Charles Jacque, “Moutons”, 1868

Charles Jacque (aka Charles Émile Jacque) (1813–1894)

“Moutons” (aka “Sheep”; “Moutons et Cinq Arbres Dépouillés”; “Sheep and Five Bare Trees”), 1868, a rare impression before numbering and lettering for publication.

Etching with pale plate tone on laid paper with generously wide margins.

Size: (sheet) 30.7 x 48.2cm; (platemark) 17.3 x 21.5cm; (image borderline) 11.9 x 17.1cm.

Inscribed in plate within the image borderline: (lower-left corner) “Ch. Jacque 1868.”

Beraldi 429 (Henri Béraldi 1889, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. VIII, Paris, Librairie L. Conquet, p. 180, cat. no. 429); IFF 324 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds Français après 1800”, vol. 11, Paris, Bibliothèque nationale de France, p. 117, cat. no. 324).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1874-1212-535 (BM inv. no. 1874,1212.535).

Condition: a richly inked and faultless impression in a pristine condition with no tears, holes, folds, losses, abrasions, stains or signs of handling.

I am selling this exceptionally rare impression of a very beautiful etching before lettering for publication, for AU$323 in total (currently US$210.37/ EUR200.86/ GBP167.11 at the time of posting this print) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$323) as this is my currency.

If you are interested in purchasing this unassuming masterwork of etching by one of the luminaries of the Barbizon School—note how the artist has captured with a minimal number of strokes, the nibbled grass and the “feel” of the fluffy but dense fleece of the sheep—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

Camillo Tinti, “Saint Catherine”, 1771, after Parmigianino

Camillo Tinti (1738–1796)—a pupil of Domenico Cunego (1727–1803)

“Saint Catherine” (aka “S. Catharina”), 1771, plate 15 after Parmigianino’s (aka Girolamo Francesco Maria Mazzola; Francois Mazzuoli) (1503–1540) oil painting on wood, “The Mystic Marriage of Saint Catherine”, c.1527–31, in the collection of the National Gallery, London (see https://www.nationalgallery.org.uk/paintings/parmigianino-the-mystic-marriage-of-saint-catherine), from the series of forty plates (including the frontispiece), “Schola Italica Picturae” (Italian School of Painting), published in Rome in 1773 by Gavin Hamilton (1723–1798).

Etching with engraving on heavy laid paper.

Size: (sheet) 41 x 34.9cm; (plate) 33.9 x 26.1cm; (image borderline) 30.3 x 24.4cm.

Numbered in plate above the image borderline: (lright””15”.

Lettered in plate below the image borderline: (left) “F. Mazzola detto il Parmigianino pinxit”; (centre) “S. Catharina/ Romae ex Tabula in Ædibus Burghesianis”; (right) “Camillus Tinti sculpsit Romæ 1771.”

Condition: a strong impression with wide margins. There is minor grubbiness to the margins, otherwise, the sheet is in a very good condition with no tears, holes, folds or significant stains.

The British Museum offers the following description of this print: “Plate 15: the Christ Child seated on the knee of the Virgin, he gives his hand to St Catherine who kneels by her wheel at the right, Joseph is in the bottom left corner. 1771/ Etching and engraving” (https://www.britishmuseum.org/collection/object/P_1856-0510-213 [BM inv. no. 1856,0510.213])

I am selling this finely executed etching (with engraving) portraying Saint Catherine’s mystic marriage to the Christ Child shown here with Christ placing a ring upon Saint Catherine’s “wedding” finger—arguably, Tinti’s treatment of the scene with almost mechanically laid cross-hatched lines is far removed from the feathery and ethereal brushstrokes of Parmigianino’s painting in capturing Saint Catherine’s dream-like vision of the marriage—for the total cost of AU$306 (currently US$199.01/ EUR190.95/ GBP158.75 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$306) as this is my currency.

If you are interested in purchasing this translation of Parmigianino’s painting into line, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Theodoor Galle, “The Seven Deadly Sins”, 1601

Theodoor Galle (aka Théodore Galle, Theodor Galle; Dirck Galle) (1571–1633)

“The Seven Deadly Sins” (aka “Septem Peccata Capitalia”), 1601, plate 26 (from a series of one hundred numbered plates), facing page 74 (see  https://archive.org/details/veridicvschristi00davi/page/74/mode/2up) to Jan David’s (1545?–1613) “Veridicvs Christianvs” (A true Christian), published in Antwerp in 1601 by John Moretus (1589–1610) and the (widow Jeanne Rivière’s) Plantin Press (Ex officina Plantiniana, apud Ioannem Moretum)—interestingly, I understand that Theodoor Galle’s marriage to John Moretus’ eldest daughter, Catharina, caused concern in public life at the time of publication as Theodoor’s father, the famous printmaker and publisher, Philip Galle, was viewed by some as having aligned himself to Protestant causes during the period of the Calvinist government in Antwerp (1577–1585) (see Leon Voet’s “The Golden Compasses”, p.194 https://www.dbnl.org/tekst/voet004gold01_01/voet004gold01_01_0005.php).  

Engraving on laid paper trimmed around the borderline with letterpress text verso and backed with a support sheet.

Size: (sheet) 15.8 x 8.8cm; (image borderline) 11.3 x 8.8cm.

Lettered and numbered in plate: (above the image borderline) “SEPTEM PECCATA CAPITALIA.// 26.”; (within the image borderline) “A” to “D”; (below the image borderline in three text boxes of two lines in Latin [roman letter], Dutch [civilité] and French [italic]) “Crimina cur censes quædam Capitalia dici?/ Cetera Lernæâ velut hinc ceruice resultant.”

For those wishing to appreciate the flavour of the accompanying Latin text for this engraving, the following translation is the beginning of the chapter explaining (in part) the letter “A” elements in the image: (my apologies if there are errors in my reading and translation) “There were only seven nations and kingdoms to be feared in the Old Testament, which tried to prevent the children of Israel from entering the land of the Promised Land: thus there are seven different types of sinners, those children of God contend to ward off those who live in the promised land, that is to say, the Kingdom of Heaven.” (“Que madmodum septem erant in veteris Testamenti temoire Gentes & Regna ,quae siliis Israel ingressum in Piomissionis terram prohibere conabantur: ita suntseptem piaecipua peccatorum genera, auae silios Dei ab introitu in promissam terram viuentium, hoc eit, Regnum caelorum arcere contendunt.”)

Condition: a strong impression and well-printed impression trimmed around the borderline in an excellent condition with no tears, holes, folds or significant stains and laid upon a support sheet of archival/millennium quality washi paper providing wide margins.

I am selling this superb impression of a small but visually arresting engraving featuring the seven–headed monster of the seven deadly sins, for the total cost of AU$265 (currently US$172.35/ EUR165.37/ GBP137.48 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$265) as this is my currency.

If you are interested in purchasing this interesting personification of the seven sins, 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

Alfred Louis Brunet-Debaines, “St. Denis”, 1885, after Turner

Alfred Louis Brunet-Debaines (1845–1939)

“St. Denis”, 1885, mezzotint after Joseph Mallord William Turner’s (1775–1851) watercolour (c.1833), in the collection of the Tate Gallery, London, showing the suburb of Saint-Denis in Paris with the Basilica of Saint-Denis seen across the River Seine on a moonlit night, published in London by Seeley & Co. (fl.1839–early 1900s) in 1885.

Regarding the painting, the Tate Gallery offers the following insights: “Although St Denis is ostensibly the subject of this image, the ancient cathedral is relegated to the distance, and even the activities of the people in the foreground are of secondary interest to the enveloping coolness of the moonlight. In much the same way that many of Turner's later paintings present forms outlined by the strong sunlight at the centre of his image, he is here exploiting the subdued silhouettes created by a full moon” (https://www.tate.org.uk/art/artworks/turner-st-denis-d24686).

Note that Samuel Fisher (1806-1851) also executed an etching with engraving after Turner’s watercolour (see https://www.britishmuseum.org/collection/object/P_1849-0512-715), published in “Wanderings by the Seine” in 1835. Comparison of Fisher and Brunet-Debaines’ prints with Turner’s watercolour reveals very different readings of the scene. Arguably Fisher’s etching (with engraving) is sharper in focus giving the scene the clarity of an icy night under the full moon, whereas Brunet-Debaines’ mezzotint presents the same scene with a softness of mist and a hint of ethereal mystery—of course, these ways of reading the prints is a personal response only.

Mezzotint printed in a warm black ink on wove paper (with watermark) with full margins.

Size: (sheet) 20.5 x 32cm; (plate) 15.8 x 20.8cm; (image borderline) 13 x 18cm.

Condition: a strong impression with generously wide margins. Beyond a few spots of retouching, the sheet is otherwise in an excellent condition with no tears, holes, folds, stains or signs of handling.

I am selling this richly glowing mezzotint showing a full moon illuminating the distant Basilica of Saint-Denis in Paris after Turner’s watercolour of the same scene, for the total cost of AU$187 (currently US$121.52/ EUR116.04/ GBP96.62 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$187) as this is my currency.

If you are interested in purchasing this very beautiful mezzotint, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Eugène Abot, “An Athlete Strangling a Python”, 1877, after Frederic Leighton

Eugène Abot (aka Eugène Michel Joseph Abot) (1836–1894)

“An Athlete Strangling a Python”,1877, after Frederic Leighton (aka Baron Leighton of Stretton; Sir Frederic Leighton) (1830–1896), printed by Alfred Salmon (fl.1863–1894) and published in Paris in 1877 in the French art review, “L’Art.”

Etching with plate-tone on laid paper with full margins as published.

Size: (sheet) 43 x 29.5cm; (plate) 24.3 x 17.3cm; (image borderline) 18.9 x 13.3cm.

Inscribed in plate within the image borderline: (lower right) “Eug. Abot aqua f”.

Lettered in plate below the image borderline: (left) “F. Leighton, R.A sculp./ L’Art.”; (centre) “AN ATHLETE STRANGLING A PYTHON/ Royal Academy of Arts.”; (right) “E. Abot aquaf./ Imp. A. Salmon.”

Beraldi 1 (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Abbema-Bechatte”, vol. I, Paris, Librairie L. Conquet, p. 9, cat. no. 1); IFF (p. 21) (Jean Laren 1930, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 1, p. 21 [see https://gallica.bnf.fr/ark:/12148/bpt6k54886103/f25]).

The British Museum offers the following description of this print: “A statue of an athlete seen in profile, turned to the left, strangling a python; the python is wrapped around his leg and torso; his right arm is outstretched; the figure stands on a low platform; published in the journal 'L'Art'; after Frederic Leighton” (https://www.britishmuseum.org/collection/object/P_1878-0511-318 [BM inv. no. 1878,0511.318]).

Condition: a strong and well-printed impression showing no sign of wear to the printing plate with generously wide margins (as published) in a pristine condition with no tears, holes, folds, stains or signs of handling.

I am selling this sensitively executed and anatomically knowledgeable etching after Frederic Leighton’s famous sculpture for the total cost of AU$192 (currently US$125.25/ EUR118.65/ GBP98.94 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$192) as this is my currency.

If you are interested in purchasing this very beautiful etching that is so fine that the details can only be fully appreciated when greatly magnified (as shown in the scans), 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