Comte de Caylus, “L'Empereur Henry IV aux pieds du Pape Grégoire VII”, 1742, after Federico Zuccaro

Anne Claude Philippe de Tubières, Comte de Caylus (aka Caylus; Anne Claude de Caylus; Anne Claude de Pestels; Anne Claude Philippe de Thubiéres) (1692–1765)

“L'Empereur Henry IV aux pieds du Pape Grégoire VII”, 1742, published in 1763, plate 90 from the series, “Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France” (Collection of prints from the most beautiful paintings and from the most beautiful designs that are in France) (aka “Recueil Crozat”; “Cabinet Crozat”), after a drawing now in the Cabinet des Dessins, Louvre (https://collections.louvre.fr/en/ark:/53355/cl020101701 [inv. 4452, recto]) by Federico Zuccaro (aka Federico Zuccari; Federigo Zuccaro; Federico Zucchero) (c1542–1609) that the Curator of the BM advises is “a study for the decoration of the Sala Regia, Palazzi Vaticani, Rome” (see BM inv. no. 1855,0609.170).

Etching and aquatint, imitating the chiaroscuro woodcut by Nicolas Lesueur (aka Nicolas Le Sueur) (1690–1764) (see https://gallica.bnf.fr/ark:/12148/btv1b6956097d.item) printed in two shades of brown (Raw Sienna) ink on heavy wove paper trimmed around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 45.5 x 22.2 cm; (image borderline) 40.8 x 21 cm.

Lettered in plate below the image borderline: (centre) “L'Empereur Henry IV. aux pieds du Pape Gregoire VII./ Dessein de Frederic Zuccari, qui est dans le Cabinet de M^r. Crozat/ Gravé à l’eau forte par M^r. le C… de C.., et en bois sous sa conduit par Nicolas le Sueur.”

IFF 503 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes).

The British Museum offers the following description of this print: “Emperor Henry VI submitting to pope Gregory VII in Canossa; the Emperor, dressed as a penitent, kneels before the pope, who sits on an elevated throne at left; many attendants observe; on the right, a window opening onto a scene showing Gregory III being threatened by soldiers; after a drawing by Federico Zuccaro. 1742” (https://www.britishmuseum.org/collection/object/P_1855-0609-170).

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

I am selling this large curiosity of a print employing etching and aquatint designed to look like a chiaroscuro woodcut (i.e., a woodcut involving more than one tone of a colour) for AU$282 in total (currently US$186.96/EUR171.74/GBP144.73 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$282) as this is my currency.

If you are interested in purchasing this lifetime impression (based on the quality of line showing minimal signs of wear to the printing plate) of a technically fascinating print, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jacques Beltrand, “La Cathédrale d'Amiens”, 1913

Jacques Beltrand (1874–1977)

“La Cathédrale d'Amiens”, 1913, a chiaroscuro colour woodcut on fine laid Japanese paper with a small margin around the image borderline printed in a transition of burnt umber and sanguine with the addition of pale ochre and backed with a support sheet. This is an unsigned proof with minor restorations (see upper cloud at centre).

Size: (sheet) 27 x 18.1 cm; (image borderline) 24.8 x 15.7 cm.

IFF 42 (Jean Laren 1937, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 2, p. 160, cat. no. 42 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488531x/f169]).

The National Gallery of Australia offer a brief description of this print (not reproduced): https://searchthecollection.nga.gov.au/object/99564.

Condition: a strong and well-printed impression with no significant stains. There are minor restorations to small breaks in the tissue-thin paper and the print has been laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this very beautiful colour woodcut of the Amiens Cathedral (aka Cathédrale Notre-Dame d'Amiens; Cathedral Basilica of Our Lady of Amiens) in the city of Amiens located in the Somme River valley north of Paris, France, for AU$215 in total (currently US$142.37/EUR130.14/GBP111.17 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 eye-catching woodcut, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Christoffel Jegher’s colour woodcut, “Portrait of Justin II”, c.1645

Christoffel Jegher (1596–1652/3)

“Portrait of Justin II” (aka “DN. IVSTINVS. P. P. AVG”)— Justin II was the Eastern Roman Emperor from 565 until 578 who (according to Wikipedia, regarding the account of the Emperor’s madness towards the end of his life by John of Ephesus [c.507–c.588]); see https://en.wikipedia.org/wiki/Justin_II) “required organ music to be played day and night”, c.1645, plate XCIII (93) chiaroscuro woodcut illustration to page 185 of Hubert Goltzius' (1526–1583) “Icones Imperatorum Romanorum”, published in Antwerp by Balthasar Moretus II (aka Balthasar Moerentorf II) (1615–1674) in 1645.

Colour woodcut from two blocks printed in black and ochre on buff laid paper with letterpress text verso.

Size: (sheet) 20.1 x 20 cm; (image borderline dia.) 16.9 cm.

Lettered in plate following the round image borderline: “DN. IVSTINVS. P. P. AVG.”

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_1982-U-2978.

Condition: a strong impression with Latin letterpress text verso. Beyond a few pale dot stains in the margin, the sheet is in an excellent condition for its considerable age with no tears, holes, folds, abrasions or significant stains.

I am selling this lifetime impression of a graphically arresting chiaroscuro woodcut from the mid-1600s for the total cost of AU$271 (currently US$181.14/EUR163.89/GBP144.27 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 marvellously strong colour woodcut depicting Emperor Justin II (565–578), 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

Comte de Caylus & Nicolas Le Sueur’s etching and chiaroscuro woodcut, “The Virgin Accompanied by Saints”, c1729, after Pietro Antonio de' Pietri

Anne Claude Philippe de Tubières, Comte de Caylus (1692–1765) (etching component) in collaboration with Nicolas Le Sueur (1690–1764) (woodcut component)

“The Virgin Accompanied by Saints” (aka “La S^te. Vierge Accompagnée de Pusieurs Saints”), c1729, plate 135 from the series, “Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France” (Collection of prints from the most beautiful paintings and from the most beautiful designs that are in France) (aka “Recueil Crozat”; “Cabinet Crozat”), after a drawing by Pietro Antonio de' Pietri (aka Pietro de Pietri; Pierre de Pietri) (1663/5-1716).

This is a rare early impression before the woodcut component was replaced by aquatint when published by François Basan (1723–1797) in 1764. The British Museum holds a later impression where an aquatint plate is employed to imitate the woodcut plate: https://www.britishmuseum.org/collection/object/P_1855-0609-216.

Regarding the publication of the series, “Recueil Crozat”, the Curator of the British Museum offers the following insights: “… a series of plates commissioned by Crozat [Pierre Crozat (1665–1740)] … reproducing famous paintings and drawings of the era; 140 plates were published in 1729. A second volume formed by 42 prints (instead of the 110 plates initially planned) was issued in 1740.

After Crozat's death, the plates were sold to a company of booksellers who commissioned Mariette to reorganize the 'Recueil'; Mariette divided the plates into two volumes, added some missing descriptions, and advertised the set to the public in 1742.

In 1764, Basan [François Basan (1723–1797)] bought the plates and the text, and republished the 'Recueil', but replaced the woodcuts by intaglio prints. … where an attempt to imitate the effect of a chiaroscuro woodcut is made by using aquatint instead …” (https://www.britishmuseum.org/collection/object/P_1907-1121-14).

Etching and chiaroscuro woodcut printed in black (etching component) and two shades of blue (woodcut component) on heavy laid paper with wide margins.

Size: (sheet) 54.6 x 40.7 cm; (plate) 41.9 x 24.2 cm; (image borderline) 37.8 x 22.7 cm.

Lettered in plate below the image borderline: (centre) “La S^te. Vierge accompagnée de pusieurs Saints./ Dessein de Pierre de Pietri, qui est dans le Cabinet de M^r. Crozat/ Gravé à l’eau forte par Mr. le C… de c., et en bois sous sa conduit par Nicolas le Sueur.”; (right) “135”.

Le Blanc 9 (Charles Le Blanc 1854-1888, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations” [4 vols.], Paris, p. 543, cat. no. 9); IFF 370 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes).

The British Museum offers the following description of this print: “The Virgin and child with saints; the Virgin and Child sit on a pedestal at centre, at right a monk approaches and offers a flower, behind him stand a female figure carrying a vase, and a bearded man; in the foreground, to the right, a bearded saint carrying a book kneels before the Virgin, and at left St Lawrence stands with his hand resting on the gridiron; after a drawing by Pietri. c.1729 Etching and chiaroscuro woodcut printed in two shades of blue” (https://www.britishmuseum.org/collection/object/P_2014-7072-1).

Condition: a strong and well-printed impression in excellent (near pristine) condition with no tears, holes, folds, losses, abrasions, significant stains or foxing.

I am selling this curiosity of a composite print employing etching and chiaroscuro woodcut (i.e., a woodcut involving more than one tone of a colour) for AU$319 (currently US$214.61/EUR203.47/GBP179.72 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 early impression of a technically important 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

Christoffel Jegher’s colour woodcut, “Portrait of Julian”, c1645

Christoffel Jegher (1596–1652/3)

“Portrait of Julian” (331/332–363) (aka Flavius Claudius Julianus; Julian the Apostate; Julian II), c1645, plate LXXIV (74) chiaroscuro woodcut illustration to page 149 of Hubert Goltzius' (1526–1583) “Icones Imperatorum Romanorum”, published in Antwerp by Balthasar Moretus II (aka Balthasar Moerentorf II) (1615–1674) in 1645.

Colour woodcut from two blocks printed in black and ochre on buff laid paper with letterpress text verso.

Size: (sheet) 20.5 x 20.1 cm; (image borderline dia.) 16.9 cm.

Lettered in plate following the round image borderline: “DN. FL. CL. IVLIANVS. P. F. AVG.”

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_1982-U-2959.

Condition: a strong impression with Latin letterpress text verso. Beyond unevenness to the ochre colour at upper left and a few dot stains in the lower right margin, the sheet is in an excellent condition for its considerable age with no tears, holes, folds, abrasions or significant stains.

I am selling this lifetime impression of a graphically arresting chiaroscuro woodcut from the mid-1600s for the total cost of AU$262 (currently US$178.06/EUR169.09/GBP144.81 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 marvellously strong colour woodcut depicting Julian II who was Caesar of Rome from 355 to 361 and ultimately Emperor from 361 to 363, 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 

Auguste Lepère's woodcut, "Nude Statue, Seen from Behind", 1898, after Rodin's "Eve"

Auguste Lepère (aka Louis Auguste Lepère) (1849–1918)

"Nude Statue, Seen from Behind" (The MET title) (aka “After the Statue by A. Rodin” [tissue guard title]), 1898, two-colour woodcut after Auguste Rodin’s (1840–1917) sculpture, “Eve”, published in “The Studio”, vol. 14, no. 66, 1898, signed on the plate and stamped with the red seal of The Studio with the protective tissue guard printed with the explanatory text: “WOODCUT IN TWO BLOCKS/ BY A. LEPÈRE. AFTER THE STATUE BY A. RODIN”.

Chiaroscuro woodcut in two blocks, printed in black and olive-green ink on cream wove paper with the Studio stamp in red and full margins as published in 1898.

Size: (sheet) 28.4 x 20.1 cm; (image borderline) 18 x 9.2 cm.

Inscribed on plate within the image borderline: (partially obscured at lower right corner) “ALepère / d'apres / A RODIN”.

Stamped with the publisher’s seal below the image borderline: “THE STV- / CDIO”

The Metropolitan Museum of Art offers a description of this print:

https://www.metmuseum.org/art/collection/search/752743?searchField=All&sortBy=Relevance&who=Rodin%2c+Auguste%24Auguste+Rodin&ft=*&offset=0&rpp=80&pos=74.

See also the description offered by WorthPoint:

https://www.worthpoint.com/worthopedia/superb-1898-orig-woodcut-auguste-127546515.

Condition: near faultless impression with full margins in near pristine condition—there is a very faint dot in the lower right corner of the margin.

I am selling this woodcut masterpiece showing Rodin’s famous sculpture, “Eve”, portrayed as if the figure is seemingly suffering in grief under the strong raking light from above—at least that is how I read this superb woodcut—for a total cost of AU$314 (currently US$216.22/EUR194.86/GBP165.38 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this incredibly insightful and skilful woodcut—note for example how Lepère creates a transition in the treatment of light and shade on Eve from the long contour marks giving form to her legs and casting them in shadow to the dots of broken white lines connoting extreme light and texture on her shoulders—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