Marcantonio Bellavia's etching, “St. Francis Praying Before a Cross”, 1680

Marcantonio Bellavia (fl.1668–1670)

“St. Francis Praying Before a Cross” (St. François priant à genoux devant un croix), 1660–1680, plate 18, after Annibale Carracci (1560–1609) (as inscribed on plate with the note “IN[vent]”. (Note: The British Museum advises: “His plates are all from his own designs, although later publishers added the name of the Carracci to many of them.” (https://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=132754)

Etching on laid paper trimmed close to the plate-mark and backed with a support sheet.

Size: (sheet) 9.1 x 11.5 cm; (plate) 8.8 x 11.2 cm.

Numbered on plate at lower left: “XVIII”.

Inscribed on plate at lower right: “A.C. IN.”

State ii (of ii) with the addition of the plate number.

TIB 41(20). 36(16) (Palao Bellini & Mark Carter Leach [eds.] 1983, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 41, New York, Abaris Books, p. 42, cat. no. 36); Bartsch XX.16.36.

The British Museum offers the following description of this print:

“St Francis praying before a crucifix formed of the branch of a tree”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1444002&partId=1&searchText=Bellavia&page=1)

The Museum of Fine Art in Budapest in describing this print makes the comment that “The inscription is different from the one reproduced in TIB” (see http://printsanddrawings.hu/search/prints/8969/). This discrepancy is easily explained as the TIB reproduces the first state impression held by the BM (U,1.164) before the addition in the plate’s second state of the plate number (“XVIII”) and the designer of the composition (“A.C. IN.” [Annibale Carracci Invent.]).

Condition: excellent impression trimmed with narrow margins around the plate-mark and laid on a support of archival (millennium quality) washi paper. The sheet is in very good condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing).

I am selling this small but visually arresting etching from the late 1600s for the total cost of AU$306 (currently US$214.17/EUR189.69/GBP170.11 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 intimate image of St Francis—note how the portrayal of the saint in prayer captures his passionate communion by the slight tilt of his head, 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

Cornelis Bloemaert's engraving, “The Ham Eater”, 1625

Cornelis Bloemaert (1603–1692)

“The Ham Eater”, 1625, after the painting by Gerard van Honthorst (aka Gerrit van Honthorst; Gherardo della Notte; Gherardo della Notte; Gherardo delle Notti) (1590 - 1656), published by Cornelis Bloemaert in Utrecht.

(Note that the British Museum holds a copy in reverse by an unidentified engraver—possibly Cornelis van Dalen I (1602–1665)—to this original engraving by Cornelis Bloemaert: https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3054469&partId=1&searchText=Cornelis+Bloemaert+&page=1)

Engraving on laid paper trimmed close to the image borderline and backed with a support sheet.

Size: (sheet) 21.6 x 15.7 cm; (image borderline) 19.5 x 15.6 cm.

Lettered in Dutch on plate below the image borderline: (left) “G. V. Honthorst. / pinxit.”;

(centre) “Ick ben gesont, daer toe wat graeg / Dit sijn recht [h/p?]illen voor mijn maeg.”;

(right) “C. Bloem: sculp: et excu: / Ao.1625.”

Hollstein 2 (after Honthorst); Hollstein Dutch 298; Roethlisberger CB2 (Marcel G Roethlisberger 1993, “Abraham Bloemaert and his sons: Paintings and prints”, 2 vols, Doornspijk, Davaco, p. 521, cat. no. CB2).

The Rijksmuseum offers the following description of this print:

(transl.) “A man has a jug and a sliced ​​ham in the right arm. With his left hand he brings a piece of ham to his mouth. With two-line Dutch caption.”

(http://hdl.handle.net/10934/RM0001.collect.81552)

See also the description offered by the British Museum:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3054467&partId=1&searchText=Cornelis+Bloemaert+&page=1

Condition: Richly inked and well-printed lifetime impression (based on the crisp lines showing no sign of wear to the printing plate) trimmed close to the image borderline and laid on a support of archival (millennium quality) washi paper. The sheet is in very good condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing).

I am selling this strong impression sparkling with crisp lines and in superb condition for the total cost of AU$332 (currently US$232.38/EUR205.67/GBP183.90 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 beautifully executed engraving—note how the artist avoids the use of outlines and employs contour marks to create the figure’s silhouette edge—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

Pierre Bulliard's Le Blon-Gauthier process coloured engraving, “La Savonaire Officinale”, 1780

Pierre Bulliard (aka Jean Baptiste François Pierre Bulliard) (c1742–1793)

“La Savonaire Officinale” (aka Common Soapwart), 1780, plate 257 illustration to “Plante Médicinale de la France” (aka “Herbier de la France ou collection complète des plantes indigènes de ce royaume ; avec leurs détails anatomiques, leurs propriétés, et leurs usages en médecine”), vol. III, engraved, printed and published by Pierre Bulliard in Paris. (Note that this is one of the earliest books botanical books printed in colour—without hand–colouring in watercolour.)

Engraving coloured by the painstaking and rare Le Blon-Gauthier process (i.e. these impressions are not coloured by watercolour or retouched by hand, but rather the prints were created through the superimposition of up to four plates inked separately by the technique called "à la poupée" for each colour) with full margins and binding hoes (as published) and backed with a support sheet.

Size: (sheet) 33 x 24 cm; (plate) 23 x 17.1 cm; (image borderline) 17.5 x 15.5 cm.

Lettered on plate above the image borderline: (centre) “PLANTE MEDICINALE DE LA FRANCE.”; (right) “PL. 257.”

Indexed on plate within the image borderline with letters from “A” to “H”.

Lettered on plate below the image borderline with nine lines of text: (centre) “LA SAVONAIRE OFFICINALE. FI. FR. … d’usage en Medecine.”

See description of this print at Medic@ (Banque d'images et de portraits): www.biusante.parisdescartes.fr/histmed/image?med08338x03x0057

Condition: Near faultless impression of this rare print with fine colouring by the Le Blon-Gauthier method in excellent/museum quality condition (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing). The sheet is laid on a support of archival (millennium quality) washi paper.

I am selling this beautifully executed engraving coloured by the remarkable Le Blon-Gauthier method for the total cost of AU$198 (currently US$138.22/EUR122.35/GBP109.53 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 rare engraving of great historical importance in the development of colour prints, 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

This rare print should make printmakers sit up straight—or at least do a small nod of appreciation for Bulliard’s skill and perseverance to personally ink and print all the plates (this is plate 257) in his publication AND in an edition. What make Bulliard’s enterprise so amazing is that the technique he used to create each print involves at least three engraved plates—perhaps four—each inked with different colours and printed so that they are superimposed upon each other to create the full-colour print.

According to Wikipedia, this plant, the Saponaria Officinalis has a variety of uses: “… depurative, diuretic, choleretic and worming. It is used against the rheumatism and gout, against certain skin diseases and as an expectorant for the affections of the oral cavity (tonsillitis, mouth ulcers, etc.). Decoction Saponaire applied to the face effectively fights against skin diseases such as the acne. The Romans put in the bath to cure itching. Leper colonies used it to clean the wounds of lepers. … As the timber Panama, flowering tops or rhizomes could replace soap to wash delicate clothing susceptible to fading. It is also used to clean black aprons. This is because it contains saponin, a substance that has the property of lather like soap, that officinale Saponaire also bears the name ‘soap grass’, ‘soap ditch’, ‘soap dish’, ‘laurel bloomed’, ‘grass woman.’ When dried and cleaned, the roots can be used in the manufacture of a once qu'utilisaient powder residents to wash their hands. Mixed with soda, it could also scouring and bleaching wool and lace pale, hence its other name ‘grass fuller.’” (https://en.wikipedia.org/wiki/Saponaria_officinalis)

Jan Sadeler I's engraving, “Speculum Sacerdotum”, 1597

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

“Speculum Sacerdotum” (aka “Christus Sacerdotes Alloquitur”; “All Saints Day”), 1597, after the design by the intermediary draughtsman, Peter de Witte (aka Peter de Wit; Pietro Candido; Petrus Candid) (c1548–1628), oringinally published in 1597 by Nicolo Moretti (fl.1597) with privilege by Rudolf II of Habsburg (German Emperor) in Venice. This impression was published in 1610 by Giovanni Alberti (fl.1605–10) (see Petrarch Exegesis in Renaissance Italy Database for more information about this printer/publisher: https://petrarch.mml.ox.ac.uk/persons/giovanni-alberti) and Justus Sadeler (aka Iustus Sadeler) (1583–1620).

Engraving with letterpress text below the print on laid paper, backed with a support sheet.

Size: (sheet) 29.1 x 35.5 cm; (plate) 20.4 x 28.8 cm.

Lettered on plate above the image borderline: (center) “SPECVLVM SACERDOTVM.”

Inscribed on plate along the lower edge: (centre) “Cū priuil: sac: Cæs: Mai.’tis Joā. Sadeler

Petrus Candid figuravuit“, fecit note „...Joa. Sadeler ft / Petrus Candid. figurauit.”

Letterpress text printed below the platemark of the engraving: (centre) “CHRISTVS SACERDOTES ALLOQVITVR”; (four columns) Piscatores hominū[m] ... stolam immortalem. / FINIS. / IN VENETIA, Appresso Gio: Alberti. / Ad Instantia di Iusto. Sadeler. 1610."

Hollstein Dutch 464 (Dieuwke de Hoop Scheffer [comp.] & Karel Gerard Boon [ed.] 1980, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700: Aegidius Sadeler to Raphael Sadeler II: text”, vol. 21, Amsterdam, Van Gendt & Co., p. 157, cat. no. 464); TIB 7001.434 (Isabelle de Ramaix 2001, “The Illustrated Bartsch: Johan Sadeler I”, vol. 70, Part 2 [Supplement], New York, Abaris Books, p. 312, cat. no. 434).

The Rijksmuseum offers the following description of this print and the letterpress Latin text:

(transl.) “The Catholic clergy (including the pope, the cardinals and the bishops) kneel before the appearance of Christ in heaven. Around Christ in the clouds the twelve apostles. The print has a Latin caption about how the life of Christ can serve as a model for earthly life.”

(http://hdl.handle.net/10934/RM0001.COLLECT.168614)

The British Museum advises in their description of this print that it is a “broadside on the model of a pious life …”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1539155&partId=1&searchText=Speculum+Sacerdotum&page=1)

Condition: a crisp early impression showing almost no sign of wear to the printing plate. The sheet is in superb condition (i.e. there are no tears, folds, holes, abrasions, significant stains—there is a minor handling mark at the lower right edge and a few dots—or foxing) and is laid on a support sheet of archival (millennium quality) washi paper.

I am selling this marvellous example of the period style known as Northern Mannerism—note for example the theatrical lighting, the elegance of the figures’ gestures and the grand sweep of the composition—for AU$320 (currently US$223.87/EUR197.14/GBP176.73 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 Renaissance period 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

Raffaele Albertolli's aquatint, "Head of the Medusa”, 1793

Raffaele Albertolli (1770–1812)

“Head of the Medusa” (aka “Medusa tratta dall' Antico” [Medusa taken from the Ancient]), 1793, plate 17 (“Tav. XVII”) in the series of 20 plates (with the addition of a title and dedication plate to Lodovico Galeazzo Busca Arconati Visconti, marchese di Lomagna) after Giocondo Albertolli (1742–1839) in “Miscellanea per i giovani studiosi del disegno .... Parte terza” (Miscellanea for young scholars of drawing .... Third part), 1796, published by Giocondo Albertolli in Milan, page 39.

(This book is available to view online or to download free of charge from archive.org which also offers detailed information about the publication:

https://archive.org/details/gri_33125009355229/page/n37)

Aquatint with dot roulette etching printed with sanguine coloured ink on heavy laid paper with full margins as published.

Size: (sheet) 58.5 x 44 cm; (plate) 30.2 x 35.3 cm.

Numbered on plate at upper right: “Tav. XVII.”

Lettered on plate along the lower edge: (left) “Raffaelo Albertolli dis, e inc. 1793.”; (centre) “Medusa tratta dall' Antico”. 

Condition: crisp, richly inked and near faultless impression with generous margins (as published) and laid on a support sheet of archival (millennium quality) washi paper. The sheet is in a near pristine/museum quality condition.

I am selling this large masterpiece of aquatint in the manner of a red chalk drawing for AU$462 (currently US$323.64/EUR285/GBP254.87 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 exceptionally rare and magnificent lifetime impression dated on the plate, “1793”, 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