Pierre Joseph Redouté, “Wallflower”, 1805

Pierre Joseph Redouté (1759-1840)

“Wallflower” (aka “Cheiranthus Cheiri / Géroflee Violier” [as titled in the plate])—a plant that I understand is often found growing in cracks in stone walls, 1805, engraving in colour (described in the title page as “IMPRIMÉES EN COULEURS” [printed in colour] see https://archive.org/details/mobot31753000809605/mode/1up), published in 1805 in Paris by Delachaussée as plate 8 to “La botanique de J.J. Rousseau: ornée de soixante-cinq planches, imprimées en couleurs d'après les peintures de P.J. Redouté” (The Botany of J.J. Rousseau: decorated with sixty-five plates, printed in colour after the paintings of P.J. Redouté), printed by Vincent Marie Langlois (aka Langlois frères; Langlois Jeune) (1756–still active c.1805). Archive.org offers and online view of this publication: https://archive.org/details/mobot31753000809605/page/7/mode/2up.

Stipple engraving printed in colour (or more likely hand-coloured, based on close examination of the print, despite the description as “printed in colour” on the title sheet) on cream wove paper.

Size: (sheet) 34.7 x 25.5cm.

Lettered in plate: (next to the relevant details of the flower) “a” ([faint] petal); “b” (flower stripped of its petals); “c” (flower stripped of the calyx and corolla); “d” (stamen); “e” (pistil); “f” (silique); (left) “CHEIRANTHUS CHEIRI./ par P. J. Redoute,”; (centre) “de L’Imprimerie de Langlois.”; (right) “Géroflee Violier.”

Condition: a strong and well-printed impression. Beyond small tears in the edges, the sheet is in a very good condition for its age with no significant stains.

I am selling this rare colour engraving, arguably, by the “greatest botanical illustrator of all time” who even earned the nickname, ”the Raphael of flowers“ (see https://en.wikipedia.org/wiki/Pierre-Joseph_Redout%C3%A9), for AU$267 (currently US$174.13/ EUR164.62/ GBP136.94 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$267) as this is my currency.

If you are interested in purchasing this technically demanding and impressive colour engraving of great beauty, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Auguste Alexandre Baudran, “La Ronde”, 1864, after Domenico Campagnola

Auguste Alexandre Baudran (1823–1907)

“La Ronde”, 1864, a facsimile engraving employing a photomechanical process—possibly more advanced than the Heliogravure (photogravure) process that Baudran had inscribed on some of his earlier photomechanical prints (e.g., “Marie Ann Charlotte Corday de Armans” [https://www.britishmuseum.org/collection/object/P_1898-0527-276]), but before Baudran’s “Colour Projection Method” that he developed/invented in 1891 (see Bernard E Jones [ed.] 1911, “Cassell’s Cylopædia of Photography, London, Cassell & Company, Ltd., p. 57 [https://ia804708.us.archive.org/5/items/cu31924030707867/cu31924030707867.pdf]), printed in three colours by Alfred Salmon (fl.1863–1894) after Domenico Campagnola’s (1500–1564) brown ink drawing (with chalk), “Twelve Dancing Putti” (see https://api.artic.edu/api/v1/artworks/4270/manifest.json), 1517, published in Paris in the art periodical, “La Gazette des Beaux-Arts”, 1^st July, 1864, p. 158 (see https://gallica.bnf.fr/ark:/12148/bpt6k203081b/f488.double).

Photomechanical facsimile engraving printed in three colours (warm ochre, sanguine and burnt umber) on heavy wove paper with wide margins.

Size: (sheet) 18.4 x 25 cm; (plate) 14 x 18.9 cm; (image borderline) 9.6 x 12.4 cm.

Inscribed in plate within the image borderline: (lower centre) “Dominicvs/ Cāpaqnola/ ^.1517^.”.

Lettered in plate below the image borderline: (left) “D. CAMPAGNOLA SC^T./ Gazette des Beaux-Arts”; (centre) “LA RONDE”; (right) FAC-SIMILE DE M. BAUDRAN/ Imp. A. Salmon à Paris”.

Alfred Morrison & M Holloway 1868, “The collection of engravings, formed between the years 1860–68”, London, [privately printed] Holloway and Son, p. 30 (https://archive.org/details/collectionofengr00morr/page/30/mode/2up).

Condition: a strong and well-printed impression in near pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this extraordinarily beautiful three-colour facsimile (photomechanical) hand-printed engraving published in 1864—for AU$198 in total (currently US$135.22/EUR121.11/GBP101.54 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$198) as this is my currency.

If you are interested in purchasing this jewel of an engraving exemplifying the advances made by Domenico Campagnola in creating a note looseness and life to the stippled engraving technique developed by his former teacher, Giulio Campagnola (1482–1515), 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

(Attrib.) Filippo Morghen’s stipple engraving, “Frieze of Eight Mythological Figures”, c1802, after a Roman fresco

Attributed to, or circle of, Filippo Morghen (1730–1807)

“Frieze of Eight Mythological Figures” (descriptive title only), c1803, possibly after a fresco wall-painting in a villa around the Port of Pozzuolo on the Bay of Naples, and possibly published in “Antichi Monumenti di Pozzuolo” in 1803, based on similarities of style and formatting to a similar frieze engraved by Filippo Morghen (ignoring the addition of colour) offered by Calloway Fine Art; see: https://callowayart.com/antiques/antichi-monumenti-di-pozzuolo-125. Regarding the eight volumes of “Le pitture antiche d'Ercolano e contorni incise con qualche spiegazione”, 1757/62, that Filippo Morghen was involved in illustrating, I have checked volumes 1, 2, 3, 4 and 7 searching for this plate, but without success. Going further, I would be surprised if this plate is in one of the remaining unchecked volumes (viz. 5, 6 and 8) as the choice of the particular style of image borderline that is consistently employed in these volumes is dissimilar.

Stipple engraving trimmed around the image borderline and backed with a support sheet.

Size: (support sheet) 26 x 48.5 cm; (sheet) 9.7 x 36.8 cm.

Condition: a richly inked and well-printed impression trimmed around the image borderline and laid onto a sheet of archival (millennium quality) washi paper that provides larger margins. The sheet is in an excellent condition with no tears, holes, folds, stains or foxing.

I am selling this large stipple engraving after a Roman wall-painting from possibly a villa in either Pompeii or Herculaneum, for AU$248 in total (currently US$176.60/EUR155.07/GBP130.50 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 marvellous frieze of figures showing what I see as two episodes—and I could be completely wrong in my reading!—featuring the goddess Hera holding her lotus-topped staff (viz. on the left Hera expresses her displeasure with the lack of morals/fidelity shown by the two figures on the right by kicking over an amphora as they engage in lascivious behaviour; beside a monument to Pan, Hera blesses a scene of happy revelry with a hospitable centaur and music makers), 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 

Domenico Montagù’s engraving, “Du Forum de Nerva”, 1761, after Jean Barbault

Domenico Montagù (fl.1750–1776)

Note: my attribution of this plate to Domenico Montagù is based on Montagù having engraved other ruins in the Forum de Nerva from the same series: e.g. “Partie du Forum ou Place de Nerva” (see https://www.britishmuseum.org/collection/object/P_1873-1213-959).

“Du Forum de Nerva”, 1761, after the intermediary design by Jean Barbault (1718–1762), published in Rome by Bouchard & Gravier (fl.1750-1789) as Plate 12 (of 128 plates) in Jean Barbault’s “Les Plus Beaux Monuments de Rome Ancienne ou Recueil des plus beaux Morceaux de l'Antiquité Romaine qui existent encore” (The Most Beautiful Monuments of Ancient Rome or Collection of the Most Beautiful Pieces from Roman Antiquity that still exist), printed by Komarek (fl.c.1761)—viz. Joan Jacob Komarek (see BM inv. no 1873,1213.906); Heritiers de Komarek (see MET inv. no. 52.519.87[1–128]).

The Curator of the British Museum offers the following insights about the publication in which this print features:

“The volume comprises some 128 plates which depict a variety of scenes including vedute of ancient ruins and monuments in Rome and studies of antique sculptural and architectural fragments and objects. The plates are etched and in a range of scales, often with two plates to a sheet. 73 of the larger plates are numbered, 53 with a relevant page reference. The plates are accompanied by Barbault’s text (in French), which often elucidates further detail on the subject of the illustrations on the corresponding page. […]

Over 100 of the signatures on the plate assert the involvement of Barbault in their production, and Barbault was certainly the designer and etcher of a large proportion of the plates. At least 48 of the views of Rome were the result of the ongoing collaboration between Barbault and the vedutist Domenico Montagù, who also contributed etchings to Barbault’s ‘Les Plus Beaux Edifices de Rome Moderne’ (Rome, 1763), and who produced at least 37 etchings for the ‘Nuova Raccolta delle piu' belle vedute di Roma dissegnate, e intagliate da celebri autori’ (Rome, 1761) (see 1892,0804.6.0-50 for a volume of the 1771 edition). While a large proportion of Montagù’s etchings were produced after drawings by Barbault, their fundamental quality demonstrates a reliance on the vedute of Giovanni Battista Piranesi, with whom both Barbault and Montagù shared the publisher Bouchard et Gravier” (https://www.britishmuseum.org/collection/object/P_1873-1213-906).

The Metropolitan Museum of Art also offers a marvellously detailed description of this publication: https://www.metmuseum.org/art/collection/search/345404.

Stipple engraving printed in warm black ink on buff coloured laid paper.

Size: (sheet) 54.1 x 39.3; (plate) 47.5 x 32.5 cm; (image borderline) 44.6 x 29.7 cm.

Numbered in plate above the image borderline: (right) “Pl. 12.”

Numbered in plate within the image borderline: (above the antique fragments clockwise) “5”, “6” and “7”.

Lettered in plate below the image borderline: (left) “5. Profil du Modillon./ 6. Modillon ou de face.”; (centre) “Du Forum de Nerva”; (right) “7 Soffite ou Plafond du Larmier.”

Fowler 29.37; IFF (1933) II.43.2; Millard IV.13; Cicognara I.170.3592; Le Blanc I.144.4–58; Le Blanc III.42.2; Volle and Rosenberg 60.55 (Reference data from the MET regarding the publication)

Condition: a well-printed, strong and near faultless impression with generous margins. There is a significant worm hole at lower left outside the image borderline, otherwise the sheet is in near pristine condition with no tears, folds, abrasions, stains or foxing.

I am selling this superb stipple engraving of three details of an architectural fragment from the Forum of Nerva in Rome, for the total cost of AU$232 (currently US$170.71/EUR145.07/GBP123.05 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 large engraving executed with almost unbelievable sensitivity and skill, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Crayon-manner studies of a bearded head of a man and other studies, c1765

Unidentified 18^th century French engraver (based on the paper and the privilege note)

“Plate 103: Head of a bearded man with studies of ears and an eye” (descriptive title only), c1765 (?), from an instructional manual for drawing (see, for example: https://www.britishmuseum.org/collection/object/P_1872-1012-4734).

Crayon-manner stipple roulette etching on laid paper backed with a support sheet.

Size: (sheet) 24 x 31.5 cm.

Inscribed on plate: (upper right corner) “103”; (lower right corner) “Privilège du Roi.”

Condition: strong and well-printed impression with a narrow margin around the platemark (as published?) and laid onto a support of archival (millennium quality) washi paper. The sheet has chipped corners on the right side and shows signs of handling (e.g. light chalk marks, a flattened crease and general dustiness appropriate to its function as instructional studies for art students).

I am selling this crayon-manner etching of superbly executed academic studies of facial features created as models for art students to copy, for AU$214 in total (currently US$154.81/EUR131.68/GBP119.92 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.

If you are interested in purchasing this interesting sheet of academic studies—note, for instance the artist’s skill in representing the elderly man’s beard as white hair (as opposed to black hair) and how the upper-left study of an eye references the Renaissance convention of not portraying eyelashes (or showing only minimal eyelashes)—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