Wolfgang Kilian’s engraving, “Portrait of Maria Anna of Spain”, 1639, after Lucas Kilian

Wolfgang Kilian (1581–1662)

“Portrait of Maria Anna of Spain” (1606–1646)—Holy Roman Empress consort; German Queen consort; Queen consort of Hungary and Bohemia; Archduchess consort of Austria (1637–1646), 1639, after a drawing from direct study of Maria Anna (ad vivum delineavit) by Lucas Kilian (1579–1637).

Note that Diego Velázquez (aka Diego Rodríguez de Silva y Velázquez) (1599–1660) also executed a portrait of Maria Anna (c1630) from a very similar angle of view; see https://royal.myorigins.org/p/Maria_Anna_of_Spain_Holy_Roman_Empress_consort/.  

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

Size: (sheet) 22.7 x 16 cm.

Lettered in plate within the image borderline: (lower cartouche) “SERENISSIMA ET AVGVSTISSIMA DOMINA/ DOMINA MARIA, ROM IMPERATRIX. GERM. HVNG./ ET BOHEMIÆ REGINA. INFANS HISPANIARVM./ Eiusdem Augustissimæ Mariestati, humillimè ac deuote se suagq[ue] studia/ comendans L. m. dedicat Wolfg. Kilianus, Sculptor.”

Lettered in plate below the image borderline: (left) Lucas Kilian Ad uiuum [vivum] delineauit [delineavit],”; (right) “Wolfgang Kilian Sculpsit. Anno 1639.”

State i (of i), a lifetime impression based on the crisp quality of line showing no sign of wear to the printing plate.

Hollstein 375 (Wolfgang Kilian); Hollstein 783 (after Lucas Kilian); Drugulin 13043; Hirth 1887

Condition: an exceptionally fine (near faultless) richly inked impression, trimmed along the image borderline and laid upon an archival support sheet of millennium quality washi paper. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains or foxing.

I am selling this magnificent engraved bust-length portrait of Maria Anna of Spain shown in an oval frame with two putti each holding a crown and a larger crown over her head—possibly the three crowns signify her roles as queen of Hungary and Bohemia and (from 1637) as the Holy Roman Empress (but I may be wrong)—for a total cost of AU$322 (currently US$226.64/EUR203.27/GBP169.31 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 remarkably rich engraved impression—undoubtedly a lifetime impression as the linework shows no signs of wear to the printing plate—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 

Eugène Carrière’s lithograph, “Homage to Tolstoy (Consolation)”, 1901

Eugène Carrière (1849–1906)

“Homage to Tolstoy (Consolation)” (aka “Hommage a Tolstoï” [Delteil title]; “Consolation”), 1901, proof on Japon paper, hand-signed in pencil by the artist. The Curator of the British Museum advises that this lithograph was published “in reproduction by 'La Plume' in 'L'Hommage à Tolstoy' (October 1901)” (see BM inv. no. 1913,0722.3). Loys Delteil in his catalogue raisonné of  Carrière’s prints quotes the following text accompanying the reproduction of this print in “La Plume”: (transl.) “Admirations seems to be to be the most passionate form of recognition. I deeply admire Tolstoy and am happy to say so. May 5, 1901. Eugène Carrière” (n.p., cat. no. 42). Delteil also advises that the stone (i.e., the printing plate for this lithograph) exists and is in the collection of Jean-René Carrière.

Lithograph printed in black ink on fine buff Japon paper with small margins, hand-signed by the artist in pencil at lower right, “Eugène Carrière”.

Size; (sheet) 27 x 18.7 cm; (image borderline) 23.1 x 15.4 cm.

State i (of i) artist’s proof hand-signed in pencil at lower right.

Delteil 42 (Loys Delteil 1913, “Le Peintre-Graveur Illustré [XIXe et XXe siècles]”, vol. 8, Paris, Delteil, n.p, cat. no. 42).

The British Museum offers the following description of this print:

“Two women, one comforting the other. 1901 Lithograph, printed on oriental paper” (https://www.britishmuseum.org/collection/object/P_1913-0722-3).

See also the descriptions of this print at the Yale University Art Gallery and Kröller Müller: https://artgallery.yale.edu/collections/objects/12573; https://krollermuller.nl/en/eugene-carriere-homage-to-tolstoy-consolation.  

Condition:  a well-printed impression with small margins. Beyond remnants of mounting verso the sheet is in near pristine condition.

I am selling this exceptionally rare pencil-signed proof impression of a hauntingly beautiful lithograph—note the dream-like effect created by Carrière’s famous use of sandpaper on the stone to literally scrape the image out of the surrounding darkness (see https://www.brooklynmuseum.org/opencollection/objects/48591)—for the total cost of AU$376 (currently US$266.03/EUR237.13/GBP198.05 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 ultra rare 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 

Hans Burgkmair the Elder’s woodcut, “Charity”, c1510

Hans Burgkmair the Elder (1473–1531)

“Charity” (aka “Die Liebe”; “Love”), c1510, from a series of seven woodcuts, “The Seven Virtues”. This is a later (Dershau) restrike impression, possibly c1808, printed from the original woodblock plate.

Woodblock print on buff Japon paper.

Size: 18.2 x 11 cm.

Lettered in plate: (upper right) “DIE^▲LIEBE^▲”

State iii (of iii)

Hollstein V.96.292 iii/iii; Bartsch VII.216.50.

The British Museum offers the following description of this print:

“Whole-length female figure holding a burning torch and a child, another child at her feet; from a series of seven woodcuts. c.1510 Woodcut, a modern Derschau impression” (https://www.britishmuseum.org/collection/object/P_1919-1216-140).

Regarding the Derschau impressions, they are restrike woodcut impressions printed from the original plates in the (Baron Hans Albrecht von) Derschau collection now held by the Staatlichen Kupferstich-kabinetts (State Print Room) in Berlin. The Metropolitan Museum of Art advises: “Derschau is said to have discovered hundreds of original wood blocks by German masters in a trunk in Nuremberg, and in 1808 Rudolph Zacharias Becker produced the first of three volumes with restrikes from these blocks” (see  https://www.metmuseum.org/art/collection/search/431122). This impression is possibly from an earlier edition as it does not have the later Derschau stamp verso: “SAMMLUNG/ DERSCHAU/ 1922”.

See also the description of this print offered by the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/430793.

Condition: a richly inked and strongly embossed impression in pristine condition (i.e., there are no tears, holes, folds, abrasions, stains, foxing or signs of handling).

I am selling this superb latter impression of Burgkmair’s woodcut showing a female personification of love and charity holding a burning torch in her right hand, a child on her left arm and another child at her feet, for the total cost of AU$214 (currently US$153.13/EUR135.52/GBP113.39 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 simply stunning oldmaster woodcut, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Philips Galle’s engraving, “St Peter Freed from Prison by the Angel”, 1582

Philips Galle (aka Philippe Galle; Philippus Gallaeus) (1537–1612)

“St Peter Freed from Prison by the Angel” (aka “Petrus wordt door de engel uit de gevangenis bevrijd”), 1582, plate 23 in the series of 34 plates, “Acts of the Apostles II” (aka “Acta Apostolorum”), as an illustration to the “New Testament” (Acts 12:7-10), after the design by Jan van der Straet (aka Joannes Stradanus; Ioannes Stradanus) (1523-1605), published in Antwerp in 1852 by Philips Galle.

Engraving on laid paper trimmed with a narrow margin around the platemark and backed with a support sheet.

Size: (sheet) 20.6 x 27.2 cm; (plate) 20.1 x 26.5 cm; (image borderline) 18.9 x 26.5 cm.

Lettered in plate below the image borderline: (left) “Io. Strada. Inue./ P. Galleus. excu.”; (left of centre) “Clauditur obscuro dum Petrus carcere, lumen/ Angelus ex astris infert, sua vincula postes”; (right of centre) “Laxant, et cedunt diuino ferrea Petro/ Ostia, ab occluso celebrantur gaudia cetu. Acto.Cap.12”; (right) “23”.

State ii (of iii)

TIB 5601.049:8 (Arno Dolders [ed.] 1987, “The Illustrated Bartsch: Netherlandish Artists: Philips Galle”, vol. 56, Supplement, New York, Abaris Books, p. 170, cat. no. [5601].049:8); New Hollstein Dutch 215-2(3) (Marjolein Leesberg [comp.] 2008, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Johannes Stradanus”, Amsterdam, Sound and Vision Rijksmuseum, p. 135; p.144 [image], cat. no. 215); New Hollstein Dutch 210-2(3) (Manfred Sellink & Marjolein Leesberg [comp.] 2001, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Philips Galle”, Rotterdam, Sound and Vision, p. 89; p. 117 [image], cat. no. 210).

The British Museum offers a description of this print from a different state with Claes Jansz. Visscher as the publisher: “St Peter Freed from Prison by the Angel (Acts 12:7-10); to the right, the angel touches Peter, asleep in his cell; to left; the angel leads Peter by the hand out of the prison; in the foreground, the prison guards sleep  Engraving” (https://www.britishmuseum.org/collection/object/P_Ii-5-178).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.114741.

Condition: a strong and well-printed impression with narrow margins and laid upon an archival support sheet of millennium quality washi paper. The sheet is in an excellent condition for its considerable age with no tears, holes, folds, abrasions, stains or foxing.

I am selling this dramatic and theatrically lit scene showing two episodes in St Peter's escape from prison (viz. he is woken by the angel at right and led past the sleeping guards at left), for the total cost of AU$303 (currently US$216.03/EUR191.61/GBP160.55 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 visually arresting engraving exemplifying the period style of Mannerism, 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 

Simone Cantarini’s etching, “Guardian Angel”, c1640

Simone Cantarini (aka Il Pesarese; Simone da Pesaro) (1612–1648)

“Guardian Angel” (TIB title) (aka “L’ange gardien” [Bartsch title]; “A Guardian Angel Walking with a Child” [MET title]), c1640, a later impression stamped on verso with the collector’s ink mark in purple, “KM” within a circle (not in Lugt). Note that this collector’s mark is also shown in verso on the chalk drawing by Vittoria Maria Bigari, “Allegorical Figure of History”, in the collection of the MET (see Jacob Bean & William Griswold 1990, “18th Century Italian Drawings in the Metropolitan Museum of Art”, New York, MET, p. 32 [Provenance]).

Etching on fine buff wove paper, trimmed with a narrow margin around the platemark and ink stamped verso with a collector’s mark.

Size: (sheet) 20 x 13.7 cm; (plate) 19.4 x 12.9 cm; (inner image borderline) 16.8 x 12.6 cm.

State i (of i)

TIB 42 (19). 28 (138) (John T Spike [ed.] 1981, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 42, New York, Abaris Books, p. 101, cat no. 28 [138]); Bartsch, XIX.138.28; Bellini 1980, no. 29; Massari 6.

The Rijksmuseum offers the following description of this print (note that the cherubim in the description are the lightly delineated faces that might be mistaken for clouds): (transl.) “A little boy is taken by the arm by a guardian angel who points to cherubim in the sky” (http://hdl.handle.net/10934/RM0001.COLLECT.90478.

See also the descriptions of this print offered by the Metropolitan Museum of Art and the British Museum: https://www.metmuseum.org/art/collection/search/341504; https://www.britishmuseum.org/collection/object/P_1876-0212-37.   

Condition: a well-printed impression with narrow margins. Beyond a faint trace of the collector’s mark shining through at lower left, the sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this sensitively executed etching that (to my eyes) sparkles with light resulting from Cantarini's sparing touch with the etching needle—note the lightly indicated cloud-like faces of the cherubim that the child’s guardian angel is indicating—for the total cost of AU$443 (currently US$316.83/EUR279.86/GBP234.97 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 remarkably fine etching showing a guardian angel accompanying a child, 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