School of Marcantonio Raimondi, “St Mark”, c.1519, after Agostino Veneziano

Unidentified printmaker from the School of Marcantonio Raimondi (1470/1482–1527/1534)

“St Mark”, c.1519 (1518–1520), engraving in reverse after Agostino Veneziano (aka Agostino dei Musi) (fl.1509–36) and after Giulio Romano (1499–1546), from the series, “The Evangelists”.

Engraving on laid paper trimmed along the platemark.

Size: (sheet) 25.1 x 18.3 cm; (image borderline) 24.6 x 17.5 cm.

Inscribed in plate: (on cloud at left) “A^.V^.”.

TIB 26.94A-1 (Konrad Oberhuber [ed.] 1978, “The Illustrated Bartsch: The Works of Marcantonio Raimondi and of His School”, vol. 26, New York, Abaris Books, p. 126, cat. no. 94A-1); Bartsch XIV.83.94.

The British Museum offers the following description of this print: “St Mark, sitting within a penumbra of light, on the back of a winged lion atop a cloud, reading a scroll; after Giulio Romano” (https://www.britishmuseum.org/collection/object/P_1873-0809-732 [inv. 1873,0809.732]).  

Condition: a strong and well-printed impression, trimmed along the platemark with a narrow margin around the image borderline. Beyond a few minor spots of foxing, the sheet is in an excellent condition for its considerable age with no tears, holes, folds, abrasions or significant stains.

I am selling this Renaissance period engraving that is in the reverse direction to Agostino Veneziano’s engraving and, in turn, after the original design by Giulio Romano, for AU $502 in total (currently US $313.20/ EUR 300.17/ GBP 251.68 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 $502) as this is my currency.

If you are interested in purchasing this superb engraving from the School of Marcantonio Raimondi, 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

Antoinette Bouzonnet Stella, “Plate 10: Entry of Emperor Sigismund into Mantua”, 1675

Antoinette Bouzonnet Stella (1641–1676)

“Plate 10: Entry of Emperor Sigismund into Mantua”, 1675, plate 10 from the series of twenty-five etchings, “Palazzo del T” (BM title), after the drawing design by Antoinette’s brother, Antoine Bouzonnet Stella (1637–1682), published in Paris in 1675 by Antoinette’s sister, Claudine Bouzonnet Stella (aka Claudine Bouzonnet; Claudia Bouzonnet-Stella) (1636–1697) and with royal privilege, after the fresco frieze (c.1530s) by Giulio Romano (aka Giulio Giannuzzi; Giulio Pippi) (c.1499–1546) in the Palazzo del Te, Mantua, showing the triumphal entry of Emperor Sigismund (aka Sigismondo Augusto) into Mantua in 1432.

Etching on laid paper with wide margins (as published) with three binding holes in the margin at left.

Size: (sheet) 33.9 x 52.6cm; (plate) 16.7 x 41.5cm; (image borderline) 16.3 x 41.2cm.

Numbered in plate within the image borderline: (lower right corner) “10”.

The British Museum offers the following description of this print: “Plate 10: Roman soldiers crossing a bridge spanning a river, with a river god reclining on the left bank; on the right, standard-bearers (signiferii); after the frieze representing the triumph of Sigismund executed by Giulio Romano in the Palazzo del Te, Mantua. 1675” (https://www.britishmuseum.org/collection/object/P_1860-0114-68 [inv. 1860,0114.68).

Condition: a richly inked and well-printed impression showing no signs of wear to the printing plate and with generously wide margins. The sheet is in an excellent condition for its age with no tears, holes (beyond the three binding holes of publication), significant stains or foxing.

I am selling this superbly preserved etching executed by one of the few historically documented female printmakers from the late Renaissance period for AU $264 in total (currently US $165.50/ EUR 159.10/ GBP 131.94 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 $264) as this is my currency.

If you are interested in purchasing this visually arresting etching of Emperor Sigismund’s triumphal procession into Mantua, 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

Diana Scultori, “The Birth of John the Baptist”, c.1580, after Giulio Romano

Diana Scultori (aka Diana Ghisi; Diana Mantovana) (1536–1598)

Note that the Curator of the British Museum advises: “The authorship of this print is highly contested. S. Massari considers it to have been done by Diana, while P. Bellini considers it to be a dubious attribution. Other scholars have suggested that it was made by C. Cort. See Paolo Bellini, ‘L'opera incisa Adamo e Diana Scultori’, Vicenza, 1991, pp. 266-68” (BM inv. no. V,8.2).

“The Birth of John the Baptist” (TIB title) (aka “La Naissance de St. Jean Baptiste”; “Geboorte van Johannes de Doper”), c.1580, after a drawing by Giulio Romano (aka Giulio Giannuzzi; Giulio Pippi) (c.1499–1546), published in Rome in c.1580 (between 1547–1612).

Engraving on laid paper, trimmed around the image borderline and backed with a support sheet.

Size: (sheet) 41 x 36.5cm.

TIB 31.26 (Suzanne Boorsch & John Spike [eds.] 1986, “The Illustrated Bartsch: Italian Artists of the Sixteenth Century”, vol. 31, New York, Abaris Books, p. 266, cat. no. 26).

The Rijksmuseum offers the following description of this print: (transl.) “In the background on the right, Elizabeth lies in childbirth and is embraced by one of the women who visit her. Angels hold up the canopy of her bed. In the front left, a group of women are giving the child a bath. From a window in the back wall of the room, God the Father watches the events” (http://hdl.handle.net/10934/RM0001.COLLECT.98903).

Diana Scultori is an exceptionally important female figure in the Renaissance and her significance is underlined by being the first woman to obtain the privilege (copyright) to sell her artworks under her own name. Interestingly Scultori changed her name according to the power politics at play at the time with the intention of attracting influential patrons. In short, Scultori’s skill as an engraver, her strategic and flexible use of her identity and having a tight rein on copyright—from memory (and I may be wrong about this) I believe that Scultori even placed the first copyright on a cap design! (albeit a nightcap for men that was decorated with a scene of Delft)—make her a true milestone figure in the history of art.

Condition: a strong and early impression (possibly lifetime impression based on the quality of the line showing no sign of wear to the printing plate) trimmed around the image borderline (following the curve of the upper edge) and laid upon a support of archival (millennium quality) washi paper. The sheet has darkened (or possibly the paper is grey) with many small restorations for fractures, tears and losses, but there are no significant stains.

I am selling this major engraving by one of the most important female artists of the Renaissance period, for the total cost of AU$356 (currently US$235.19/EUR217.71/GBP181.44 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$356) as this is my currency.

If you are interested in purchasing this large engraving by arguably one of the savviest business women in the arts during the Renaissance, 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

Stefano Mulinari’s etching and sulphur tint, “Awakening Soldiers at Christ's Tomb", c.1774, after Giulio Romano

Stefano Mulinari (c.1741–c.1796)

“Awakening Soldiers at Christ's Tomb” (descriptive title only), 1774 (pub. date, but may have been executed between 1766–74), plate 28 (“N.XXVIII”) from the series of 100 plates (the first 41 plates were executed by Muliari) “Disegni originali d'eccellenti pittori esistenti nella Real galleria di Firenze [graphic] : incisi ed imitati nella loro grandezza e colori” (Original drawings by excellent painters existing in the Royal Gallery of Florence [graphic]: engraved and imitated in their size and colours), after Giulio Romano (aka Giulio Giannuzzi; Giulio Pippi) (c.1499–1546), published in Florence.

Archive.org offers an online view of this print in its context in the publication: https://archive.org/details/gri_33125011208614/page/n117/mode/2up.

Etching and sulphur tint (viz. a process that is a precursor to aquatint where sulphur is either mixed with vegetable oil into a paste and spread over the plate to corrode it with fine pitting or sprinkled onto the plate and heated), printed in brown ink on laid paper, trimmed with a margin around the image borderline and text lines. The print is the upper half of a larger plate involving three images in total.

Size: (sheet) 30 x 40.9 cm; (image borderline) 25.7 x 39 cm.

Numbered in plate above the image borderline: (right) “N. XXVIII.”

Lettered in plate below the image borderline: (left) “Guilio Romano inv: e del:”; (right) “SM[ligature]ulinari inci:”.

Condition: a strong impression showing no sign of wear to the printing plate, trimmed with a small margin around the image borderline. There are a few scattered chalk lines (?) (see for example the sanguine line on the shoulder of the centre figure), otherwise the sheet is in a very good condition for its age with no tears, folds, holes, abrasions, significant stains (but there are marks verso) or foxing.

I am selling this strong impression glowing with the raw sienna colour of the printing ink and velvety texturing created by the early etching technique termed “sulphur tint”—a process predating aquatint where sulphur is used as the mordant to corrode the copper printing plate to form copper sulphide and fine pitting to the plate—for the total cost of AU$263 (currently US$175.79/EUR159.05/GBP140.01 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 rare sulphur tint 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 

Pietro Santi Bartoli’s etching, “Aftermath of the Battle of the Milvian Bridge”, c.1660, after Giulio Romano

Pietro Santi Bartoli (1635–1700)

“Aftermath of the Battle of the Milvian Bridge”, c.1660 (1650–1677), from a series of thirteen plates, “History of Emperor Constantine”, after Giulio Romano (aka Giulio Giannuzzi; Giulio Pippi) (c.1499–1546) frescoes in the Sala di Costantino, Vatican Palace, published in Rome by Giovanni Giacomo de' Rossi (aka Giovanni Jacomo de' Rossi; Jo Jacobus de Rubeis) (1627–1691).

Etching with engraving on laid paper.

Size: (sheet) 15.4 x 31.6 cm; (plate) 9.6 x 39.1 cm; (image borderline) 8.5 x 37.9 cm.

Numbered in plate within the image borderline near portrayed events from “1” to “4” as index keys to Latin explanations below the image borderline.

Lettered in plate below the image borderline: “1 Tropheo infidet Constantinus uictor, captiuis coram se deductis. 2 Hostibusq. in Tyberi submerses. 3 Maxentii Tyramni cadauer expiscantur 4 Criptis, latebrisq. prosiliunt Xñi proceres, uictricemq Crucem extollunt, uernerantur (Google Transl.: 1 Constantine the victor trusts in the trophy, the captives brought before him. 2 Hostibusq. drowned in the Tiber. 3 The corpse of Maxentius Tyramnus is hunted down 4 Crypts, secretly 11 nobles leap, triumphantly lift up the Cross, are slain)/ (left) Iulius R. I.    Petrus S. B. Sculps. (right) Romæ Apud Io. Iacobum de Rubeis Alla Pace   S.p.“

Nagler/Meyer 1020-1029 (Julius Meyer 1872–85, “Allgemeines Künstler-Lexicon” [Edition: 2nd revised edition of Nagler's artist lexicon], vol. 3, Leipzig, p. 56, cat. nos. 1020–1029); Massari 235 (Stefania Massari 1993, “Giulio Romano pinxit et delineavit”, Rome, cat. no. 235).

The British Museum offers the following description of this print: “The aftermath of the battle of the Milvian Bridge, with at right the emperor crowned by Victory, and listening to the prisoners brought before him; at centre, horses and men agonizing on a river bank, and on the left Maxentius' body being rescued from the river, and a river god reclining in the foreground; after Giulio Romano” (https://www.britishmuseum.org/collection/object/P_1873-1213-543)

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.75117.

Condition: a strong impression with reasonably wide margins in an excellent condition with flattened centre-fold and no tears, holes, abrasions, significant stains or foxing.

I am selling this interestingly indexed etching showing episodes following the battle of the Milvian Bridge—see for example the explanation for index number “1” (at right) wherein captives are brought to Constantine the Great (the crowned victor of the battle)—for AU$282 (currently US$188.49/EUR170.54/GBP150.13 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 visually engaging frieze bringing together the grim reality of the events after the battle—such as the dragging of Maxentius Tyramnus’ body from the Tiber into a boat (shown at upper left at “3”)—and mythological figures—see the river god holding a cornucopia and a spilling urn of water (at lower left at “2”) and the winged Goddess of Victory holding a laurel wreath above the head of Constantine at far right—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