Joseph Pennell’s etching, “St Paul's Seen from the River”, 1905

Joseph Pennell (1857–1926)

“St Paul's Seen from the River” (aka “St. Paul’s over Temple Stairs”; “Le débarcadère du Temple à Londres”), 1905, a strong impression from the reduced plate published in “La Gazette des Beaux-Arts”, vol. 36, 1^st July, 1906, between pages 60 and 61 as an illustration to Paul Jamot’s article, “Les Salons de 1906” (pp. 45–69). Archive.org offers and online view of this print in its context in the publication: https://archive.org/details/gazette-des-beaux-arts_1906_36/page/60/mode/2up.

Etching with plate-tone printed in a brown ink on wove paper, trimmed with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 17.9 x 21.4 cm; (plate) 16 x 20.5 cm.

State ii (of ii) with the plate reduced for publication.

Wuerth 380 (Louis A. Wuerth 1988, “Catalogue of the Etchings of Joseph Pennell”, San Francisco, Alan Wofsy Fine Arts, p. 131, cat. no. 380).

The Rijksmuseum offers the following description of this print: (Transl.) “St Paul's seen from the river, with steps leading down to the water” (http://hdl.handle.net/10934/RM0001.COLLECT.214387).

Condition: a richly inked and well-printed impression with vignette-like darkening in the wiping of the plate towards the edges and use of retroussage—a technique employed when wiping the etching plate—to soften/blur the lines. The sheet is trimmed with a small margin around the plate mark and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in a very good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this freely drawn etching showing a view of London at the turn of the twentieth century with St Paul’s Cathedral in the distance and the River Thames in the foreground, for the total cost of AU$252 (currently US$168.47/EUR154.76/GBP130.45 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$252) as this is my currency.

If you are interested in purchasing this wonderfully atmospheric etching by one of the great supporters of James McNeill Whistler, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

James Joseph Tissot, “The Prodigal Son: Frontispiece”, 1881/82

James Joseph Tissot (1836–1902)

“The Prodigal Son: Frontispiece” (aka “L'Enfant Prodigue: Frontispice”), 1881 (date inscribed in plate)/1882, Trompe-l'œil title plate to the series of four plates, “The Prodigal Son in Modern Life” with each of the titles of the following plates shown in the portrayed open book along with the Biblical references to the Gospel of St. Luke, published in 1882 by James Joseph Tissot in London.

Based on the excellent description of this print offered by 1^st DiBS, I understand that the suite of prints was published in an edition or 400 impressions in the lettered state (see https://www.1stdibs.com/art/prints-works-on-paper/still-life-prints-works-on-paper/james-jacques-joseph-tissot-frontispiece-from-prodigal-son-suite-jj-tissot/id-a_6988452/)

Etching with retroussage work—a technique employed when wiping the still wet plate to allow ink to “spill” over the lines—and pale surface tone printed in burnt umber coloured ink on wove paper, trimmed with a thread margin around the platemark and backed with a support sheet.

Size: (sheet) 35.8 x 46.1 cm; (plate) 35.5 x 45.7 cm.

Lettered in plate: (lower right) “Invented,/ Painted &/ Etched/ by/ J. J. TISSOT,/ 1881./ 17, Grove End R^d. S^t. John's Wood,/ LONDON.”; (On the open pages of book) facsimile text to the parable of The Prodigal Son (Luke 15: 11–32) in English with the titles of the prints in the series with the relevant passages lettered “N^o. 1 THE DEPARTURE.”; “N^o. II IN FOREIGN CLIMES.”; “N^o. III THE RETURN.”; “N^o. IV THE FATTED CALF.”

State ii (of ii) with the addition of the publication details. Note that Wentworth (1987) advises that there is only a single state.

Beraldi 48 (Henri Béraldi 1892, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: SAINT-MARCEL– ZWINGER”, vol. XII, Paris, Librairie L. Conquet, p. 132, cat. no. 48); Wentworth 57 (Michael Justin Wentworth 1987, “James Tissot: Catalogue Raisonné of his Prints”, Minneapolis, The Minneapolis Institute of Arts, p. 246, cat. no. 57)

The British Museum offers the following description of this print (not reproduced): “Frontispiece to a series of four etchings: open book with cord ties, some of the pages marked, with Biblical text from the Gospel of St Luke over two pages, the episodes those depicted in the series. 1882” (https://www.britishmuseum.org/collection/object/P_1981-0725-25). See also the description of this print offered by the Rijksmuseum (reproduced): http://hdl.handle.net/10934/RM0001.COLLECT.634120.

Condition: a richly inked and well-printed impression trimmed along the platemark and laid onto a support of archival (millennium quality) washi paper. There are minor chips and tears, otherwise, this large print is in a good condition with no significant stains.

I am selling this large an unusual title-plate etching for a suite of prints offering a fresh contemporary context for the biblical parable of the Prodigal Son, for AU$402 in total (currently US$262.11/EUR245.34/GBP209.35 at the time of posting this listing) including Express (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 etching executed by an artist who is a leading artist of 19^th century and a close friend of many of the key figures, 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 

Frank Lewis Emanuel’s etching, “J'auld Brig o'Dumfries”, c1900

Frank Lewis Emanuel (1865–1948)

“J'auld Brig o'Dumfries”, c1900 (BM 1880–1920), a proof-state impression that is pencil-signed and annotated with a proposal for cutting the plate. I understand that this bridge is the oldest in Scotland and is commonly called the “Devorgilla Bridge”. Although there has been a succession of bridges built on the same site—a ford across the River Nith that is slightly south of the centre of town in Dumfries in the south-west of Scotland—the first Devorgilla Bridge “was built around 1270 by the Lady Dervorgilla of Galloway” (see https://scotlandsoldestbridges.co.uk/dumfries-bridge.html). 

Etching with plate tone and retroussage work—a technique employed when wiping the still wet plate to allow ink to “spill” over the lines—on fine cream wove paper pencil-signed by the artist at lower right and pencil annotated (presumably by the artist) at lower left: “Could look better with the bottom third/ cut off to plate./ […]/ [Or else the?] sky cut off to a level just/ above the bridge.” There may also be a pale brown ink inscription along the upper edge of the sheet, but it is too faded to read—if it is a line of writing!

Size: (sheet) 29 x 23 cm; (plate) 24.9 x 20 cm.

The British Museum offers the following description of this print: “River view, with low wide cascades in the foreground, running down from under bridge in the right middle distance, houses along the left river bank, church tower in the background. Etching” (https://www.britishmuseum.org/collection/object/P_1920-0213-7).

Condition: a very richly inked artist’s proof that to my eye suggests an initial impression based on the lack of finesse in the wiping of the plate edges (cf. the BM’s copy [inv. no. 1920,0213.7]) and the annotations about reducing the plate size. The sheet is slightly grubby—again suggesting an artist’s initial impression that has been well handled/examined—but with no tears, holes, folds or significant stains.

I am selling this exceptionally rare proof-state etching signed and annotated in pencil with a proposal to cut the plate (i.e., reduce its size), for AU$366 (currently US$257.23/EUR236.52/GBP207.81 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 moody etching of turbulent river currents flowing past the Devorgilla Bridge—the oldest bridge in Scotland—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

Anthonie Waterloo’s etching, “Traveller Near a Wood”, c1645

Anthonie Waterloo (aka Anthoni Waterloo; Antoni Waterlo) (1609–1690)

“Traveller Near a Wood” (aka “Man with a Dog in a Forest”), c1645 ([Rijksmuseum dates] 1630–1663; [final reworked state] 1868), from the series “Six Landscapes” (H.53-58). This impression was published in 1868 by Philip Gilbert Hamerton (1834–1894) in London as plate v (opposite page 282) in “Etching & Etchers” (1868).

Etching on laid paper (partial watermark) with full margins as published.

Size: (sheet) 16.9 x 25.1 cm; (plate) 11.5 x 14.3 cm; (image borderline) 11.2 x 14.1 cm.

Inscribed in plate: (lower right): “AW F”

State iii (of iii) with “Cross-hatching added on the trunk of the tree at the center, just below the foliage. Heavy cross-hatching added in the dark area at the lower left” (Morse [1992], p. 61).

TIB 0201.053 S3 (Peter Morse [ed.] 1992, “The Illustrated Bartsch: Antoni Waterloo”, vol. 2, Commentary, Part 1, New York, Abaris Books, p.61, cat. no. 053 S3); Hollstein Dutch 53 (3) (Christiaan Schuckman 1997, “Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Antoni Waterloo,” vol. 50, Rotterdam, Sound and Vision, p. 126, cat. no. 53).

The British Museum and Rijksmuseum offer the following descriptions of this print: https://www.britishmuseum.org/collection/object/P_F-3-61;  http://hdl.handle.net/10934/RM0001.COLLECT.193724.

Condition: a richly inked impression—note retroussage marks around the figure and dog—with full margins and red edging to the sheet (as published) in a near pristine condition with no tears, holes, folds, abrasions or significant stains.

I am selling this superb impression from the Hamerton edition of 1868—interesting to note the nineteenth century desire to add richness to an impression like this by the use of retroussage (i.e., a technique employed when wiping the still wet plate to allow ink to “spill” over the lines)—for the total cost of AU$298 (currently US$200/EUR193.20/GBP167.07 at the time of this listing) including postage and handling to anywhere in the world.

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

Jules Héreau’s, etching, “Paturages aux Environs de Honfleur”, 1873

Jules Héreau (1839–1879)

“Pastures around Honfleur” (aka “Pâturages aux Environs de Honfleur”), 1873, after a painting of the same composition by Jules Héreau, published and printed in Paris in 1878 by Alfred Cadart (aka Veuve Cadart) (1828–1875) as plate 436 to “L'Illustration nouvelle par une société de peintres-graveurs à l'eau-forte”, vol. 10 (part 2, tenth year) (see: https://gallica.bnf.fr/ark:/12148/btv1b85276055/f27.item.r=Jules%20H%C3%A9reau%20aux%20Environs%20de%20Honfleur & https://gallica.bnf.fr/ark:/12148/btv1b85276055/f27).

Etching with dot roulette and plate tone on laid paper with full margins as published.

Size: (sheet) 31 x 48 cm; (plate) 23.9 x 31.7 cm; (image borderline) 19.5 x 26.4 cm.

Numbered in plate above the image borderline: (right) “436.”

Inscribed in plate within the image borderline: (lower right) “Jules Héreau 1873”.

Lettered in plate below the image borderline: (left) “Jules Héreau, pinx. et sc.”; (centre) “PATURAGES AUX ENVIRONS DE HONFLEUR.”; (right) V^ve A, Cadart,Edit,Imp. 56,B^ard Haussmann,Paris.”

Musée d’art et d'histoire de Genève offer a description of this print: https://collections.geneve.ch/mah/oeuvre/paturages-aux-environs-de-honfleur/e-2015-0443-025.

Condition: a near faultless impression in near pristine condition with full margins as published.

I am selling this superb etching showing sheep, cows and a horse in icy cold pastures beside the sea near Honfleur—note the smoke from ships in port in the far distance—for AU$223 (currently US$153.34/EUR152.74/GBP129.69 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.

IIf you are interested in purchasing this curiously interesting etching from the late 19^th century capturing the bleak outlook on a smoke-laden, bitingly cold day on a coastal farm in the Honfleur region (north-western France)—note the use of retroussage (i.e., a technique employed when wiping the still wet plate to allow ink to “spill” over the lines) to help suggest the effect of iciness—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.