Marco Pitteri, “St Paul”, 1742, after Giovanni Battista Piazzetta

Marco Pitteri (aka Marco Alvise Pitteri; Giovanni Marco Pitteri) (1702–1786)—famous for developing “an original method of engraving (not etching), using parallel lines, which are thickened at regular intervals along their length with more deeply engraved sections” (see https://www.britishmuseum.org/collection/term/BIOG42160)

“St Paul” (aka “Sanctus Paulus”), 1742, from the series “The Holy Family and Apostles”, after the painting by Giovanni Battista Piazzetta (aka Giambattista Piazzetta) (1682–1754) (see https://www.kollerauktionen.ch/en/337441-0001-1196-GIOVANNI-BATTISTA-PIAZZETTA.-H-1196_493349.html).

Engraving on fine laid paper trimmed within the platemark with loss of text below the image borderline and backed with a support sheet.

Size: (sheet) 10.4 x 7.8 cm.

Ravà 109 (Aldo Ravà 1922, “Marco Pitteri: Incisore Veneziano”, Florence, p. 21, cat. no. 109).

Note that the Rijksmuseum offers descriptions of two versions of this print: the larger version, Ravà 108: https://id.rijksmuseum.nl/200244630 and the smaller version, that I am showcasing, Ravà 109: https://id.rijksmuseum.nl/200244636.

See also the description of the larger version offered by Maria Agnese Chiari Moretto Wiel (ed.) 1966, “L’eredità di Piazzetta: volti e figure nell’incisione del Settecento”, exh. cat. Palazzo Ducale, Venice, p. 28, cat. no. 28.

Condition: a strong and well-printed impression trimmed within the platemark (with loss of the text lines) and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet has no tears, holes, abrasions or stains.

I am selling this superb engraving executed in Pitteri’s remarkable technique of employing parallel lines interrupted with “dots”—somewhat like knots in string—to render form in dramatic light, for AU$329 (approximately US$212.45, EUR 186.85, or GBP 157.48), including express mail shipping worldwide.  Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this jewel of an engraving that despite its somewhat diminutive size is arguably one of Pitteri's masterpieces” (see Maria Agnese Chiari Moretto Wiel [1966], p. 28), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Marco Pitteri’s engraving, “Profile Portrait of a Young Woman”, c.1760, after Giovanni Battista Piazzetta

Marco Pitteri (aka Marco Alvise Pitteri) (1702–1786)—famous for developing “an original method of engraving (not etching), using parallel lines, which are thickened at regular intervals along their length with more deeply engraved sections” (https://www.britishmuseum.org/collection/term/BIOG42160).

“Profile Portrait of a Young Woman”, c.1760 (1740–1780), engraving after the design by Giovanni Battista Piazzetta (aka Giambattista Piazzetta) (1682–1754)—possibly after a portrait of Piazzetta’s wife, Rosa, and relates to the drawing, “Girl with a Vase”, c.1730 (1720–1740), in the Gallerie dell’Academia in Venice (see Maria Agnese Chiari Moretto Wiel (ed.) 1966, “L’eredità di Piazzetta: volti e figure nell’incisione del Settecento”, exh. cat. Palazzo Ducale, Venice, p. 75, no. 143).

Engraving on laid paper, trimmed slightly unevenly with a small margin around the platemark.

Size: (sheet) 45.5 x 35.5 cm; (plate) 45.4 x 34.4 cm; (image borderline) 44.2 x 34.3 cm.

Lettered in plate below the image borderline: (left) “Piazzetta inue.”; (right) “Pitteri scul.”

Ravà 268 (Aldo Ravà 1922, “Marco Pitteri: Incisore Veneziano”, Florence, p. 68, cat. no. 268).

See also the descriptions of this print offered by the British Museum and the Rijksmuseum: https://www.britishmuseum.org/collection/object/P_1872-0113-11; http://hdl.handle.net/10934/RM0001.COLLECT.165228.

Condition: a strong and well-printed impression in an excellent condition for its large size and considerable age with no tears, holes, folds, abrasions, significant stains (there are a few marks verso) or foxing.

I am selling this large and remarkable engraving—note that the tones rendering the portrait are created with parallel lines encrusted with knot-like undulations varying in width from exceptionally fine (when portraying the lightest features) to thick (when portraying deep shadows)—that (to my eyes) presents the illusion of light shimmering on the surface of the figure’s face, for AU$458 (currently US$306.13/EUR276.98/GBP243.82 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 museum-quality etching of fascinating and historical importance in the development of printmaking techniques, 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 Cattini’s engraving, “An Old Man Leaning on a Staff”, 1743, after Giovanni Battista Piazzetta

Giovanni Cattini (aka Joannes Cattini) (c1715–c1804)

“An Old Man Leaning on a Staff” (MET title) (aka “Vecchio Che Si Appoggia a Un Bastone”), 1743, plate 5 from the series of fifteen head studies of character and expression (viz. a frontispiece and fourteen numbered plates), “Icones ad Vivum Expressae” (Images taken from life), after Giovanni Battista Piazzetta (aka Giambattista Piazzetta) (1682–1754), published in Venice by Giovanni Battista Pasquali (fl. 1742–c1763) in 1754 when the plate was numbered. I understand that Cattini collaborated with Marco Alvise Pitteri (1702–1786) to translate into engravings exemplary works in Piazzetta’s oeuvre with the plan that Pitteri would reproduce Piazzetta’s paintings and drawings of holy figures (“immagini sacre”) while Cattini would focus on images of everyday folk (“le profane”) (see https://www.robinhalwas.com/018011-prints-reproducing-paintings-and-drawings-by-piazzetta).

Engraving on laid paper trimmed along the platemark and backed with a support sheet.

Size: (support sheet) 54 x 42.2 cm; (sheet) 44.8 x 34 cm; (interior image borderline) 38.5 x 31.5 cm.

Lettered in plate below the image borderline: (left) “Jo. Bapta Piazzetta delineavit.”; (centre) “Comiti Antonio Abbati Conti Patricio Veneto/ In humillimum observantiæ signum D.D.D./ V.”; (right) “Joannes Cattini Sculptor Venetus.”

Wiel 1996, 46.74 (Maria Agnese Chiari Moretto Wiel 1996, “L'eredità di Piazzetta. Volti e figure nell'incisione del settecento”, Venice, Il Cardo, cat. no. 74, p. 46, ill).

The British Museum and the Metropolitan Museum of Art offer descriptions of this print: https://www.britishmuseum.org/collection/object/P_1943-0709-86; https://www.metmuseum.org/art/collection/search/376271.   

Condition: a richly inked and well-printed impression with a margin around the image borderline and laid onto a sheet of archival (millennium quality) washi paper providing support and wide margins. There is a closed centre tear and a minor nick (in the background at right near the figure’s wrist), otherwise the sheet is in a remarkably good condition for its large size and age.

I am selling this large engraving executed with great skill and sensitivity—from a personal standpoint, I’m amazed how the all the subtle surface contours of the face have been portrayed within a narrow tonal range so that there is strong contrast with the startling white of the figure’s shirt—for the total cost of AU$522 (currently US$328.29/EUR337.35/GBP298.43 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 masterpiece of engraving—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Johann Lorenz Haid’s mezzotint, “Man with a Magnifying Glass”, c1740, after Giovanni Battista Piazzetta

Johann Lorenz Haid (1702–1750)

“Man with a Maynifying Glass” (descriptive title only), c1740, after Giovanni Battista Piazzetta (aka Giambattista Piazzetta) (1682–1754), published by Johann Christian Leopold (1699–1755) in Augsburg.

Mezzotint on laid paper (with watermark), trimmed with a narrow margin around the image borderline and writing edge.

Size: (sheet) 38.9 x 27.5 cm; (image borderline) 37.4 x 26.9 cm.

Lettered in plate below the image borderline: (left) “Iohann Baptista Piazzetta/ Venetus delineavit”; (left of centre) “Lorenz Haid/ sculpsit”; (centre) “Cum Gratia et Privilegio Sacræ Caesareae/ Majestatis”; (right) “Iohann Christian Leopold excudit/ Augustæ Vindelicorum”

Condition: richly inked and well-printed impression, trimmed with a narrow margin around the image borderline and writing edge. The sheet has minor handling fractures, marks and creases to the edges, otherwise the sheet is in excellent condition for its considerable age with no significant tears, holes, stains or foxing,

I am selling this spectacular mezzotint showing a man wearing a feathered hat examining the viewer with a magnifying glass—I would like to call it a loupe but as the device has a handle I feel obliged to call it a magnifying glass—for the total cost of AU$445 (currently US$328.78/EUR276/GBP235.51 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 marvellous example of how a print can excite a reflexive response in viewers, 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 Lorenz Haid’s mezzotint of a young devotee, c1730, after Giovanni Battista Piazzetta

Johann Lorenz Haid (1702–1750)

“Young devotee holding a rosary and a staff” (descriptive title only), c1730 (1712–50), after Giovanni Battista Piazzetta (aka Giambattista Piazzetta) (1682–1754), published by Johann Christian Leopold (1699–1755) in Augsburg.

Note: I have attributed this print to Johann Lorenz Haid rather than Johann Lorenz’s brother, Johann Gottfried Haid (1714–1776), because the inscribed publication detail advises that “Lorenz Haid pinxit” (i.e. Lorenz Haid painted it) after Piazzetta’s design. The lettered text does not unambiguously state that Lorenz Haid’s hand executed (“sculpsit”) the mezzotint.

Mezzotint on laid paper, trimmed around the image borderline/platemark? on sides and lower edge and within borderline at top, backed with a support sheet.

Size: (sheet) 35.9 x 27.5 cm.

Lettered on plate below the image borderline in two lines of text: “Iohann Christian Leopold excudit Augustæ Vindelicorum. Iohann Baptista Piazzetta Venetus delineavit Lorenz Haid pinxit./ Cum Gratia et Privilegio Sacræe Caesarae Majestatis. a.14”.

Condition: richly inked and well-printed impression with many (almost invisible) restorations, trimmed around the image borderline on sides and lower edge (retaining the text lines) and within the image borderline at top, backed with a support sheet of archival (millennium quality) washi paper.

I am selling this spectacular mezzotint for the total cost of AU$216 (currently US$155.19/EUR134.13/GBP121.31 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 rare—so rare that the neither the British Museum nor the Rijksmuseum hold a copy—large and luminously glowing old-master print, 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