Carl Wilhelm Kolbe, “La Cascade”, 1807, after Salomon Gessner

Carl Wilhelm Kolbe (the elder) (1759–1835)

“La Cascade” (aka “Four Nymphs at a Large Waterfall”), 1807 (ref. for date see, Norbert Michels [ed] 2009, “Carl Wilhelm Kolbe d.Ä. [1759-1835]: Künstler, Philologe, Patriot”, Petersberg, Michael Imhof, p. 299, cat. no. 136 [https://archive.org/details/carlwilhelmkolbe0000unse/page/298/mode/2up]), after a gouache painting by Salomon Gessner (1730–1788). I understand that the print is from a series of twenty-five engravings by Carl Wilhelm Kolbe after drawings and gouaches by Salomon Gessner, initially printed and published by Heinrich Gessner (1768–1813) in Zurich in 1805 in the folio, “Tableaux en gouache, demi-gouache et dessins au lavis de Salomon Gessner”, and later published in 1811 in, “Collection des tableaux en gouache et des dessins de Salomon Gessner” (see https://id.rijksmuseum.nl/200474585; see also the explanatory note by the Rijksmuseum regarding this print: https://id.rijksmuseum.nl/200475173).

Etching on wove paper.

Size: (sheet) 59.5 x 42.2 cm; (platemark) 46.7 x 35.8 cm; (image borderline) 39.8 x 28.4 cm.

Lettered in plate below the image borderline: (left) “Peint par Salomon Gessner.”; (centre) “LA CASCADE/ le tableau en gouache se trouve dans le cabinet de Madame Usteri née Lavater à Zuric.”; (right) Gravé par Guill : Kolbe.”

Martens 297 (Ulf Martens 1978, “Der Zeichner und Radierer Carl Wilhelm Kolbe”, Berlin, Gebr. Mann, cat. no. 297).

See also the descriptions of this print offered by Pictura Antique Prints and the British Museum (no image): https://pictura-prints.com/product/antique-master-print-waterfall-flute-music-rest-kolbe-gessner-1805/; https://www.britishmuseum.org/collection/object/P_1994-1106-1-15.   

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins. Beyond a supported tear in the margin at lower right the sheet is in an excellent/near pristine condition for its large size and age with no holes, folds or significant stains.

I am selling this superb impression of a large and very romantic etching showing an idyllic Arcadian scene with mythological figures relaxing beside a waterfall—for the total cost of AU $348 (currently US $219.71/ EUR 209.38/ GBP 176.01 at the time of posting 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 $348) as this is my currency.

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

Charles Courtry, “Landscape with Two Cows and a Calf”, 1875, after Emile van Marcke de Lummen

Charles Courtry (aka Charles Jean Louis Courtry) (1846–1897)

“Landscape with Two Cows and a Calf”, 1875, a proof-state impression before the completion of the tonal rendering (see  https://www.britishmuseum.org/collection/object/P_1881-1112-141) and lettering for publication by Goupil (fl.1827–1919), signed in pencil by Charles Courtry after Emile van Marcke de Lummen’s (1827–1890) painting.

Note that the British Museum proposes the title, “Le Gué de Mouthiers” [The Mouthiers Ford]) (see inv. no. 1881,1112.141) following Henri Béraldi’s (1889) title of catalogue number 28 (vol. 5, p. 63), but Jean Adhémar (1949) (see IFF, number 101, vol. 5, p. 283) advises that the date of the print is 1880. This date of 1880 is different to the date, “[18]75”, inscribed in the plate. Consequently, this title may refer to a different print.

Etching with plate tone on laid paper, pencil-signed, proof-state impression with wide margins.

Size: (sheet) 44.4 x 58.9 cm; (platemark) 35.6 x 47.9 cm; (image borderline) 28.4 x 40.1 cm.

Inscribed (scratch lettering) in plate below the image borderline: (left) “EM. VAN MARCKE PINX”; (right) “CH. COURTRY SC 75” Impression signed by Courtry, in pencil.

Pencil signed by Charles Courtry at lower right.

Beraldi 28(?) (Henri Béraldi 1889, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: CHERRIER–DIEN”, vol. 5, Paris, Librairie L. Conquet, p. 63, cat. no. 28; see https://archive.org/details/lesgraveursdu19e05berauoft/page/62/mode/2up): IFF 110 (?) (Jean Adhémar 1949, “Inventaire du Fonds Français après 1800: CIDOINE–DAUMIER”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 5, p. 283, cat. no. 110 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488526m/f295.image]).

The British Museum offers the following description of this print (from a later state): “Landscape with two cows and a calf in the foreground, beyond a country woman opening a gate (?) and in the background, on the opposite bank of a stream, more cows, after Van Marcke; proof before letter, signed by printmaker. 1875 Etching” (https://www.britishmuseum.org/collection/object/P_1881-1112-141).

Condition: a strong and well-printed (near faultless) impression in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this exceptionally rare, pencil-signed proof-state etching—for the total cost of AU $310 (currently US $195.72/ EUR 186.52/ GBP 156.76 at the time of posting 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 $310) as this is my currency.

If you are interested in purchasing this huge and dazzlingly luminous proof-state etching before it was completely re-etched with the final state of tonal rendering, 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

Étienne Delaune, “July”, 1568

Étienne Delaune (aka Stephanus) (c.1518–1583)

“July”, 1568, plate 7 from the series of twelve engravings, “Twelve Months” (aka “The Labours of the Months”).

Engraving on fine laid paper trimmed close to the platemark and backed with a support sheet.

Size: (sheet) 5.6 x 8.2 cm; (oval image borderline) 5.5 x 7.7 cm.

Lettered in plate (indistinct) along the lower edge: (left) “IVLLIET”; (right) “CVM PRĪ REGIS”.

Robert-Dumesnil 191 (A.P.F. Robert-Dumesnil 1835, “Le peintre-graveur français, ou catalogue raisonné des estampes gravées par les peintres et les dessinateurs de l'école française: ouvrage faisant suite au peintre-graveur de Bartsch”, vol. 9, Paris, G Warée, p. 58, cat. no. 191); Pollet 100 (Christophe Pollet 1995, “Les gravures d'Etienne Delaune [1518-1583]”, vol. 1, Villeneuve-d'Ascq, Presses Universitaires du Septentrion, pp. 347–48, cat. no. 100).

See also the description of this print offered by the Davison Art Collection (Wesleyan University): https://dac-collection.wesleyan.edu/objects-1/info/4427.

The Metropolitan Museum of Art offers the following insights about this print: “Engraving, part of a series of twelve oval prints with allegorical representations of the months with the seasonal labors inherited from the Middle Ages. The activities illustrated in the series do not seem to have a moral sense, and depict relatively simple scenes with characters dressed in simple garbs, executing their labors in rustic landscapes. In this print, July is represented by an outdoor scene dominated by Leo, the attribute of the month. Two peasants appear in the first plane, one mowing the crops and the other sharpening his scythe. In the second plane, a group of small characters are bathing in a river, one of them running on the river bank. In the background, a man drives a hay truck. The theme of this representation, centered on the crops of hay, is consistent with traditional representations of the labors of the months, including the ‘Calendrier et Kompost des Bergers’” (https://www.metmuseum.org/art/collection/search/749564).

Condition: a fine and well-printed impression trimmed along to the platemark and laid onto a sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this small and delicately executed engraving showing the activity of harvesting associated with the month of July—note also in the middle distance naked figures having fun in the river that must be possible during this warmer month—for the total cost of AU $298 (currently US $188.51/ EUR 179.55/ GBP 151.91 at the time of posting 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 $298) as this is my currency.

If you are interested in purchasing this sensitively rendered tiny jewel of an 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 Meryon ,“Portrait of Jean Besly”, 1861, after Jaspar Isaac

Charles Meryon (aka Charles Méryon) (1821–1868)

“Portrait of Jean Besly”, 1861, after the design (possibly an engraving?) by the printmaker, printer and publisher, Jaspar Isaac (fl.1585–1654) showing the historian, Jean Besly (1612-1647), from the Province of Poitou, at the age of 70 in 1642, signed in the plate with Charles Meryon’s monogram in the upper-left corner and with the date (1861) inscribed in the margin at lower centre, printed in Paris by Abraham Beillet (aka Beillet & Forestier) (fl.1850–1876) as an illustration to the first volume (of two) of Benjamin Fillon and Octave de Rochebrune’s “Poitou et Vendée, études historiques et artistiques”, published in 1861.

Etching with pale surface tone, printed on oriental paper with wide margins.

Size: (sheet) 30.8 x 23.2 cm; (platemark is too soft for accurate measurement [14.7 x 12 cm]); (image borderline) 11 x 8.9 cm.

Inscribed in plate within the image borderline: (upper left corner) [Charles Meryon’s monogram]; (square at upper right) “ÆT 70/ ANN 1642/ [coat-of-arms]”.

Lettered in plate below the image borderline: (left) “d'après I. Isac”; (centre) “IEAN BESLY/ 1861”; (right) “Imp. A. Beillet Q. de la Tournelle, 35.”

State iv (of iv) with the addition of the artist’s monogram.

Delteil & Wright 82 (Loys Delteil & Harold JL Wright 1989, “Catalogue Raisonné of the Etchings of Charles Meryon”, San Francisco, Alan Wofsy Fine Arts, n.p., cat. no. 82 [4^th state]).

See also the descriptions of this print offered by The British Museum and the Metropolitan Museum of Art: https://www.britishmuseum.org/collection/object/P_1876-0510-392; https://www.metmuseum.org/art/collection/search/377942.

Condition: a strong and well-printed impression with wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this seemingly raw etching by one the acknowledged masters of 19^th century French printmaking, Charles Meryon (see https://en.wikipedia.org/wiki/Charles_Meryon), after the design by the very fine engraver, Jaspar Isaacs (see for example, https://www.printsandprinciples.com/2020/05/jaspar-isaacs-engraving-descent-from.html), showing the historian Jean Besly in his 70^th year in 1642, for AU $291 in total (currently US $182.45/ EUR 175.28/ GBP 148.15 at the time of posting 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 $291) as this is my currency.

If you are interested in this intriguing portrait by Meryon, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Eugène Bléry, “At St. Julien near Bonneville. — On High Ground”, 1838

Eugène Bléry (aka Alexandre Stanislas Eugène Bléry) (1805–1887)

“At St. Julien near Bonneville. — On High Ground” (aka “A S^t. Julien Près Bonneville. [Jura]”), 1838”, plate three from a series of seven landscapes executed in 1838, “Sites Pittoresques”.

Etching on fine laid paper backed with a support sheet.

Size: (sheet) 33.4 x 24.2 cm; (plate) 29.2 x 20.6 cm; (image borderline) 26.3 x 18.9 cm.

Inscribed in plate below the image borderline: “(left) “EBléry del. & scul^t.”; (centre) “A S^t. Julien Près Bonneville. (Jura).”; (right) “1838.”

Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: BELLANGÉ–BOVINET”, vol. 2, Paris, Librairie L. Conquet, p. 101, cat. no. 9 [no. 3 in “Eaux-Fortes”]); IFF 8 (Jean Laren 1937, “Inventaire du Fonds Français après 1800: BEAUQUESNE-BOCQUET”, vol. 2, Paris, Bibliothèque Nationale de France, p. 506, cat. no. 8 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488531x/f515]).

The British Museum offers the following description of this print: “Landscape with three washerwomen near a stream in the centre foreground; a wooden bridge and a water-mill in the centre background. 1838” (https://www.britishmuseum.org/collection/object/P_1856-0712-314 [inv. 1856,0712.314]).

Condition: a strong and well-printed impression in an excellent condition with no tears, holes, folds or stains and laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this very beautiful etching, designed and executed by a seminal figure of the 19th century etching revival movement and, interestingly, taught the great Charles Méryon, for AU $277 in total (currently US $110.96/ EUR 106.44/ GBP 89.86 at the time of posting 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 $277) as this is my currency.

If you are interested in purchasing this finely executed etching revealing the life of washerwomen in the early 1800s, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.