Louis Jou’s wood engraving, “The Lovers”, 1927

Louis Jou (aka Luis Jou Senabre; Louis Felipe Vicente Jou I Senabre) (1882–1968)

“The Lovers” (aka “Les Amants”), 1927, original wood engraving printed by Ducros et Colas and published in 1927 in the art periodical, “Byblis”, as an illustration to Andre Suares’ article, “Louis Jou: Un Architecte du Livre”. See information about this print’s publication offered by Worthpoint: https://www.worthpoint.com/worthopedia/louis-jou-original-wood-engraving-508559274. See also brief insights about the artist and his studio offered by the Louis Jou foundation: https://www.lesbauxdeprovence.com/en/activites/art-et-culture/louis-jou-foundation.

Wood engraving on fine handmade paper (partial watermark) with full margins as published.

Size: (sheet) 27.3 x 21.5 cm; (image borderline) 11.7 x 10 cm.

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

I am selling this superb wood engraving showing lovers (possibly Spanish?) near an arched bridge, who seem oblivious to a beggar requesting alms and a fluffy lap dog passing by—I suspect that the portrayed scene may be symbolic of an unknown life journey (symbolised by the bridge) for the couple with the beggar and faithful dog alluding to the fragility of future outcomes—for the total cost of AU$216 (currently US$145.86/EUR140.18/GBP120.64 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 very strong and beautiful wood engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Franz Edmund Weirotter’s etching, “Aqueduct near Monte Testaccio in Rome”, 1766/7

Franz Edmund Weirotter (aka Franz Edmund Weyrotter) (1733–1771)

“Aqueduct near Monte Testaccio in Rome” (aka “Waßerleitung beim Berg Testaccio in Rom”), 1766/7, plate 5 from the series, “Vierte Folge von Verschiedenen Gegenden” (Fourth Episode of Miscellaneous Regions).

Etching on laid paper trimmed with a thread margin around the platemark.

Size: (sheet) 26.4 x 14.4 cm; (image borderline) 15.5 x 13.7 cm.

Numbered in plate below the image borderline: (left) “5”; (centre) “F.E. Weirotter fecit.”

Winterberg 166 (Thilo Winterberg 1998, “Franz Edmund Weirotter, der Landschaftsradierer”, Heidelberg, Galeria Palatina, p. 358, cat. no. 166).

Thilo Winterberg (1998) offers the following description of this print: (transl.) “In the left half of the picture at the well in front of the house, a young man surprises the girl fetching water with a bouquet of flowers.  The man puts his arm on the girl's shoulders and speaks to her.  The house is directly attached to the ruins of the ancient aqueduct.  The water flows from a mask into the trough.  Immediately above, a woman is looking out the window.  In the right half of the picture a man comes down a flight of stairs and seems to be overhearing the couple” (p. 358).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1854-1020-902.

Condition: a richly inked and well-printed impression showing no sign of wear to the printing plate, trimmed with a thread margin around the platemark. Beyond remnant traces of glue marks verso, the sheet is in a very good condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this very fine impression executed by one of the major Austrian printmakers of 18^th century, for the total cost of AU$232 (currently US$156.96/EUR150.62/GBP129.56 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 romantic vision of ancient ruins—note the mini-narrative showing a young man who has brought his lady friend a bouquet of flowers but whose courtship is interrupted by an older man who is being challenged by a woman in a window—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

Lambrecht Hopfer’s etching, “Christ before Caiphas”, c1530, after Dürer

Lambrecht Hopfer (aka Lambert Hopfer) (fl.c1525–1550)

“Christ before Caiphas” (TIB title) (aka “Jésus Christ Caiphe”; “Christus voor Kajafas”), c1530 (BM: 1520–1550), from the series of fifteen plates, “Passion of Christ”, after Albrecht Dürer’s (aka Albrecht Duerer) (1471–1528) engraving in the same direction executed in 1512 (see https://www.metmuseum.org/art/collection/search/391356), with Hopfer’s monogram and with the Funck number, 177, inscribed by the publisher, David Funck (fl.1682–1709), at the lower centre.

Etching from an iron plate with pale plate tone on laid paper with partial watermark.

Size: (sheet) 18.2 x 13 cm; (plate) 13.8 x 9 cm.

Inscribed in plate with the artist’s monogram on tablet at upper centre and the Funck number, “177”, at lower left-of-centre.

State ii (of ii) with the addition of the Funck number.

TIB 17 (8).5 (527) (Walter L Strauss & Robert A Koch [Eds.] 1981, “The Illustrated Bartsch”, vol. 17, p. 275, cat. no. 5 [527]); Hollstein 6.II (Tilman Falk [Ed.] 1986, “German engravings, etchings and woodcuts c.1400–1700: Lambert Hopfer to Sebastian Jenet”, vol. 15A, Blaricum, A.L. van Gendt, p. 14, cat. no. 5).

The British Museum offers the following description of this print: “Christ before Caiaphas; after Dürer (Meder 6); Christ surrounded by soldiers at left; standing in front of Caiaphas seated at right; from a series of fifteen etchings after Dürer's Small Passion. Etching” (https://www.britishmuseum.org/collection/object/P_1845-0809-1508\ ).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.125367.

Condition: a strong and well-printed impression with good margins (approx. 2 cm) in superb (museum quality) condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this remarkable etching from the early 1500s from the son of the acclaimed first printmaker to create an etching (Daniel Hopfer) showing Caiphas tearing his clothes in the trial of Christ, for a total cost of AU$498 (currently US$336.21/EUR322.53/GBP278.28 at the time of this listing) including postage and handling to anywhere in the world.

If you wish to purchase this rare print in superb condition from the Renaissance era, 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

Charles Émile Jacque’s etching, “Pastorale”, 1864

Charles Émile Jacque (1813–1894)

“Pastorale” (plate title) (aka “Pastoral Scene” [MET title]), 1864, after Charles Jacque’s painting of the same composition, from an untitled series of twenty-four etchings published in 1864 (Guiffrey [1866] cat. nos. 177–212) and printed by Sarazin (aka Sarasin) (fl. c1846–1880) in Paris.

Etching on chine collé on heavy wove paper, trimmed around the image borderline and backed with a support sheet providing wide margins.

Size: (support sheet) 34.5 x 26.3 cm; (sheet) 17 x 11.4 cm; (chine collé) 14.5 x 11.4 cm; (image borderline) 13.4 x 10.5 cm.

Lettered on plate below the image borderline: (left) “Ch. Jacque pinx^t sculp^t”; (centre) “PASTORALE”; (right) “Imp, Sarazin, Paris”.

State iv (of iv)

Guiffrey 180 (J.-J. Guiffrey 1866, “L'Oeuvre de Ch. Jacque”, Paris, Lemaire, p. 90, cat. no. 180); IFF 283 (Jean Adhémar, Jacques Lethève 1954, “Inventaire du Fonds Francais Apres 1800”, Paris, Bibliothèque nationale de France, vol. 11, p. 114, cat. no. 283); Beraldi 4/180 (Henri Beraldi 1885, “Les Graveurs du dix-neuvième siècle”, Paris, Librairie L. Conquet, vol. 8, p. 187, cat. no. 4 [180]: https://archive.org/details/lesgraveursdu19e08berauoft/page/187/mode/1up).

Guiffrey (1866) offers the following description of this print:

(transl.) “Under the shade of a willow and a few other trees, a young peasant sitting on a mound of greenery bends over her elbow, listening to the words of the young shepherd seated near her and armed with a crook. At their feet, the sheep and lambs graze quietly, while the dog watches over the herd, detaching its dark silhouette against a background of sun-drenched trees” (p. 90).

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/829838; https://www.britishmuseum.org/collection/object/P_1889-0608-211.

Condition: a richly inked and well-printed (near faultless) impression, trimmed with a narrow margin around the image borderline and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this exceptionally beautiful and ultra-fine masterpiece of 19th century etching executed by one of the luminaries of the Barbizon School for AU$218 (currently US$144.97/EUR140.30/GBP121.98 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 technically stunning etching exemplifying the artist’s romantic vision of rural life in France before the advent of industrialisation, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

James Gillray’s double-sided etching with aquatint, “The Graces in a High Wind”, 1810

James Gillray (1756–1815)

“The Graces in a High Wind” (aka “The Graces in a High Wind — a Scene taken from Nature, in Kensington Gardens”), 1810, published in London by Hannah Humphrey (aka Hannah Humphreys; Hannah Humphries) (c1745–1818), as plate 578 in a series of satirical prints with this etching parodying the Three Graces of Classical Art—grace, beauty and charm—with three fashionable women dressed in loosely-clinging and semi-transparent white muslin dresses of the Empire/Regency style of the time.

Etching with dot roulette and aquatint on heavy wove paper with a second etching by James Gillray printed verso: “Matins at D-wn-ng College Cambridge”, 1810, plate 580 portraying Sir Busick Harwood and Lady Elizabeth Harwood (née Peshall) smoking in bed (see the description of a hand-coloured version of this print offered by the National Portrait Gallery, London: https://www.npg.org.uk/collections/search/portrait/mw63129/Matins-at-D-wn-ng-College-Cambridge-Sir-Busick-Harwood-Lady-Elizabeth-Harwood-ne-Peshall).

Size: (sheet) 28.8 x 38.7 cm; (plate) 26 x 36 cm; (inner image borderline) 23.4 x 32 cm.

Lettered in plate above the image borderline: (centre) “1810. London. Published May 26^th. by H. Humphrey, 27 St James's Street.”; (right [stamped?]) “578”.

Inscribed in plate within the image borderline: (lower right) “J Gillray f[ecit]”.

Lettered in plate below the image borderline: (centre) “The Graces in a High Wind — a Scene taken from Nature, in Kensington Gardens.”

British Museum Satires 11593; Wright and Evans 578; Grego, p. 370

See also the description of this print offered on page 480 in Thomas Wright’s (ed.), “The Works of James Gillray, the Caricaturist: With the History of His Life and Times” (1873): https://archive.org/details/worksofjamesgill00wrig/page/480/mode/1up.

The Metropolitan Museum of Art offers the following description of this print: “Caught in a strong wind during a stroll in Kensington Gardens, three young women wear fashionable neo-classically inspired dresses with high waists and tight sleeves, together with straw bonnets trimmed with ribbons. The weather flattens the fabric against their bodies and leave little to the imagination. The figures are [believed] to represent the daughters of Sir William Manners–Catherine, Emily and Louisa, whose poses and implied nudity, together with the title, evoke sculptures of the Three Graces (such as a Roman 2nd century A.D. example at the Met, 2010.260) while also suggesting that classically styled gowns of this type were impractical choices for England's unpredictable summer weather” (https://www.metmuseum.org/art/collection/search/853069).

See also the descriptions of this print (as hand-coloured impressions) offered by the British Museum and the National Portrait Gallery: https://www.britishmuseum.org/collection/object/P_1935-0522-4-202; https://www.npg.org.uk/collections/search/portrait/mw63143.

Condition: well-printed impressions (recto and verso) with minor signs of handling to the margins.

I am selling this double-sided sheet of two satirical etchings by James Gillray for the total cost of AU$229 (currently US$151.37/EUR147.63/GBP127.91 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 shocking—perhaps even today! —satirical comparison between three wind-ravaged ladies dressed in the contour-revealing fashion of the day with the three graces of antiquity, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.