Alphonse Leroy’s aquatint, “Portrait of a Man Wearing a Hat”, c1860, after Rembrandt

Alphonse Leroy (aka Alphonse Alexandre Leroy) (1820–1902)

“Portrait of a Man Wearing a Hat” (aka “Portrait d'un Homme Coiffé d'un Chapeau”), c1860, after a drawing by Rembrandt (1606–1669) (aka Rembrandt Harmenszoon van Rijn) that was formerly in the collection of Émile Norblin (1821–1880)—grandson of the artist Jean-Pierre Norblin (1745-1830) (see cat. no. 33 in Paul Guermonprez and José Lothe’s [2007] “Alphonse Leroy Graveur: 1820–1902” [p.138]). Note that I have been unable to locate this drawing in Peter Schatborn & Erik Hinterding’s (2019) “Rembrandt: The Complete Drawings and Etchings” (Taschen)—but there is a good chance that I may have missed seeing it and my apologies if this is the case—nevertheless, there is a painting (as opposed to a drawing) from the School of Rembrandt, “Vieillard à Barbe, Coiffé d'un Chapeau” (“Old Man with Beard, Wearing a Hat”), 1625/1650, that is comparable to this aquatint in the collection of the Musée des Beaux-Arts de la Ville de Paris, Petit Palais (see https://collections.louvre.fr/en/ark:/53355/cl010064891).

Aquatint on chine collé printed in bistre colour ink on heavy wove paper with wide margins as published.

Size: (sheet) 55.5 x 42.6 cm; (plate) 28 x 21.8 cm; (chine collé/image borderline) 20.5 x 17.2 cm.

Lettered in plate below the image borderline: “Dessiné par Rembrandt. Gravé par Alphonse Leroy.”

State i (of ii) before the erasing of the lettered text and the addition of the names of the artists in capitals below the corners of the image.

Guermonprez & Lothe 33 (Paul Guermonprez & José Lothe [eds] 2007, “Alphonse Leroy Graveur: 1820–1902: éléments biographiques et catalogue de l'oeuvre grave”, Editions Héritage Architectural, Paris, p. 138, cat. no. 33).

Condition: a strong and well-printed (near faultless) impression with generously wide margins. Beyond minor surface marks, the sheet is in an excellent condition with no tears, holes, folds, significant stains or foxing.

I am selling this superb aquatint replicating the subtleties of what the title advises is a drawing by Rembrandt—to my eyes this print is a tour de force accomplishment in the very demanding medium of aquatint—for the total cost of AU$259 (currently US$172.18/EUR159.98/GBP140.77 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 amazing first state aquatint seldom seen on the art market, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jan Sadeler I’s engraving, “Hell”, c1580/1, after Dirck Barendsz.

Jan Sadeler I (aka Johannes Sadeler; Johann Sadeler) (1550–1600)

“Hell”, c1580/1, from the series of four engravings, “The Four Last Things” (TIB 7001.421–.424), after a lost drawing by Dirck Barendsz. (aka Theodore Bernards Barentsz.; Theodor Amsterodamus Bernard) (1534–1592), published in Amsterdam by Jan Sadeler I.

Engraving on laid paper with wide margins.

Size: (sheet) 24.4 x 35.4 cm; (plate) 18.3 x 23.3 cm; (image borderline) 16.9 x 22.7 cm.

Inscribed in plate within the image borderline: (lower left corner) “T. B. Amst. Inve. I Sadel scal: ex.”

Lettered in plate in two-line couplets of Latin below the image borderline: “Nunc iterum peragenda tibi pro turpibus ausis,/ Impia, qualis erat, turba, peracta dies.// Hæc lue pro meritis stÿgias demersa paludes,/ Praeda recens furiis dilanianda tribus.” [Google translation: “Now, once more, for your shameful ventures, / Ungodly as it was, the crowd, the days are over.// This praise for the merits of the Stygians drowned in the swamps, / A fresh prey to be torn apart by the fury of the tribe.”]

State i (of i) Lifetime impression (based on the quality of line showing no sign of wear to the printing plate).

TIB 7001.424 (Isabelle de Ramaix 2001, “The Illustrated Bartsch: Johan Sadeler I”, vol. 70, Part 2 [Supplement], New York, Abaris Books, pp. 299–300, cat. no. [7001].424); Hollstein 454 (vol. 21).

The British Museum offers the following description of this print: “Hell. A demon carrying three people on his back at centre, and leading them towards a female figure with sagging breasts and a skull, other people being dragged towards flaming fire at left; after Dirk Barendsz” (https://www.britishmuseum.org/collection/object/P_1937-0915-5).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.168603.  

Condition: a strong and near faultless impression in an excellent condition for its considerable age with no tears, holes, abrasions, significant stains or foxing (but there is a flattened centre-fold, possibly as published).

I am selling this curiously wonderful engraving showing demons carrying the forsaken to their demise in the fiery caverns of Hell—a vision similar to that depicted by Michelangelo in “The Last Judgement”—for the total cost of AU$531 (currently US$353.01/EUR327.95/GBP288.64 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 (lifetime) impression of a spectacular engraving, 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 Waltner’s etching, “La Bretonne”, c1885, after Pascal Adolphe Jean Dagnan-Bouveret

Charles Waltner (aka Charles Albert Waltner) (1846–1925)

“La Bretonne”, c1885 (based on the dates that the publisher, Georges Petit, was operating at the inscribed address from 1884–1890), after a painting by Pascal Adolphe Jean Dagnan-Bouveret (1852–1929), published in Paris by Georges Petit (1856–1920).

Etching and engraving with plate tone on heavy wove paper with wide margins and deckle edges on three sides, trimmed along the platemark at top.

Size: (sheet) 52.5 x 38.5 cm; (plate) ? x 37.5 cm; (image borderline) 38.9 x 27.7 cm.

Lettered in plate below the image borderline: (left) “PEINT PAR DAGNAN-BOUVERET”;  (centre) “Imprimerie Georges-Petit, Paris/ LA BRETONNE/ Publié par GEORGES PETIT Editeur, 12, Rue Godot de Mauroi, Paris.”; (right) “GRAVÉ PAR CHARLES WALTNER”.

Beraldi (not described) (Henri Beraldi 1892, “Les Graveurs du Dix-Neuvième Siècle: Saint-Marcel–Zwinger”, vol. 12, Paris, Librairie L. Conquet, pp. 258–269).

The Université de Montréal offer a description of this print: https://calypso.bib.umontreal.ca/digital/collection/_gravu/id/391/.

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins in excellent condition with no tears, holes, abrasions or significant stains.

I am selling this large and very fine etching by one of the major reproductive etchers of the nineteenth century, Charles Waltner, as exemplified by this magnificent print executed with the most subtlest of touches, for the total cost of AU$235 (currently US$156.91/EUR145.32/GBP127.97 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 superb etching, 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

Heinrich Aldegrever’s engraving, “Ornament with Vase and Mask”, 1552

Heinrich Aldegrever (c1501/2–c1555/61)

“Ornament with Vase and Mask” (TIB title) (aka “Autre Montant d'Ornement” [Bartsch title]; “Vlakdecoratie met Bladranken en Grotesken” [Rijksmuseum title]), 1552.

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

Size: (sheet) 15 x 5.5 cm; (plate) 14.7 x 5.2 cm.

Inscribed in plate with Aldegrever's monogram and dated at upper centre on tablet.

TIB 16(8).285(448) (Robert A Koch [ed.] 1980, “The Illustrated Bartsch”, vol. 16, New York, Abaris Books, p. 257, cat. no. 285 [448]); Bartsch VIII.448.285; New Hollstein (German) 285 (Aldegrever) (Ursula Mielke [comp.] 1998, “The New Hollstein: German Engravings, Etchings and Woodcuts 1400–1700: Heinrich Aldegrever”, Rotterdam, Sound and Vision, p. 231, cat. no. 285).

The British Museum and the Rijksmuseum offer descriptions of this print: https://www.britishmuseum.org/collection/object/P_1853-0312-264; http://hdl.handle.net/10934/RM0001.COLLECT.322654.

Condition: a well-printed silvery impression trimmed close to the platemark with thread margins and laid onto a sheet of archival (millennium quality) washi paper providing wide margins. The sheet is in a near pristine condition for its considerable age with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this original, very beautiful and rare engraving from the Renaissance era by one of the major old masters strongly influenced by Albrecht Dürer—note Aldegrever’s adaptation of Albrecht Dürer’s monogram for his own—for AU$586 (currently US$388.96/EUR361.96/GBP318.53 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 small and magnificently executed masterpiece of engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Johann Jakob Haid’s mezzotint, “St Matthew”, early 1700s, after Hartmann

Johann Jakob Haid (aka Johann Jacob Haid, Johann Jacobus Haid) (1704–1767)

“St Matthew” (aka “St Matthew and the Angel”; “Saint Mathieu”; “S. Matthævs”), early 1700s, mezzotint after a painting by Hartmann (as inscribed in plate; possibly Johannes Jakob Hartmann (1680–1730) who is known for painting landscape with biblical figures) and published by the artist in Augsburg.

Mezzotint with etching on thick laid paper trimmed with a small margin around the platemark, with replenishment/restoration of wormholes at lower right and backed with a support sheet.

Size: (sheet) 42.7 x 29.2 cm; (plate) 41.3 x 28.4 cm; (image borderline) 37.7 x 28.1 cm.

Lettered in plate below the image borderline: (left) Hartmann. Pinx.”; (centre) “S. MATTHÆVS./ J. J. Haid et filius excudit Aug. V. [Augsburg]”; (right corner) “J.”

LeBlanc (not described) (Charles Le Blanc 1856, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 2, Paris, P Jannet, pp. 333–34)

Interestingly, the Yale Center for British Art holds a series of ten saints executed in mezzotint by Johann Jakob Haid of which this print may belong; for example: “Saint Bartholomew” https://collections.britishart.yale.edu/catalog/tms:23301 and “Saint Philip” https://collections.britishart.yale.edu/catalog/tms:23296. Note, however, that Yale collection of these possibly related prints are all after Johann Kupezky (1667–1740) whereas this print is after the painter inscribed as “Hartmann”. Moreover, the Yale collection has a different image of St Matthew (see https://collections.britishart.yale.edu/catalog/tms:23294).

Condition: a strong impression laid onto a sheet of archival (millennium quality) washi paper. There are minor (partially restored) abrasions and replenished wormholes at lower right otherwise the sheet is in a good condition for its age with no significant tears, folds, stains or foxing.

I am selling this velvety and radiantly glowing mezzotint that seems to be so rare that I have been unable to find another copy—this is surprising for such a fine and large mezzotint—for the total cost of AU$268 (currently US$179.52/EUR166.34/GBP146.06 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 and exceptionally rare mezzotint, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.