Tachibana Morikuni’s woodblock print, “The Wild Goose”, 1749

Tachibana Morikuni 橘守国 (1679–1748)

“The Wild Goose”, 1748? (Kan'en Era), published by Nishimura Genroku 西村源六 in collaboration with Shibukawa Seiemon 渋川清右衛門 and Shibukawa Yoichi 渋川与市 in 1749— a year after the artist’s death—in volume 2 of the three-volume set of prints featuring birds, flowers and animals, “Unpitsu soga” 運筆麁画 (trans. “The Moving Brush in ‘Rough’Painting”).

Two-panel woodblock printed in black ink on paper joined at the centre as a single image and lined with a support sheet.

Size: (assembly of sheets) 26.7 x 31.2 cm

The British Museum offers a description of “Unpitsu soga” in which this print features:

http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3511331&partId=1&searchText=1979,0305,0.92.2&page=1

Ref: Toda, Kenji 1931,”Descriptive Catalogue of the Japanese and Chinese Illustrated Books in the Ryerson Library of the Art Institute of Chicago”, Chicago, p. 319.

See also: Jack Hillier & Lawrence Smith 1980, “Japanese Prints: 300 Years of Albums and Books”, London, BMP.

Condition: a coarsely printed but elegantly minimal impression that is part of the 'so' or cursive style designed to capture the freshness of a sketch. There are small insect holes, old patches of backing restorations and signs of handling appropriate to the centuries of use since the print was published. The two panels of woodblock prints that make up the complete composition have been pasted together and laid upon a support sheet.

I am selling this rare impression of supreme minimalism and compositional elegance for AU$254 (currently US$177.34/EUR158.61/GBP135.581 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 early and very poetic diptych woodblock print. please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

There are two very similar plates featuring the flying goose in the three volumes of “Unpitsu soga”. In volume 1 (see http://pulverer.si.edu/node/956/title/1), the goose is shown flying to the lower left and in volume 2 (see http://pulverer.si.edu/node/956/title/2) the goose—as shown in this impression—is flying to the lower right. This raises the question in my mind regarding why the artist chose such similar images in mirror directions to each other.

As a proposal, I wonder if the goose in the first volume is an “arriving” goose while the goose in the second volume is a “leaving” goose. My reason for this assumption (which is likely to be flawed as I really don’t know) is simply because this noisy bird heralds the change of seasons when it arrives from its long flight from Siberia (or wherever geese are meant to migrate from). Moreover, I like to believe that the goose in volume one, which shows a more detailed rendering of the bird, is the graphic equivalent of a real bird whereas the goose in volume two—this print—is the graphic equivalent of the ghost of a memory: a goose farewell.

Regarding the technique used in this rather extraordinary print, the Curator of the British Museum offers the following insights (extracted from Hillier and Smith 1980):

“The woodblock technique is an early example of the method of securing gradated tonal effects by 'lowering' or scraping certain areas of the blocks and thus approaching the appearance of real brushwork more closely.” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3511331&partId=1&searchText=1979,0305,0.92.2&page=1

IC Bernd's engravings, “Camelopardalis” and “Cygnus”, 1730

IC Bernd (or JC Bernd; see https://searchworks.stanford.edu/view/11528253) (fl.1730)

(Upper engraving) “Camelopardalis” (The Giraffe), 1730, plate 8

(Lower engraving) “Cygnus” (The Swan), 1730, plate 14

Plate 8 and plate 14 in the series of fifty-four celestial charts (showing constellations in their zodiac signs—undoubtedly inspired by Johannes Hevelius’ (1611–1687) star atlas, ”Firmamentum Sobiescianum sive Uranographia” (1687) (see: https://www.diomedia.com/stock-photo-a-representation-of-the-constellation-of-camelopardalus-the-giraffe-from-the-firmamentum-image15666501.html?eventId=9372 and https://www.diomedia.com/stock-photo-a-representation-of-the-constellation-of-cygnus-from-the-firmamentum-sobiescianum-sive-uranographia-image15666493.html)—to P. Corbiniano Thomas’ (1694–1767), “Mercurii philosophici firmamentum firmianum: descriptionem et vsum globi artificialis coelestis, ac asterismos ejusdem ad ineuntem annum 1730. reductos LXXXVI. Iconismis æri incisis exhibens” (aka “The Little Sky Atlas”), published in 1730 in Frankfurt am Main and Leipzig.

The Morgan Library and Museum offer details about this publication:

https://www.themorgan.org/printed-books/177436

Regarding the celestial chart showing “Camelopardalis” (The Giraffe) in-the-sky.org offers the following explanation for what I see as a rather strange looking giraffe:

“The giraffe in question is supposedly the animal Rebecca rode to marry Isaac in the Book of Genesis, though the Biblical story itself refers to a camel. Legend has it that Johannes Hevelius saw the spots of a giraffe in the constellation's stars, prompting the association."

(https://in-the-sky.org/data/constellation.php?id=12)

Ian Ridpath’s “Star Tales” offers the following description of the Cygnus constellation:

“A popular name for Cygnus is the Northern Cross, and indeed its shape is far larger and more distinctive than the famous Southern Cross. In its cruciform shape the Greeks visualized the long neck, outstretched wings and stubby tail of a swan flying along the Milky Way, in which it is embedded. Aratus’s description of it as being hazy or misty in parts is no doubt a reference to the Milky Way running through it. The mythographers tell us that the swan is Zeus in disguise, on his way to one of his innumerable love affairs, but his exact quarry is a subject of some disagreement.”

(http://www.ianridpath.com/startales/cygnus.htm)

Engravings on laid paper with small margins and backed with a support sheet.

Size of upper engraving (“Camelopardalis”): (sheet) 15.7 x 17.8 cm; (plate) 13.9 x 14.3 cm; (image borderline) 13.2 x 13.9 cm.

Size of lower engraving (“Cygnus”): (sheet) 15.9 x 17.4 cm; (plate) 13.9 x 14.3 cm; (image borderline) 13.5 x 13.6 cm.

Both engravings inscribed on plate below the image borderline: (left) “I.C.B. fe.”

Condition: faultless lifetime impressions in near pristine condition (i.e. there are no tears, holes, losses, folds, abrasions, significant stains or foxing). Both sheets are laid onto a single support sheet of archival (millennium quality) washi paper.

I am selling this pair of exceptionally rare, lifetime impressions of celestial charts published in 1730, for AU$546 in total for the pair (currently US$379.96/EUR341.13/GBP290.59 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 pair of small but incredibly beautiful engravings, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This pair of prints has been sold

Claude Donat Jardinier’s engraving, “La Vierge Contemplant l'Enfant Jésus Endormi dans sa Crèche”, c.1753, after Carlo Maratti

Claude Donat Jardinier (1726–1774)

“La Vierge Contemplant l'Enfant Jésus Endormi dans sa Crèche” (The Virgin Contemplating the Sleeping Baby Jesus in the Manger], 1753, after the intermediary draughtsman, Charles François Hutin (aka Charles François Huttin) (1715–1776), after the painting “Die Heilige Nacht” (The Holy Night) in the collection of the Gemäldegalerie Alte Meister (Gal.-Nr. 436), c.1656, by Carlo Maratti (aka Carlo Maratta) (1625–1713), plate number 44 in the series of 100 prints, “Recueil d'estampes d'après les plus célèbres tableaux de la Galerie Royale de Dresde” (aka “The Dresden Gallery”). This engraving is part of the first volume of 50 prints published in 1753. Volume 2, with an additional 50 prints, was published in 1757. Note that here is also a supplementary set of 50 prints—mainly landscapes—published c.1795 (see the Curator of the British Museum’s account of the publication details, BM no. 1855,0609.1251).

Engraving and etching on heavy laid paper backed with a support sheet.

Size: (sheet) 47.8 x 32.8 cm; (plate) 45.2 x 30.4 cm; (image borderline) 37.2 x 28.4 cm.

Lettered on plate below the image borderline: (left) “C.Hutin del.”; (left of centre in three lines of Italian text) “Qvadro di Carlo Maratti /cavato dalla Galleria Reale di Dresda/ Alto Pi. 3. O. 6. Largo Pi.2.0.8”; (centre) [coat of arms]; (right of centre in three lines of French text) “Tableau de Charle Marattia/ dela Gallerie Royale de Dresde/ haut 3. Pi. 6. Pouc. Lar. 2. Pi.8. Pouc."; (right) “C.D.Jardinier Sculp./ No. 44.”

IFF 99.II (Bibliothèque Nationale, Départment des Estampes 1939–, “Inventaire du Fonds Français: Graveurs du XVIIe siècle”, Paris,Bibliothèque Nationale de France); Le Blanc 1.

The British Museum offers the following description of this print:

“The Nativity, with the Virgin holding the Child while three heads of angels watch, after the painting by Carlo Maratti.”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3223846&partId=1&searchText=Claude-Donat+JARDINIER+&page=1)

Condition: excellent (near faultless), well-printed impression showing no sign of wear to the printing plate with a small margin around the plate mark, laid onto a support sheet of archival (millennium quality) washi paper. The sheet has minor dust accentuation of the plate mark otherwise the sheet is in a very good condition (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing).

I am selling this fine example of late Baroque Roman Classicism—note how the baby Jesus is portrayed as emanating divine light to illuminate the scene and how the further back  angelic head is designed to create a reflexive response by secretively peeking at the viewer from behind the Madonna—for AU$330 (currently US$228.44/EUR206.51/GBP175.93 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 very sensitively treated graphic translation of Maratti’s painting of the Nativity, 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

Théodore Géricault's lithograph (in collaboration with Léon Cogniet), “Le Maréchal Français”, 1822

Théodore Géricault (1791–1824) in collaboration with Léon Cogniet (1794–1880)

“Le Maréchal Français” (aka “The French Farrier”; “The French Blacksmith”), 1822, from the series of twelve lithographs and the title plate, “Études de Chevaux” (Horse Studies) (aka “Grands Chevaux” [Great Horses]), printed by François le Villain (aka Villain; Ch Villain; F Villain) (fl.1822–1852), published by Gihaut Frères (fl.1815–1871) in Paris in 1822.

Regarding the execution of this lithograph, Loys Delteil (1902) in his catalogue raisonné for Gericault advises: “Lithographie exécutée en grande partie par Léon Cogniet” (Lithograph executed in large part by Léon Cogniet) (p. 116).

Lithograph on heavy wove paper with wide margins and backed with a support sheet.

Size: (sheet) 38.2 x 48.9 cm; (image borderline) 27.3 x 36.3 cm.

Lettered on plate below the image borderline: (left) "Géricault del."; (centre) "chez Gihaut éditeur et Md. d'Estampes, Boulevard des Italiens, No.[ 5]."

State ii (of ii) with the erasure of “Lith. de Villain” at lower right (see Loys Delteil 1902 catalogue: https://archive.org/details/gri_33125005992975/page/n115  

Delteil 84.II (Loys Delteil 1906, “Le Peintre-Graveur Illustré [XIXe et XXe siècles]: Théodore Géricault”, vol. 18, Paris, Loys Delteil, p. 116).

The British Museum offers the following description of this print:

“In the centre foreground, a restless horse is being shod by a farrier, while further back to left a man sees to another horse, and to right a third man is visible indoors hammering a glowing shoe on an anvil.”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1445672&partId=1&people=124335&peoA=124335-2-60&page=1)

See also the description of this print at The Metropolitan Museum of Art:

https://www.metmuseum.org/art/collection/search/358098?searchField=All&sortBy=Relevance&ft=Th%c3%a9odore+Gericault&offset=0&rpp=20&pos=18

Regarding the series, “Études de Chevaux”, of which this plate is a part, the curator of the BM offers the following insights:

“Delteil quotes a passage from Ch. Clément, 'Géricault', which states that in order to satisfy public demand, the Gihaut brothers asked for a repeat of the artist's 'The English Set', but that only horses were required. Six equestrian subjects from the original series were retained and Géricault produced watercolours which were to serve as designs for the remaining six. He asked Léon Cogniet and Volmar to execute the work, and he directed the project, sending work back and making some corrections” (BM no. 1868,1114.293).

Condition: marvellously strong impression with generously wide margins and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in excellent condition for its considerable age (i.e. there are no tears, folds, holes, abrasions, significant stains or foxing).

I am selling this large lithograph that is seldom seen on the art market and executed by the hand of the grand master of Romanticism, Géricault, in collaboration with his key lithographer, Cogniet, for AU$362 in total (currently US$250.52/EUR225.84/GBP193.51 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 spectacular lithograph, 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

Jacques Callot's etching, “Crossing of the Red Sea”, 1629

Jacques Callot (1592–1635)

“Crossing of the Red Sea” (aka “Le Passage de la Mer Rouge”), 1629, with dedication in Latin by Callot to Israël Henriet (c.1590–1661), originally published by Israël Henriet and later published by Jacques Fagnani (fl.1699–1730) in 1712/3 and finally by the publisher, Vincent (c.1775–1800). This impression was taken after the publisher’s address for Vincent was erased for the fifth and final state.

Etching on fine laid paper, trimmed with a narrow margin around the image borderline and backed with a support sheet.

Size: (sheet) 12.7 x 23.5 cm; (image borderline) 11.7 x 23.3 cm.

Inscribed within the image borderline: (lower left) “Callot .f.”

Lettered below the image borderline in two lines of Latin text: (centre) “Tabulam Hanc Æream Proprio et Exquisito Marte Incisam Iacobus Calottus Nobilis Lotharingus Dono Dedit Israeli Henrichetto Opus./ Perfectissimum Amicorum Optimo et Sincerissimo.”; (lower left corner) “Fagnani exc. 1629 Parisijs.”

State v (of v) with the erasure of the address for the publisher, Vincent (“chez Md, Vincent proche St. Benoît, rué St. Jacques, a Paris”).

Meaume 1860 1.V (Édouard Heaume 1860, “Recherches sur la vie et les ouvrages de Jacques Callot: suite au peintre-graveur français de M. Robert-Dumesnil”, vol. 1,  Paris, J. Renouard, pp. 204–05 [see https://archive.org/details/gri_33125001461884/page/n203]; Lieure 1927 665.VII.

The British Museum offers the following description of this print:

“Crossing of the Red Sea; in the foreground, Moses and Aaron, with the former brandishing his staff; in the middleground, procession of people coming out of the corridor formed by the parted sea, and carrying the Ark of the Covenant; in the distance, Pharaoh and his army engulfed by the sea; with another alteration of the wave in the middle.”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1568592&partId=1&searchText=Jacques+Callot+Moses+and+Aaron+&page=1)

Condition: crisp, well-printed impression showing wear to the printing plate, trimmed with a small margin around the image borderline and laid onto a support sheet of archival (millennium quality) washi paper. There is a replenished sliver loss of the lower left edge and there are minor marks to the upper sky area of the image otherwise the print is in a good condition (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing).

I am selling this visually engaging etching illustrating a miraculous episode from the Biblical narrative, “Exodus”, showing Moses with his staff raised commanding the water of the Red Sea to part so that the Israelites can escape the pursuing Egyptian army by waking through the watery passage with the Ark of the Covenant—note that the water has built up on either side of the pathway through the sea—for AU$328 (currently US$226.75/EUR204.55/GBP174.11 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 panoramic Baroque vision of a biblical miracle executed by one of the most important and innovative of the old master printmakers—the developer of the échoppe (a tool allowing etchers to create lines like engravers) and the technique of “stopping out” allowing etchers to create lighter lines in the distance (as seen here)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.