Johann Lorenz Haid’s mezzotint of a young devotee, c1730, after Giovanni Battista Piazzetta

Johann Lorenz Haid (1702–1750)

“Young devotee holding a rosary and a staff” (descriptive title only), c1730 (1712–50), after Giovanni Battista Piazzetta (aka Giambattista Piazzetta) (1682–1754), published by Johann Christian Leopold (1699–1755) in Augsburg.

Note: I have attributed this print to Johann Lorenz Haid rather than Johann Lorenz’s brother, Johann Gottfried Haid (1714–1776), because the inscribed publication detail advises that “Lorenz Haid pinxit” (i.e. Lorenz Haid painted it) after Piazzetta’s design. The lettered text does not unambiguously state that Lorenz Haid’s hand executed (“sculpsit”) the mezzotint.

Mezzotint on laid paper, trimmed around the image borderline/platemark? on sides and lower edge and within borderline at top, backed with a support sheet.

Size: (sheet) 35.9 x 27.5 cm.

Lettered on plate below the image borderline in two lines of text: “Iohann Christian Leopold excudit Augustæ Vindelicorum. Iohann Baptista Piazzetta Venetus delineavit Lorenz Haid pinxit./ Cum Gratia et Privilegio Sacræe Caesarae Majestatis. a.14”.

Condition: richly inked and well-printed impression with many (almost invisible) restorations, trimmed around the image borderline on sides and lower edge (retaining the text lines) and within the image borderline at top, backed with a support sheet of archival (millennium quality) washi paper.

I am selling this spectacular mezzotint for the total cost of AU$216 (currently US$155.19/EUR134.13/GBP121.31 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 rare—so rare that the neither the British Museum nor the Rijksmuseum hold a copy—large and luminously glowing old-master print, 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 lithograph, “Crépuscule Poétique”, c1853

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

“Crépuscule Poétique” (Poetical Twilight), c1853, printed by Victor Jacques Bertauts (fl.1830s–1880) from the series, “Souvenirs d'Artistes”, published in “L’Artiste” in Paris.

Lithograph in black and light blue on wove paper with full margins (as published), backed with a support sheet.

Size: (sheet) 24.1 x 32.5cm; (image borderline) 16.4 x 21.4 cm.

Signed on plate within the image borderline: (lower left) “ch. Jacque”.

Lettered on plate above the image borderline: (centre) “L’ARTISTE”.

Lettered on plate below the image borderline: (left) “C.Jacques. lith.”; (centre) “Crépuscule poétique”; (right) “Imp.Bertauts, r. Cadet, 11.Paris.”

State ii (of ii) with the publication detail, “L’ARTISTE”.

Beraldi 1885-92 472 (Henri Beraldi 1885, “Les Graveurs du dix-neuvième siècle”, 12 vols plus supplement, Paris); IFF 530, ii/ii (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris, 1930); Not in Guiffrey.

The British Museum offers the following description of this print;

“No.121 in series: shepherd with sheep at dusk in landscape, near trees. c.1853 Lithograph”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1429987&partId=1&searchText=Crepuscule+poetique&page=1)

See also the description at the National Gallery of Art:

https://www.nga.gov/collection/art-object-page.65615.html#bibliography

Condition: excellent impression with full margins (as published). The sheet is in a good condition (i.e. there are no holes, abrasions, stains or signs of foxing) with small tears at the margin edges and with signs of handling (i.e. slight dirtiness and flattened creases). The sheet has been laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this rare lithograph of subtle beauty by Jacque for AU$188 (currently US$134.55/EUR117.35/GBP105.63 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 seldom seen print by one of the major luminaries of the Barbizon School, 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

Two etchings by Stefano della Bella from the series, “Ornamenti o Grottesche”, c1653

Stefano della Bella (1610–1664)

Two etchings featuring boar heads from the series of twelve plates (including the title plate that I listed previously), “Ornamenti o grottesche” (Ornaments and grotesques), c1653.

Left panel

“Ornamental vertical panel of entwined oak branches with a stag head, a quiver of arrows and two boar heads at the base” (descriptive title only), 1650–56.

Etching on fine laid paper trimmed with thread margins around the platemark and backed with a support sheet.

Size: (sheet) 17.3 x 6.9 cm

Inscribed on plate: (lower right corner) “SDBella”

De Vesme/Massar 1971 1010 (A de Vesme, revised by Phyllis D Massar 1971, “Stefano della Bella, New York”)

The British Museum offers the following description of the left panel:

“Ornament panel with oak branches growing from two boar heads at base, the branches intertwined around a hunting spear, and with a bow, quiver of arrows and stag head at centre.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1507709&partId=1&searchText=della+bella+ornament+panel&page=1)

Condition: crisp impression, slight darkening at upper edge with minor restorations (virtually invisible) otherwise in excellent condition, trimmed close to the platemark and backed with a support sheet of archival (millennium quality) washi paper. 

Right panel

“Ornamental vertical panel of entwined deer antlers around a spear with two boar heads at the top, a hunting horn and two stag heads at the base” (descriptive title only), 1650–56.

Etching on fine laid paper trimmed along the platemark and backed with a support sheet.

Size: (sheet) 16.4 x 6.5 cm

Inscribed on plate: (lower left of centre) “SDBella”

De Vesme/Massar 1971 1013

The British Museum offers the following description of the left panel:

“Ornament panel with a hunting trophy design; two stag heads at base with antlers intertwined around a hunting spear leading up to two boar heads above, and a hunting horn hanging from the spear.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1507736&partId=1&searchText=della+bella+ornament+panel&page=1)

Condition: crisp impression with minor restorations (virtually invisible) otherwise in excellent condition, trimmed along the platemark and backed with a support sheet of archival (millennium quality) washi paper.

____________

I am selling this pair of small ornamental panels for AU$270 in total (i.e. each panel is AU$135) (currently AU$270 is the equivalent of US$192.34/EUR168.04/GBP150.64 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 these delicately etched designs, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

These prints have been sold

Auguste Feyen-Perrin’s etching, “Death of Armar”, 1864

Auguste Feyen-Perrin (aka François Auguste Feyen-Perrin; François Nicolas Augustin Feyen-Perrin) (1826–1888)

“Morte d'Armar” (Death of Armar), 1864, plate 81, illustration to “Ossian”, published in Paris by Cadart & Luquet (fl.1863–67) and printed by Auguste Delâtre (1822–1907) for the Société des Aquafortistes’ second volume of prints, “Eaux-Fortes Modernes: Originales et Inédites” (September 1863–August 1864) with 60 plates numbered from “61” to “121”.

Note: the author of poem, “Ossian”, which this etching illustrates, caused a great deal of academic rumbling in the nineteenth century as the question arose: Was the translator, James Macpherson, the true author rather than simply a translation of what Macpherson describes—in the collected title of the poems—as "Fragments of ancient poetry, collected in the mountains of Scotland and translated from the German or Gallic language"?

Etching with aquatint on laid paper with watermark (“Aqua Fortistes”) and with the blind-stamp of the publisher (Cadart & Luquet) in the lower margin.

Size: (sheet) 44.1 x 28.4 cm; (plate) 31.8 x 23.8 cm; (image borderline) 27.5 x 18.9 cm

Inscribed on plate within the image borderline: (lower right) “A Feyen-Perrin” (slightly obscured by the background strokes).

Numbered on plate above the image borderline: (right corner) “81.”

Lettered on plate below the image borderline: (left) “Feyen-Perrin sculpt.”; (centre) “Armar se jette à la mer résolu de sauver Daura. Soudain un coup de vent fond du haut de la colline,/ Armar s'abime et ne reparait plus. (Ossian)./ Paris, Publié par A. CADART & LUQUET, Éditeurs, 79, Rue Richelieu.”; (right) Imp. Delâtre Rue St Jacques, 303, Paris.” 

Beraldi 1885 13 (Henri Beraldi 1885, “Les Graveurs du dix-neuvième siècle”, 12 vols plus supplement, Paris)

The British Museum offers the following description of this print:

“Plate 81: nude male being subsumed by spirit, nude female figure above in shadows; illustration to Ossian”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1342723&partId=1&searchText=Feyen_Perrin+Armar&page=1)

Condition: a richly inked and near faultless impression in near pristine condition for its age (i.e. there are no tears, holes, creases, abrasions, stains, foxing, or signs of handling).

I am selling this wonderfully mysterious and romantic etching showing Armar drowning in his birthday suit after having thrown himself into the sea to save Daura looking forlorn perched on a rocky ledge, for AU$194 (currently US$138.24/EUR120.82/GBP108.50 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 extraordinarily beautiful etching full of theatrical light and dramatic rhythms, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Kathe Kollwitz's etching, “Praying Girl", 1892

Kathe Kollwitz (1867–1945)

“Praying Girl” (Betendes Mädchen), 1892, from later von der Becke edition (c1931).

Aquatint with soft ground etching in dark brown ink on cream-coloured wove paper with margins.

Size: (sheet) 31.3 x 26.9 cm; (plate) 19.6 x 15.1 cm; (image borderline) 18.8 x 14.4 cm.

State iv (b) with burnished/erased engraved text and the “muenchen-22” blind-stamp of Becke.

Klipstein 1955, no. 11, state iv (b) (August Klipstein 1955, “Käthe Kollwitz, Verzeichnis des graphischen Werkes”, Bern, Klipstein & Co, p. 12.)

Condition: richly inked, strong and near faultless impression with margins. There is a faint toning from the etching having been previously mounted and there are two slightly lighter dots in the right margin—perhaps colour unevenness in the paper?—otherwise the sheet is in very good condition (i.e. there are no tears, holes, creases, abrasions, stains or foxing).

I am selling this simply stunning etching revealing Kollwitz’s creative exploration of the soft ground medium with curiously interesting curved strokes on the girl’s sleeve, for AU$690 (currently US$491.28/EUR431.05/GBP386.12 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 quietly beautiful etching by Kollwitz, 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