Georges Lopisgich’s drypoint, “Italianate Coastal Landscape”, c.1900

Georges Lopisgich (aka Antonio Georges Lopisgich; Georges Antonio Lopisgich) (1854-1913)

“Italianate Coastal Landscape” (descriptive title only)—a composition possibly inspired by Camille Corot (1796–1875), c.1900, a pencil-signed proof impression before lettering on parchment.

Drypoint on parchment with wide margins, pencil-signed.

Size: (sheet) 52.4 x 63.5 cm; (plate [?]/image borderline) 42.6 x 55.3 cm.

Pencil-signed by the artist: (below the platemark at lower right) “G Lopisgich”.

Condition: a strong and well-printed impression with wide margins. The parchment has natural unevenness/wrinkling associated with sheep skin and with scattered spots in the margin; otherwise, the sheet is in a good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this huge and poetically beautiful, pencil-signed proof impression on an extraordinarily large sheet of genuine parchment, for AU$332 (currently US$221.91/EUR200.78/GBP176.75 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 romantic vision of a coastal landscape—note that the treatment of the scene is in the manner of Corot, whose paintings Lopisgich had reproduced in line previously (see the article offered by Blog d'HABEO Art et Estampes: https://www.alcesteart.com/article-23752891.html)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Albrecht Altdorfer’s woodcut, “St Christopher Seated on the Bank”, c.1517

Albrecht Altdorfer (1482/5–1538)

“St Christopher Seated on the Bank” (TIB title) (aka. “S. Christophe Assis sur le Rivage”; “St Christopher Stooping to Raise the Christ Child”; “Saint Christopher Seated with the Infant Christ”), c.1517 (c.1515–c.1520). According to the reputable dealer from whom I purchased this woodcut, the impression is from the Baron Hans Albrecht von Derschau edition printed between 1808 and 1816. My understanding of the Derschau editions, however, is that the editions were printed on a greyish paper (see https://www.britishmuseum.org/collection/term/BIOG178440), whereas this impression is on a cream paper. Note that further impressions were taken from the original block now in the Kupferstichkabinett (Berlin) in 1922 and 1963.

Woodcut on cream wove (Japanese?) paper trimmed around the image outline with a narrow margin.

Size: (sheet) 13.1 x 9.7 cm; (image borderline) 12.4 x 9.5 cm.

Signed in the block with the artist’s monogram: (upper centre on tree trunk) “ [monogram with ligature initials] AA”.

TIB 14(6).54(79) (Robert A Koch 1980, “The Illustrated Bartsch: Early German Masters; Albercht Altdorfer; Monogrammists”, vol. 14, New York, Abaris Books, p. 160, cat. no. 54 [79]); New Hollstein w.57 (Ursula Mielke [comp.] 1997, “The New Hollstein German Engravings, Etchings and Woodcuts 1400-1700: Albrecht and Erhard Altdorfer”, Rotterdam, Sound and Vision Interactive, p. 130[?], cat. no. w.57).

See also the description of this print offered by the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/429686.

The Curator of the British Museum offers the following insights about this print: “The moment from the legend of St Christopher that Altdorfer has chosen to depict is highly unusual. Normally St Christopher is shown carrying the Christ Child on his shoulders but here they are shown before they cross the river. The Child steps on to a stone, about to climb on to Christopher's back. Choosing an unusual moment of a well-known narrative is typical of Altdorfer.
From M. P. McDonald, Ferdinand Columbus: Renaissance Collector, British Museum, London, 2005” (https://www.britishmuseum.org/collection/object/P_1895-0122-362).

Condition: a very strong impression trimmed with a narrow margin around the image borderline. There are scattered pale spots and previous collectors’ pencil notations (verso), otherwise the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this magnificent late impression of a Renaissance period woodcut by one of the founders of landscape painting, Albrecht Altdorfer, for AU$368 (currently US$245.97/EUR222.55/GBP195.91 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 woodcut—note Altdorfer’s sensitive rendering of the background trees (mindful that around the time of executing this print Altdorfer was to create the first prints focused entirely on landscape features without reference to a narrative involving figures)—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

Marco Pitteri’s engraving, “Profile Portrait of a Young Woman”, c.1760, after Giovanni Battista Piazzetta

Marco Pitteri (aka Marco Alvise Pitteri) (1702–1786)—famous for developing “an original method of engraving (not etching), using parallel lines, which are thickened at regular intervals along their length with more deeply engraved sections” (https://www.britishmuseum.org/collection/term/BIOG42160).

“Profile Portrait of a Young Woman”, c.1760 (1740–1780), engraving after the design by Giovanni Battista Piazzetta (aka Giambattista Piazzetta) (1682–1754)—possibly after a portrait of Piazzetta’s wife, Rosa, and relates to the drawing, “Girl with a Vase”, c.1730 (1720–1740), in the Gallerie dell’Academia in Venice (see Maria Agnese Chiari Moretto Wiel (ed.) 1966, “L’eredità di Piazzetta: volti e figure nell’incisione del Settecento”, exh. cat. Palazzo Ducale, Venice, p. 75, no. 143).

Engraving on laid paper, trimmed slightly unevenly with a small margin around the platemark.

Size: (sheet) 45.5 x 35.5 cm; (plate) 45.4 x 34.4 cm; (image borderline) 44.2 x 34.3 cm.

Lettered in plate below the image borderline: (left) “Piazzetta inue.”; (right) “Pitteri scul.”

Ravà 268 (Aldo Ravà 1922, “Marco Pitteri: Incisore Veneziano”, Florence, p. 68, cat. no. 268).

See also the descriptions of this print offered by the British Museum and the Rijksmuseum: https://www.britishmuseum.org/collection/object/P_1872-0113-11; http://hdl.handle.net/10934/RM0001.COLLECT.165228.

Condition: a strong and well-printed impression in an excellent condition for its large size and considerable age with no tears, holes, folds, abrasions, significant stains (there are a few marks verso) or foxing.

I am selling this large and remarkable engraving—note that the tones rendering the portrait are created with parallel lines encrusted with knot-like undulations varying in width from exceptionally fine (when portraying the lightest features) to thick (when portraying deep shadows)—that (to my eyes) presents the illusion of light shimmering on the surface of the figure’s face, for AU$458 (currently US$306.13/EUR276.98/GBP243.82 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 museum-quality etching of fascinating and historical importance in the development of printmaking techniques, 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 

Jan Luyken’s etching, “Moses leading the Israelites to Mount Sinai”, 1770

Jan Luyken (aka Johannes Luyken; Jan Luijken) (1649–1712)

“Moses leading the Israelites to Mount Sinai” (descriptive title only) (aka “Moses de Kinderen Israels Geheijligd en aanden afgrepaalden berg SINAI henen geleyd heggende; word onder donder en blixem en vreeslyk geluyd der bazuynen, de Wet Gods uit het midden der Wolke asgekondigd. Exod XIX”), plate 27, a gatefold Illustration to the third volume of David and Willem Goeree’s (1635–1711) “Mosaize historie der Hebreeuwse kerke …” (Mosaic history of the Hebrew church …) inserted at page 500 (see this page and the publication online: https://archive.org/details/ned-kbn-all-00007382-001/page/n586/mode/2up), published in Amsterdam in 1700. 

For those who may be unfamiliar with the illustrated passage from the Book of Exodus (Exodus 19), see the translation offered by Biblegateway.com: https://www.biblegateway.com/passage/?search=Exodus%2019&version=GW.

Etching on laid paper with two flattened gatefolds, backed with a support sheet.

Size: (unevenly trimmed sheet) 32.2 x 58.1 cm; (plate) 30.5 x 57.4(?) cm; (image borderline) 29.5 x 57 cm.

Lettered in plate above the image borderline: (right) “3 Deel P.500.”

Alphabetically indexed in plate within the image borderline from “A” to “W”.

Lettered in plate below the image borderline: (centre) “Moses de Kinderen Israels Geheijligd en aanden afgrepaalden berg SINAI henen geleyd heggende; word onder donder en blixem en vreeslyk geluyd der bazuynen, de Wet Gods uit het midden der Wolke asgekondigd. Exod XIX.” (Moses consecrated the Children of Israel, and led them to the forsaken mount SINAI; with thunder and lightning and with a terrible sound of trumpets, the law of God is proclaimed out of the midst of the cloud. Exod[us] XIX)

Van Eeghen 2605 (Pieter van Eeghen & Johan Philip van der Kellen 1905, “Het werk van Jan en Casper Luyken”, Amsterdam, Frederik Muller & Co., vol. 2, p. 486, cat. no. 2605).

Van Eeghen (1905) offers the following description of this print: (transl.) “In the right background [Mt] Sinai surrounded by clouds and fire; Moses stands at the foot of the mountain and speaks to the elders of the people. The foreground is entirely occupied by the Israelites, the men on the left, the women and children on the right, who watch the spectacle with signs of fear and reverence” (p. 486; see https://archive.org/details/hetwerkvanjanen01kellgoog/page/486/mode/1up).  

Condition: a strong and well-printed impression with two flattened gatefolds. The sheet is trimmed unevenly with restorations to fractures/tears (mainly along the folds) and laid onto a support of archival (millennium quality) washi paper.

I am selling this large etching that required three folds for it to “fit” the book in which it was published for AU$322 (currently US$215.22/EUR194.74/GBP171.42 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 etching showing on an epic scale the dark clouds, thunder and lightning accompanying the loud blast from a ram’s horn heralding God’s words to Moses at Mount Sinai, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Gabriel Barlangue’s drypoint, “The Prodigal Son with Swine”, c.1930

Gabriel Barlangue (aka Gabriel Antoine Barlangue) (1874–1955)—a somewhat overlooked French printmaker, painter and illustrator, who studied under Jean-Paul Laurens (1838–1921) and Benjamin Constant (1845–1902), and trained for specialised skills in printmaking with Jean Patricot (1865–1928), Henri-Émile Lefort (1842–1937) and Antonin Jean Delzers (1873–1943) (see: https://www.phil-ouest.com/Timbres.php?Cas=Artiste&ListeMots=Barlangue&Ordre=DateVente).

See Barlangue’s design for the stamp “Jeanne d´Arc” (Joan of Arc) (1929) and its preparatory drawing (including a view of the artist’s distinctive signature): https://www.phil-ouest.com/Timbre.php?Nom_timbre=Jeanne_Arc_1929.

“The Prodigal Son with Swine”, c.1930 (based on the date when the artist established his printing workshop at Charenton-le-Pont), a pencil-signed proof.

Drypoint with plate tone on cream wove paper, pencil-signed at lower left, with wide margins.

Size: (sheet) 46.4 x 56.2 cm; (plate) 29.8 x 39.8 cm.

Condition: a richly inked and near faultless impression with generously wide margins. There are minor marks recto and surface staining verso, otherwise the sheet is in an excellent condition with no tears, holes, folds, significant stains or foxing.

I am selling this superbly strong and skilfully wiped impression of a poetically beautiful drypoint—note how the looming downpour of rain gives added visual expression to the body-language of misery expressed by the young man—for a total cost of AU$313 (currently US$209.21/EUR189.29/GBP166.63 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 exceptionally rare, large, pencil-signed and visually arresting drypoint, 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