Carlo Cesio’s engraving, “Room with Stucco Ornaments”, c1661, after Pietro da Cortona

Carlo Cesio (1626-1686) (based on the attribution given by the British Museum; see https://www.britishmuseum.org/collection/object/P_1937-0915-167).

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Note that I have reservations about the British Museum’s attribution of this unsigned print to Carlo Cesio.

“The Illustrated Bartsch” (1987) in its catalogue of Carlo Cesio’s works (vol. 47, p. 99 [TIB 4771]), reproduces Cesio’s print with difference and in the reverse direction. Consequently, I feel better proposing, that this engraving is by an unidentified printmaker from the circle of Carlo Cesio. Interestingly, Neal Auctions listed a different impression of this engraving in a group of three prints with the inscription: “Ann. Carache [sic] Pinxit/Fr. de Pouilly Scul.” (see the lowest image: https://www.nealauction.com/auction-lot/three-italian-or-french-figural-engravings_6D56DDC231). This inscription, however, is problematic, as Annibale Carracci (1560–1609) did not paint the ceiling; it was executed by Pietro da Cortona (aka Pietro Berrettini) (1597–1669). Moreover, with the anomalies in the spelling of the painter’s name, I also wonder about the spelling of the printmaker’s name, “Fr. de Pouilly”, as I am not familiar with this artist—unless it’s François de Poilly I (1622–1693) who is a marvellous printmaker and more than capable of executing this print (see the two prints by De Poilly that I have listed previously: https://www.printsandprinciples.com/search/label/Poilly%20I%20%28Fran%C3%A7ois%20de%29).

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“Room with Stucco Ornaments” (aka “Pièce avec des Ornemens de Stuc” [Bartsch title]; “Composition with Stucco Ornaments of a Man and Woman Viewed from the Rear” [TIB title]), c1661, from the series of eight plates (according to the BM, but sixteen plates according to TIB (see vol. 47 [Part 1], p. 99, cat. no. .071]), “Galleria dipinta nel Palazzo del Prencipe Panfilio ...”, after a section of the stucco work and fresco ceiling painted by Pietro da Cortona in the Galleria of the Palazzo Pamphili in Rome.

The Curator of the British Museum offers the following insights about this print: “One of eight plates […] from a rejected set of plates after the frescoes on the history of Aeneas painted by Pietro da Cortona on the ceiling of the Galleria of the Palazzo Pamphili in Piazza Navona in 1651-4” (BM inv. no. 1937,0915.167).

Engraving on laid paper with a French watermark of grapes with stem and crown (see an interesting discussion about this and related watermarks featuring grapes offered by the University of Michigan Library: https://blogs.lib.umich.edu/beyond-reading-room/watermark-wednesdays-grapes), with a flattened centrefold and small margins.

Size: (sheet) 38 x 55.5 cm; (plate) 36.5 x 54.5 cm.

Condition: a strong and well-printed early impression showing no sign of wear to the printing plate, trimmed with small margins that are cropped on the corners. There are small tears to the margins and there is a pencil inscription verso, otherwise the sheet is in a good condition with no holes, abrasions or significant stains.

I am selling this large engraving showing a section of ceiling ornamentation featuring male and female figures in the manner of Michelangelo’s ignudi supporting an oval space, for the total cost of AU$298 (currently US$199.22/EUR183.01/GBP154.26 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$298) as this is my currency.

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

François de Poilly I’s etching, “A Fallen Nude Soldier Assisted by Another Male Nude in a Landscape”, c.1675

François de Poilly I (1622–1693)

“A Fallen Nude Soldier Assisted by Another Male Nude in a Landscape” (descriptive title only), c.1675 (1660–1693), etching after a drawing—an Academy life study—by François de Poilly I’s brother, Nicolas de Poilly I (1626–1696), published in Paris with royal privilege (as inscribed on the plate: “C.P.R.” [Cum Privilegio Regis]).

Etching with engraving on laid paper, trimmed with a narrow margin around the image borderline.

Size: (sheet) 20.6 x 25.5 cm; (image borderline) 20 x 25.1 cm.

Lettered on plate below the image borderline: (left) “dessiné a l’academie d’apres le naturel par Nicolas Poilly”; (right) “et gravé par son frerè C.P.R.”

Condition: well-printed impression trimmed with a narrow margin around the image borderline. There are a few restored abrasions otherwise the sheet is in good condition (i.e. there are no tears, holes, folds, losses, stains or foxing).

I am selling this well-executed etching based on a life-class study drawn by his brother at the Academy (as inscribed below the image borderline) showing the subtlety of both brothers in portraying a classically inspired subject, for AU$237 (currently US$165.15/EUR146.27/GBP130.35 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 classical study of male nudes, 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

François de Poilly I’s engraving of “St. Jerome seated in a cave”, mid-1600s

François de Poilly I (1622–1693)

“St. Jerome seated in a cave”, 1635-93, after Guido Reni (1575–1642), published by François de Poilly I with royal privilege (as inscribed on the plate).

Engraving on laid paper trimmed within the platemark and lined onto an archival support sheet.

Size: (sheet, timed unevenly) 41 x 36.8 cm

Inscribed on plate lower right of centre: “F. Poilly ex. cum privil. Regis”

(Note: there is another inscription that may be handwritten to the left of centre but it is too fine and faint to decipher)

V&A reference: Dyce Collection. “A Catalogue of the Paintings, Miniatures, Drawings, Engravings, Rings and Miscellaneous Objects Bequeathed by The Reverend Alexander Dyce”. London: South Kensington Museum: Printed by G.E. Eyre and W. Spottiswoode for H.M.S.O., 1874.

See description of this print at the V&A: http://collections.vam.ac.uk/item/O1157062/st-jerome-print-francois-de-poilly/

Condition: the impression is crisp but there are numerous restorations and stains. The sheet is laid onto a washi paper support sheet.

I am selling this large engraving executed in exceptionally fine detail from the mid-1600s for the total cost of AU$152 (currently US$119.20/EUR98.74/GBP87.98 at the time of posting this listing) including postage and handling to anywhere in the world. Note: the print was originally glued to a support sheet of an old engraving featuring the date “1654” and I am delighted to include this fragment of an engraving with the purchase of this print.

If you are interested in purchasing this remarkable engraving filled with the attributes of St Jerome—viz. the lion which followed him after the saint removed a thorn from its paw; the “hermit’s cave” in which he lived (note that as this is a male hermit’s cave as the location is far from town whereas a female hermit’s cave is usually represented as close to town); the saint’s “cardinal clothes”; the cross above his bookstand; the skull beneath his desk; the books and his writing material—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

For a change in the daily discussions, I thought I would share a small sequence of photos showing the process that I used to restore this very beautiful print that centuries of handling and accumulation of dirt has darkened and made fragile.

My first step was to bathe the print in distilled water placed in the sun. The aim at this point was to rinse away the surface dirt and to “kill” the mould in the sun’s UV. Equally important, I wanted to soften the paper so that the old support sheet—an engraving dating back to the Siege of Smolensk in 1654 (the date is inscribed in the print)—could be removed and replaced with fresh archival paper designed to last a few millenniums into the future.

In the photos showing the roller, the old engraved support sheet is being carefully parted from Poilly’s engraving lying face down—I worked hard to ensure that both prints were preserved as both are wonderful. What came as a surprise is that I discovered a piece of grass (or an insect’s preserved leg) sandwiched between the two prints … yuck! ... This explained a mysterious stain on both prints.

After removing the support sheet I dried and absorbed away the residue glue from the back of Poilly’s engraving before laminating the print onto its fresh support sheet. Note in the final photo that Poilly’s engraving and the Siege of Smolensk are both now preserved.