Claude Lorrain’s etching, “The Four Goats”, c.1630–33

Claude Lorrain (aka Claude Gellée; Le Lorrain; Claudio di Lorena) (1600–1682)

“The Four Goats” (aka “Les Quatre Chèvres”), c.1630–33, printed from the original plate and published in 1816 by J. McCreery in the “200 Etchings” folio. Interestingly this is the left side of a larger etching, “The Goats” (aka “Les Chèvres”), which Lorrain divided into two sections with the right side titled, “The Three Goats” (aka “Les Trois Chèvres”).

Etching on fine wove paper, trimmed around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 19.5 x 12.8 cm.

State iv (of iv) as published in the 1816 with the dark spots showing in the sky in the upper right corner. Note that there are impressions from this state where these spots and the horizontal lines in the sky are wiped clean in leaving a noticeable white area.

Mannocci 8 iv (Lino Mannocci 1988, “The Etchings of Claude Lorrain”, New Haven, Yale University Press, pp. 60–72, cat. no. 8, fourth state); Blum 5; Robert-Dumesnil 26; Russell 19 (H. Diane Russell 1982, “Claude Lorrain 1600–1682), Washington, National Gallery of Art, p. 328, cat. no. 19).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1870-0514-408.

Regarding the plate for this etching (and the others printed by McCreery), Andrew Brink (2013) in “Ink and Light: The Influence of Claude Lorrain’s Etching on England” (McGill Queen’s University Press) offers the following insight: “The plates of Claude’s etchings disappeared without trace as mysteriously as they had first come to London” (p. 74). From my very unreliable memory, I recall being told in a chat with a “knowledgeable friend” who was told by another “knowledgeable friend” that the plates were discovered as ballast on a ship, but this information may be far from the truth.

Condition: a strong and well-printed impression, trimmed around the image borderline in an excellent condition with no losses, holes, folds or stains. The sheet is laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this very strong impression of a freely inscribed etching by Claude Lorrain, for AU $398 in total (currently/approximately US$261.53/ EUR243.42/ GBP209.59 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 $398) as this is my currency.

If you are interested in purchasing this superb etching by one of the most famous of all landscape artists, 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

Giovanni Benedetto Castiglione’s etching, "Man Holding a Large Banderole”, 1645–50

Giovanni Benedetto Castiglione (aka Il Grechetto) (1609–1664)

"Man Holding a Large Banderole” (TIB title) (aka “Un homme tenant de la main droit une large banderole …” [Bartsch]), 1645–50, from the series of 16 plates (TIB 32–47), “Small Studies of Heads in Oriental Headdress”. This is a late impression published in 1816 by J. McCreery in the “200 Etchings”.

Etching on fine wove paper trimmed around the platemark and backed with a support sheet.

Size: (sheet) 11.2 x 8.3 cm.

Numbered in plate at lower-right corner: “1”.

TIB 46 (32). 35 (21) (Paolo Bellini [ed.] 1982, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 46, New York, Abaris Books, p. 46, cat. no 46 [32]); Bellini 1982 37.II (Paolo Bellini 1982, “L'Opera incisa di Giovanni Benedetto Castiglione”, Milan, Comune di Milano, p. 128, cat. 37); Bartsch XXI.32.46.

The British Museum offers the following description of this print: “Head partly hidden behind a scroll. c.1645/50 Etching” (https://www.britishmuseum.org/collection/object/P_1871-0812-40).

See also the description of this print at the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.34982.

Condition: a well-printed impression trimmed around the platemark and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this superb etching by the artist argued to be the inventor of the monotype for AU$299 (currently US$196.23/EUR181.32/GBP154.85 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 arresting study that the Rijksmuseum proposes is “inspired by similar etchings by Rembrandt and Lievens” (see RP-P-OB-12.185), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Giovanni Benedetto Castiglione’s etching, " Head of a Young Man Wearing a Cap with a Plume”, 1645/50

Giovanni Benedetto Castiglione (aka Il Grechetto) (1609–1664)

"Head of a Young Man Wearing a Cap with a Plume” (aka “Hoofd van een jongeman met een muts met pluim” [Rijksmuseum]; “Young Man with His Eyes Lowered [TIB]”; “Jeune homme vu presque de profil …” [Bartsch]), 1645–50, from the series of 16 plates (TIB 32–47), “Small Studies of Heads in Oriental Headdress”. This is a late impression published in 1816 by J. McCreery in the “200 Etchings”.

Etching on fine laid paper trimmed slightly within the platemark with restorations and backed with a support sheet.

Size: (sheet) 10.6 x 8.2 cm.

Inscribed in plate at upper left: “CASTILIONE”.

TIB 46(21). 35(28) (Paolo Bellini [ed.] 1982, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 46, New York, Abaris Books, p. 46, cat. no 35[28]); Bellini 1982 26.II (Paolo Bellini 1982, “L'Opera incisa di Giovanni Benedetto Castiglione”, Milan, Comune di Milano, p. 111, cat. 26); Bartsch XXI.28.35.

The British Museum offers the following description of this print: “Head in profile to right with flat hat and a tuft behind” (https://www.britishmuseum.org/collection/object/P_1871-0812-29). See also the description of this print at the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.34971.

Condition: a well-printed impression trimmed slightly within the platemark. The upper and lower right corners are damaged and restored and the sheet is laid onto a support of archival (millennium quality) washi paper.

I am selling this superb etching by the artist argued to be the inventor of the monotype for AU$299 (currently US$199.85/EUR180.83/GBP159.18 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 arresting study that the Rijksmuseum proposes is “inspired by similar etchings by Rembrandt and Lievens” (see RP-P-OB-12.181), 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 impression of this print that I have listed. The previous listed copy has been sold.

Claude Lorrain’s etching, “La Danse sous les Arbres”, c.1637

Claude Lorrain (aka Claude Gellée; Le Lorrain; Claudio di Lorena) (1600–1682)

“La Danse sous les Arbres” (aka “The Country Dance, Small Plate”; “Dancing under the Trees”), c.1637, printed from the original plate and published in 1816 by J. McCreery in the “200 Etchings” folio. This impression is from the Schulze edition of 1816.

Etching on wove paper, trimmed along the platemark image borderline and with a section of an engraving from the 1784 Paris edition of “Stirpes Novae” shown verso (documented as a feature of the McCreery impressions; see Mannocci [1988] p. 28).

Size: (sheet) 13.7 x 19.9 cm; (image borderline) 13.2 x 19.3 cm.

State vii (of vii) as published in the 1816 Schulze edition of 200 Etchings with number, “6” from state v erased and with horizontal lines covering the foreground on the left and the sky on the upper right.

Mannocci 19 vii (Lino Mannocci 1988, “The Etchings of Claude Lorrain”, New Haven, Yale University Press, pp. 149–157, cat. no. 19, seventh state); Blum 35; Robert-Dumesnil 10; Duplessis 10; Russell 28.

The British Museum offers the following description of this print: “The country dance; a couple dancing, a woman playing the tambourine, other countrymen sitting, one of them playing the bagpipes, in a woody landscape; small version. c.1637
Etching” (https://www.britishmuseum.org/collection/object/P_1841-0809-73).

Regarding the plate for this etching (and the others printed by McCreery), Andrew Brink (2013) in “Ink and Light: The Influence of Claude Lorrain’s Etching on England” (McGill Queen’s University Press) offers the following insight: “The plates of Claude’s etchings disappeared without trace as mysteriously as they had first come to London” (p. 74). From my very unreliable memory, I recall being told in a chat with a “knowledgeable friend” who was told by another “knowledgeable friend” that the plates were discovered as ballast on a ship, but this information may be far from the truth.

Condition: a richly inked and well-printed impression, trimmed around the platemark. Beyond a few pale stains, the sheet is in an excellent condition with no tears, folds, holes or abrasions. Note that the verso shows a section of an engraving from the 1784 Paris edition of “Stirpes Novae” (documented as a feature of the McCreery impressions).

I am selling this amazingly strong impression of a very beautiful etching by Claude Lorrain, for the total cost of AU$398 (currently US$266.02/EUR240.70/GBP211.88 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 superb etching by one of the most famous of all landscape artists, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Claude Lorrain’s etching, “L’Enlèvement d’Europe”, 1634

Claude Lorrain (aka Claude Gellée; Le Lorrain; Claudio di Lorena) (1600–1682)

“L’Enlèvement d’Europe” (aka “The Rape of Europa”; “Coast Scene with Europa and the Bull”), 1634, printed from the original plate and published in 1816 by J. McCreery in the “200 Etchings” folio.

Etching on wove paper, trimmed with a narrow margin around the image borderline and with a section of an engraving from the 1784 Paris edition of “Stirpes Novae” shown verso (documented as a feature of the McCreery impressions; see Mannocci [1988] p. 28).

Size: (sheet) 20 x 26.1 cm; (image borderline) 19.6 x 25.6 cm.

Inscribed in plate: (on stone at lower right) “CLAUDIO GILLE/ I.N.V. F. Romae 1634.”

State vii (of vii) as published in the 1816 edition of 200 Etchings with the inscription, “42 p 4” from state vi erased.

Mannocci 14 (Lino Mannocci 1988, “The Etchings of Claude Lorrain”, New Haven, Yale University Press, pp. 105–111, cat. no. 14, seventh state); Blum 9; Robert-Dumesnil 22; Duplessis 22; Russell 21.

The British Museum offers the following description of this print: “The rape of Europa; Europa on the bull, surrounded by women, a group of women picking flowers on the right, antique temple in ruins and tower on the left and fleet in the background. 1634” (https://www.britishmuseum.org/collection/object/P_1849-1003-145).

Regarding the plate for these studies (and the others printed by McCreery, Andrew Brink (2013) in “Ink and Light: The Influence of Claude Lorrain’s Etching on England” (McGill Queen’s University Press) offers the following insight: “The plates of Claude’s etchings disappeared without trace as mysteriously as they had first come to London” (p. 74). From my very unreliable memory, I recall being told in a chat with a “knowledgeable friend” who was told by another “knowledgeable friend” that the plates were discovered as wrecked ballast on a ship, but this information may be far from the truth.

Condition: a strong and well-printed impression, showing minor signs of wear to the printing plate, trimmed with a narrow margin around the image borderline in an excellent/near pristine condition with no tears, folds, holes, abrasions, significant stains, foxing or signs of handling. Note that the verso shows a section of an engraving from the 1784 Paris edition of “Stirpes Novae” (documented as a feature of the McCreery impressions).

I am selling this amazing etching described by H. Diane Russell (1982) in “Claude Lorrain 1600–1652” (Nat. Gallery of Art Washington, exh. cat.) as “technical perfection” in which Claude has “successfully translated the properties of … [his painting upon which this etching is based] into etching, articulating the large volumetric forms, the ample space, and the luminous and atmospheric effects that permeate and unite the image” (pp. 338–39), for the total cost of AU$398 (currently US$264.69/EUR239.49/GBP210.82 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 superb and large (or at least largish) etching by one of the most famous of all landscape artists, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.