William Pickett, “Llyn Ogween”, 1805, after Philip James de Loutherbourg

William Pickett (fl.c.1792–1820)

“Llyn Ogween”—aka Llyn Ogwen in north-west Wales, 1805, plate 16, aquatint and etching printed in sepia from the series, “Picturesque Scenery of England and Wales”, after a drawing by Philip James de Loutherbourg (aka Philipp Jakob Loutherbourg; Philippe Jacques de Loutherbourg) (1740–1812), published in London by Robert Bowyer (1758–1834); see an explanation about the publication of the series offered by the Curator of the British Museum: https://www.britishmuseum.org/collection/object/P_1914-1117-44-2.  

Spirit aquatint with etching (and mezzotint rocker?) printed in sepia coloured ink, trimmed around the image borderline (with loss of the writing edge) and backed with a support sheet providing wide margins.

Size: (sheet) 23.7 x 32.9 cm.

The British Museum offers the following description of this print as a hand-coloured impression by John Heaviside Clark (1771–1863): “Plate 16: view of the lake with two men working at a bank in the right foreground; a group of two men and a woman with two horses on the left, pointing and looking towards the workmen; large rocks in the centre and at extreme left; mountains in the background; after Loutherbourg; early state, published. 1805” (https://www.britishmuseum.org/collection/object/P_1864-0309-202).

Condition: a strong and well-printed impression showing no sign of wear to the printing plate, trimmed around the image borderline and laid upon an archival support sheet of millennium quality washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds or stains.

I am selling this large and very beautiful spirit aquatint—note that the technique employed was used by Paul Sandby in which resin dissolved in spirits of wine (a form of ethanol) is spread onto the printing plate and allowed to dry to form a granular base in preparation for etching (see details in the scans)—for AU $282 (currently US $175.23/ EUR 169.10/ GBP 141.40 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 $282) as this is my currency.

If you are interested in purchasing this magically luminous view of Llyn Ogwen where the legendary Lady of the Lake caught the sword, Excalibur, thrown by Sir Bedivere and King Arthur had his last battle, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Matthias Pfenninger’s etching, “Soldier Wielding a Weapon, Seen from Behind”, 1764, after Philip James de Loutherbourg

Matthias Pfenninger (ala Mathias Pfeninger; Mathias Pfenninguer) (1739–1813)

“Soldier Wielding a Weapon, Seen from Behind” (MET title) (aka “Soldier with Axe and Quiver”; “Soldat mit Beil und Köcher”), 1764, plate 7 from a series of 8 etchings, “Eight Studies of Soldiers", designed by Philip James de Loutherbourg (aka Philipp Jakob Loutherburg; Philippe Jacques de Loutherbourg) (1740–1812) “during his Paris years, 1755–71” (see the description of this print offered by the MET: https://www.metmuseum.org/art/collection/search/775376) in the manner of Salvator Rosa (1615–1673).

Note that the Herzog Anton Ulrich-Museum Braunschweighttps attributes this print to Philip James de Loutherbourg (see https://nds.museum-digital.de/object/79376) from the series “Premier et seconde suites de Soldats”, but from my reading of the documentation regarding these series offered by Henri Béraldi 1-2 (see https://archive.org/details/p2lesgraveursdud02portuoft/page/750/mode/2up); Charles Le Blanc 21–32 (see https://archive.org/details/bub_gb_urJCAAAAYAAJ/page/573/mode/2up) and G K Nagler 14 (see https://archive.org/details/neuesallgemeines08nagl/page/82/mode/2up), advise that both series had six plates only and so this attribution as plate 7 in either series seems doubtful—of course I may be wrong.

Etching on heavy laid paper, trimmed with a small margin around the image borderline.

Size: (sheet) 28.5 x 19.6 cm; (image borderline) 27 x 18.9 cm.

Numbered in plate above the image borderline at upper right: “7.”

Condition: a strong and near faultless impression, trimmed with a small margin around the image borderline, in an excellent condition with no tears, holes, folds or significant stains.

I am selling this arresting—perhaps ever iconic—image of a soldier portrayed in the manner of Salvator Rosa, for AU$287 (currently US$193.72/EUR176.62/GBP153.02 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.

If you are interested in purchasing this finely executed etching portraying the statuesque strength and the rock-solid steadfast spirit of an idealised soldier, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Philip James de Loutherbourg's etching, “Tranquillité Champêtre”, c1767

Philip James de Loutherbourg (aka Philipp Jakob Loutherburg; Philippe Jacques de Loutherbourg) (1740–1812)

“Tranquillité Champêtre” (Country tranquillity) (aka “Fluitspelende herder” [Flute-playing shepherd]), c1767, after the pen and brown ink with wash, over graphite drawing by De Loutherbourg in the collection of the British Museum (see https://www.britishmuseum.org/collection/object/P_1920-1116-34). This etching is part of a pair of prints; see the pendant print, “La Bonne Petite Soeur”, held by the British Museum: https://www.britishmuseum.org/collection/object/P_1868-1212-176.

Etching on China or early wove paper trimmed around the image borderline on the top and sides while retaining the publication details below the image borderline (but with loss of four French verses and coat of arms), backed with a support sheet.

Size: (sheet) 27.6 x 21.3 cm.

Lettered on plate below the image borderline: (left, partly erased) “Dessiné et gravé par P. J. Loutherbourg Peintre du Roi”.

There may be a case for attributing this impression to state i (of iv) given that the upper section of the coat of arms that is added in state ii is not visible despite the print having been trimmed (see a state ii impression held by the BM: https://www.britishmuseum.org/collection/object/P_1878-0713-4198). Nevertheless, there is the faintest trace of erased linework in the area that the coat of arms occupied. Consequently, I attribute this impression to a later state published in the early 1800s when the use of wove paper was common—mindful that the use of wove paper was used in publications dating back to 1757.

Portalis & Beraldi 4 (Roger Portalis & Henri Béraldi 1880–82, “Les graveurs du dix-huitième siècle”, Paris, Damascène Morgand et Charles Fatout, p. 752, cat. no. 4); Baudicour 1859–61 II.247.I (P de Baudicour 1859–61, “Le Peintre-Graveur Français continue”, 2 vols, Paris).

The British Museum offers the following description of this print:

“young shepherd, seated with his legs stretched out before him, playing flute; beside him, goats, sheep and cow, all lying, except for a standing cow, seen from behind”

(https://www.britishmuseum.org/collection/object/P_1868-1212-181).

See also the description of this print offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.141988.

Condition: a strong, richly inked and well-printed impression trimmed around the image borderline on the top and side but retaining the upper line of publication details below the image borderline. The sheet in a very good condition and has been laid onto a support of archival (millennium quality) washi paper.

I am selling this Berchem inspired etching of rural bliss executed by the artist that is famous for creating the Eidophusikon—one of the first moving picture productions (albeit with mirrors and pulleys rather than celluloid photographic film)—for the total cost of AU$266 (currently US$206.04/EUR173.03/GBP148.55 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.

If you are interested in purchasing this superb etching showcasing how farm workers in the 1700s were believed to spend their time (i.e. playing on their aulos instead of doing “real” work), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

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

Matthias Pfenninger’s etching, “Title Plate to Philip James de Loutherbourg’s ‘D’Animaux’ Suite”, c1806

Matthias Pfenninger (aka Mathias Pfeninger; Mathias Pfenninguer) (1739–1813)

“Title Plate to Philip James de Loutherbourg’s ‘D’Animaux’ Suite” (aka “1ere Suite D'Animaux Inventés et Dessinés par J P Loutherbourg Peintre du Roy” [as inscribed on plate]), c1800–1813 (the BM advises that the proposed dating is based on the active dates of the publisher and that the print may have been executed earlier [see BM’s Curator’s comment for inv. no. 1919,0415.774]), title plate to the first series of etchings showcasing animals after the designs of Philip James de Loutherbourg (aka Philipp Jakob Loutherburg; Philippe Jacques de Loutherbourg) (1740–1812), published in Paris by Aaron Martinet (?) (1762–1841).

Etching on laid paper trimmed around the image borderline (with loss of the publication details, “A Paris chez Martinet.”) and backed with a support sheet.

Size: (sheet/image borderline) 23.6 x 32.1 cm.

Inscribed on plate on tablet: “1ere SUITE D'ANIMAUX INVENTÉS ET DESSINÉS PAR J P LOUTHERBOURG PEINTRE DU ROY”.

The British Museum offers the following description of this print:

“Title page to a series of etchings after de Loutherbourg, two men resting by a well at left surmounted by statue of a lion, with a dog and three mules to right in a mountainous landscape”

( https://www.britishmuseum.org/collection/object/P_1919-0415-774).

Condition: a strong and near faultless impression, trimmed around the image borderline and laid onto an archival support sheet of millennium quality washi paper. There is a dot stain at lower left, otherwise the sheet is in excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this title-plate to a series of etchings based on de Loutherbourg’s drawings of animals, for $207 in total (currently US$145.09/EUR124.66/GBP112.70 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 this interestingly designed composition—mindful that the designer, Philip James de Loutherbourg, also designed the “Eidophusikon” (an animated presentation seen as a precursor to movie making [see https://en.wikipedia.org/wiki/Eidophusikon)—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 

Philip James de Loutherbourg's etching, “Tranquillité Champêtre”, c1767.

Philip James de Loutherbourg (1740–1812)

“Tranquillité Champêtre” (Country tranquillity) (aka “Fluitspelende herder” [Flute-playing shepherd]), c1767.

Note: Although the publication details have been trimmed from this impression, I do not see evidence of the coat of arms that appears in later editions of this print when it was published by Lenfant (fl.1767), Mathenet (fl.1767) Aaron Martinet (1762–1841) and Maigret (fl.c1767–77) in Paris.

Etching on China or early wove paper trimmed with margins around the image borderline, but lacking the publication details below the image borderline, backed with a support sheet.

Size: (sheet) 28 x 22 cm; (image borderline) 26.9 x 21.1 cm.

Lettered on plate below the image borderline: (left) “Dessiné et gravé par P. J. Loutherbourg Peintre du Roi”.

State i? (of iv) my very tentative attribution of this impression to the first state (see  BM1868,1212.181) is because there is no evidence within the lower trimmed margin showing the top part of the coat of arms added in the later states.  Nevertheless, I do have a concern about the wove paper on which that this impression is printed. Although wove paper was commonly used in the 1800s there are examples of this type of paper used in publications dating back to 1757, consequently, a first state impression on wove (or China) paper is possible.

Portalis & Beraldi 4 (Roger Portalis & Henri Béraldi 1880–82, “Les graveurs du dix-huitième siècle”, Paris, Damascène Morgand et Charles Fatout, p. 752, cat.nr. 4); Baudicour 1859–61 II.247.I (P de Baudicour 1859–61, “Le Peintre-Graveur Français continue”, 2 vols, Paris).

The British Museum offers the following description of this print:

“A young shepherd, seated with his legs stretched out before him, playing flute; beside him, goats, sheep and cow, all lying, except for a standing cow, seen from behind, at centre.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1655200&partId=1&searchText=1868,1212.181&page=1)

See also the description of this print offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.141988

Note that there is a preparatory drawing for this print held by the British Museum (see BM no.  1920,1116.34) and a pendant print, “La bonne petite soeur” (see BM no. 1868,1212.176).

Condition: richly inked and faultlessly printed impression trimmed with small margins around the image borderline but with loss of the publication details below the image borderline. The sheet has a flattened fold at upper left and restored tear of the upper right corner and other minor restorations, otherwise the sheet is in very good condition and has been laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this Berchem inspired etching of rural bliss executed by the artist famous for creating the Eidophusikon—one of the first moving picture productions (albeit with mirrors and pulleys rather than celluloid photographic film)—for [deleted] 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 superb etching showcasing how farm workers in the 1700s were believed to spend their time (i.e. playing on their aulos instead of doing “real” work), 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