Giuseppe Longhi & Pietro Anderloni, “The Vision of Ezekiel”, 1808, after Raphael

Giuseppe Longhi (1766–1831) and Pietro Anderloni (1785–1849)

“The Vision of Ezekiel” (aka “Visione D'Ezechiello”), 1808, published in Milan in 1811, engraving after Raphael’s (1483–1520) painting (c.1518) that is the same size as the engraving (see https://commons.wikimedia.org/wiki/File:Raphael_-_Ezekiel%27s_Vision.jpg), in the Galleria Palatina, Palazzo Pitti in Florence.

Engraving on fine wove paper, trimmed with a small margin around the image borderline and writing edge.

Size: (sheet) 46.8 x 32.6cm; (image borderline) 39.2 x 29.7cm.

Lettered in plate below the image borderline: (left) “Raffaello Sanzio inv.”; (centre) “Anderloni inc./ VISIONE D'EZECHIELLO/ L'originale di Raffaello d'Urbino esiste nel. Museo/ Imperiale di Parigi./ Pubblicata in Milano 1811 (right) “Longhi dir, ^ee term^ó.”

Interestingly, Giuseppe Longhi must have executed an earlier version of this engraving in the reverse direction to this copy, as GK Nagler (1839) in “Neues allgemeines Künstler-Lexicon oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Kupferstecher, Formschneider, Lithographen”, Munich, EA Fleischmann. vol. 8, p. 41, cat. 40, offers the following description to a print by Giuseppe Longhi: (transl.) “The Vision of Ezekiel, after Raphael, 1803. Musee Napoleon. Rare. P. Anderloni copied this sheet in reverse under Longhi's direction”.

Louis Fagan 1876, “Handbook to the Department of Prints and Drawings in the British Museum”, London, George Bell & Sons, p. 37, cat. no. 3 (https://upload.wikimedia.org/wikipedia/commons/d/d9/Handbook_to_the_Department_of_prints_and_drawings_in_the_British_museum_%28IA_handbooktodepart00britiala%29.pdf).

The British Museum offers the following description of this print: “The vision of Ezechiel who is airborne supported by two putti, a winged lion, bull and an eagle, after Raphael. c. 1808/ Engraving” (https://www.britishmuseum.org/collection/object/P_1854-0211-72 [BM inv.no. 1854,0211.72]).

Condition: a strong and near faultless impression with small margins. Beyond restoration to the margin corners, the sheet is in a very good condition for its size and age with no holes, folds or significant stains.

I am selling this large and superbly executed engraving showing the prophet Ezekiel's vision of God borne above the clouds by the symbols of the four Evangelists and angels, for the total cost of AU$271 (currently US $171.40/ EUR 163.21/ GBP 134.91 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$271) as this is my currency.

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

Giuseppe Longhi's engraving, “Study of the Head of an Eagle”, 1792, after Giocondo Albertolli

Giuseppe Longhi (1766–1831)

“Study of the Head of an Eagle”, 1792, plate 3 after Giocondo Albertolli (1742–1839) in, “Miscellanea per i giovani studiosi del disegno .... Parte terza” (Miscellanea for young scholars of drawing .... Third part), 1796, published by Giocondo Albertolli in Milan, page 10. (This book is available to view online or download free of charge from archive.org which also offers detailed information about the publication: https://archive.org/details/gri_33125009355229/page/n9) This engraving is Longhi’s first published work.

Engraving on heavy laid paper with wide margins above and below and trimmed to (or slightly within) the platemark on the sides.

Size: (sheet) 50.1 x 35.1 cm; (plate as trimmed) 21.8 x 35.1 cm

Numbered on plate at upper right: “Tav. III.”

Lettered on plate along the lower edge: (left) “Giocondo Albertolli dis.”; (centre) “Studio d'Aquila nella sua naturale grandezza”; (right) “Giuseppe Longhi inc. 1792.”

See the description of this print at the British Museum:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1674823&partId=1&searchText=Giuseppe+Longhi+&page=1

Note that I have previously posted Giuseppe Longhi’s famous image of George Washington translated into an engraving by Jakob Felsing:

https://www.printsandprinciples.com/2018/08/georg-jakob-felsing-18021883-george.html

Condition: crisp, well-inked and faultless impression trimmed along (or slightly within) the sides of the plate with large upper and lower margins. The sheet is in very good condition for its age (i.e. there are no tears, folds—apart from minor wrinkles—holes, abrasions or significant stains, but the verso of the sheet shows a few spots that are not visible recto).

I am selling this VERY strong study of an eagle—a study which I understand is not a representation of just any eagle but rather the eagle (Aquila) that carried Ganymede to Olympus—for AU$237 (currently US$175.01/EUR153.54/GBP136.99 at the time of posting this print) 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 rare print that meets its inscribed title of showing the eagle in its natural grandeur (“nella sua naturale grandezza”), 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

  

Jakob Felsing’s engraving, “George Washington”, 1824

Georg Jakob Felsing (1802–1883)

“George Washington” (aka “Georgius Washington” as titled on plate in the published edition), 1824, after Giuseppe Longhi (1766–1831), published in Paris by Tessari & Cie.

(Note that the above information is based on the description of this print held by the Rijksmuseum and that Arader Galleries advise that the print was published in 1817 in Padua: https://aradergalleries.com/products/giuseppe-longhi-george-washington)  

Engraving and etching on heavy wove paper with full margins (as published).

Size: (sheet) 47 x 31.1 cm; (plate) 27 x 19.5 cm; (image borderline) 7.8 x 12.9 cm

Lettered on plate below the image borderline: (left) “G. Longhi dis.”; (right) “G. G. Felsing inc.”

Proof impression before the addition of the publisher’s address and title (see a final state impression held by the Pennsylvania Academy of Fine Arts: https://www.pafa.org/collection/georgius-washington)

Apell 32 (Aloys Apell 1880, “Handbuch für Kupferstichsammler oder Lexicon der vorzüglichsten Kupferstecher des 19. Jahrhunderts, welche in Linienmanier gearbeitet haben sowie Beschreibung ihrer besten und gesuchtesten Blätter” [transl. “Handbook for copper engraving or Lexicon of the most excellent engraver of the 19th century who have worked in line style as well as description of their best and most sought after leaves”], Leipzig, p. 144, cat.nr. 32); Andresen 1 (Andreas Andresen 1870–73, “Handbuch für Kupferstichsammler oder Lexicon der Kupferstecher, Maler-Radirer und Formschneider aller Länder und Schulen... auf Grundlage von Heller's pract. Handbuch für Kupferstichsammler / neu bearbeitet von Andreas Andresen”, p. 481, cat.nr. 1).

See also the description of this print at the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.109350

Condition: crisp and richly inked faultless impression with full margins in excellent/museum-quality condition (i.e. there are no tears, holes, folds, abrasions, foxing, signs of handling or significant stains—but there is pale yellowing to the outer edge of the sheet on the right). There is a dry-stamped collector’s oval seal within the platemark at lower left corner (blind lettered/embossed): “LOUIS ROCCA IIN LEIPZIG”

I am selling this historically important and superb engraving of the first president of the United States, George Washington, for AU$172 in total (currently US$126.61/EUR109.83/GBP98.63 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 jewel-like masterpiece of engraving, 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

There are so many visual devices employed in this stunning engraving that I have decided to limit myself to just three.

The first is the use of the visual device developed by Hendrick Goltzius (1558–1617): the dotted lozenge. This device may be described as a dot is inserted into the centre of the spaces left between cross-hatched lines as employed in the modelling around George Washington’s eyes. By design, the dots—more like tiny dashes in Felsing’s engraving—allow for smooth transitions between light and shade.

The second device is the subtle phrasing of tones in the background so that the background on the lit side of Washington’s face—the left of the composition—is the slightest touch darker than the background on his shadow side—the right of the composition. By making these gentle tonal transitions the artist creates the illusion that the figure is in believable three-dimensional space. Note also with regard to the background toning that the artist has also employed just a tiny bit of darkness near Washington’s shoulders to subliminally hint at his weight.

Finally, the third device that I thought I should draw attention to is the one that Rembrandt is famous for: the dot of light on the end of the subject’s nose. This tiny touch of white—the untouched paper—helps to give the nose “projection.” Perhaps I should also point out the subtle adjustments to the varying degrees of light illuminating Washington’s shirt ruffles. What I especially like about this subtle adjustment of tones is the tiny accent of white on the ruffle at the bottom of the image. Amazing what a difference such a little touch can have!