 at the time of posting 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 marvellous print exemplifying a lobulate approach to rendering forms (i.e., the clouds, trees, swine and even the chap’s chest are all portrayed as if they are constructed from lumps/lobes), 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