Jan Saenredam’s engraving, “Two Nymphs Carrying Vases”, c.1607, after Hendrick Goltzius

Jan Saenredam (aka Jansz Pieter Saenredam; Jan Pietersz Saenredam) (c.1565–1607)

“Two Nymphs Carrying Vases” (TIB title) (aka “Two of Diana's Nymphs with Pitchers” [Rijksmuseum title]), before 1607 (note that the Rijksmuseum proposes the date of execution as “1616”, but this date is after Saenredam had passed away), plate two from the series of three engravings, “Diana and Her Nymphs”, after a drawing by Hendrick Goltzius (1558–1617).

Engraving on fine laid paper, trimmed with significant losses at the top and bottom of the image and backed with a support sheet.

Size: (sheet) 18.9 x 15.8 cm.

TIB 4 (3). 60 (240) (Walter L Strauss (ed.) 1980, “The Illustrated Bartsch: Netherlandish Artists”, vol. 4, New York, Abaris Books, p. 376); Hollstein Dutch 81 (George Shepard Keyes [comp.] 1980, Amsterdam, Van Gendt & Co, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Jan Saenredam to Roelandt Savery”, vol. 23, p. 62, cat. no. 81).

  

The Rijksmuseum offers the following description of this print:

(transl.) “Two nymphs from the retinue of Diana. They hold water jugs and embrace each other”

(http://hdl.handle.net/10934/RM0001.COLLECT.169335).

Condition: strong and well-printed impression showing no sign of wear to the printing plate suggesting that this may be a lifetime impression, but as the upper and lower portions of the sheet have been lost (including the writing edge) I am unable to determine if this is a first or second state impression—the latter state would show the plate number, publication details and a line of Latin inscribed below the image. Beyond the significant losses to the image and a chip to the lower edge, the sheet is in a very good condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing).

I am selling this sensitively executed and very beautiful engraving, for AU$367 in total (currently US$243.25/EUR218.39/GBP188.87 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 small masterpiece—even with the losses above and below the image—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

John Crome's etching, “At Scoutton”, c.1812

John Crome (1768–1821)

“At Scoutton” (now known as Scoulton), c.1812–3, from the series, “Norfolk Picturesque Scenery, Consisting of Thirty-One Etchings.” This impression is from the final state when the title (“At Scoutton”) was added for the "Freeman and J. B. Crome Edition", published in 1838 in "Etchings of Views in Norfolk by the Late John Crome."

Etching on cream wove paper.

Size: (sheet) 28.7 x 12.9 cm; (plate) 6 x 18.9 cm.

Inscribed on plate below the image: (left of centre) "At Scoutton".

State iii (of iii) with etched title.

Goldberg 222 iii/iii (Norman L Goldberg 1978, “John Crome the Elder”, New York, NY University Press, vol. 1, cat. no. 222, p. 280); Clifford E11 iii/iii (Derek Clifford & Timothy Clifford 1968, “John Crome”, Greenwich, New York Graphic Society, cat. no. E11, pp. 167–8).

Norman L Goldberg in his catalogue raisonné for this print offers the following description:

“In the foreground is a pool; on the right large tree trunks and a bank beyond with smaller trees; in the distance on the left is a church tower with the sun setting behind it; on the left is also a group of three trees on a bank” (p. 289).

The Metropolitan Museum of Art offers the following insights about John Crome and the series in which this print features:

“A founder and leader of the Norwich School (artists based in that town who developed a distinct local style), Crome worked in oils and as a drawing master, then became one of the first 19th-century Britons to use etching as an expressive tool. Prints made between 1809 and 1813, based on plein-air sketches, anticipate the Etching Revival. Unpublished during Crome's lifetime, sets titled ‘Norfolk Picturesque Scenery, Consisting of Thirty-One Etchings’ were first issued in 1834 to benefit his widow”

(https://www.metmuseum.org/art/collection/search/720835).

Condition: richly inked but slightly overwiped impression with generous margins. There are minor dot stains verso. The front of the sheet is in almost pristine condition (i.e. there are no tears, holes, folds, losses, abrasions, significant stains, foxing or signs of use).

I am selling this remarkable etching created with a sketch-like looseness of drawing suggestive of a plein-air (on the spot) study, for [deleted] 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 etching of freely laid strokes that arguably foreshadow the Etching Revival in the latter half of the 19^th century, 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

Unidentified artist’s etching, “Jason and the Dragon”, after Salvator Rosa

Unidentified artist (late 1600s)

“Jason and the Dragon”, after 1664, etching in reverse after Salvator Rosa (1615–1673).

See Rosa’s pen and brown ink with brown wash preliminary drawing for his etching, “Jason Bewitching the Dragon”, at the Nationalmuseum in Stockholm (Anckarsvärd 400):

http://emp-web-84.zetcom.ch/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=77382&viewType=detailView.

The Art Gallery of New South Wales offers the following description of this print:

“The subject is based on the account in Ovid's 'Metamorphoses' in which Medea, who was in love with Jason, helped him in his quest for the Golden Fleece by giving him a magic potion to pour over the dragon that was guarding the treasure”

(https://www.artgallery.nsw.gov.au/collection/works/232.1979/).

Etching with engraving (or drypoint) on laid paper with small margins around the platemark.

Size: (sheet) 35.4 x 23.4 cm; (plate) 34.4 x 22.2 cm; (image borderline) 33.5 x 21.5 cm.

Inscribed on a plaque at lower right: "ROSA".

Numbered on plate at lower right corner: “64.”

TIB 4512.019 C …[?] (Paolo Bellini & Richard W Wallace [eds.] 1990, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 45, Commentary, New York, Abaris Books, pp. 360–62); Wallace 118 [copy] (Richard W Wallace 1979, “The Etchings of Salvator Rosa”, Princeton, Princeton University Press, pp. 312–16).

Condition: richly inked and near faultless early impression, trimmed with a small margin (approx. 10 mm) around the platemark. There is pale foxing and a light mark below the upper tree branch, otherwise the sheet is in very good condition (i.e. there are no tears, holes, folds, losses, abrasions or significant stains).

I am selling this graphically strong etching in reverse after Rosa’s famous etching, for AU$375 in total (currently US$245.33/EUR220.06/GBP191.93 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 visually arresting etching (after Rosa) showing Jason—the leader of the Argonauts—with his cape dramatically billowing upwards as stands astride a dragon while pouring a stream of moly (aka “holy moly”—a magical sleeping potion) into its eyes, 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

Giovanni Domenico Campiglia’s etching, “Laocoon”, 1717

Giovanni Domenico Campiglia (1692–1768)

“Laocoon” (as titled on the untrimmed plate), 1717, after the famous Hellenistic Greek sculpture group, “Laocoön and His Sons”, discovered in 1506. This engraving is an illustration to Michele Mercati’s (1541–1593) (aka Michaelis Mercati; Michael Mercatus); “Samminiatensis Metallotheca”, published by Mariae Salvioni (aka Appresso Giovanni Maria Salvioni) in 1717 for the Vatican, plate III in chapter 10, “Marmora” (marble), p. 356.

This book may be viewed online or downloaded free-of-charge from archive.org:

https://archive.org/details/MichaelisMercatiSamminiatensisMetallothecaOpusPosthumumAuctoritate/page/n435/mode/2up.

Etching and engraving on laid paper trimmed to the image borderline and backed with a support sheet.

Size: (sheet) 26.9 x 19.2 cm.

Condition: strong and well-printed impression, trimmed to the image borderline with loss of the writing edge and a replenished hole at upper left. The sheet is laid upon a support of archival (millennium quality) washi paper.

I am selling this historically significant depiction of the sculpture group, “Laocoön and His Sons”, showing the c.1570 (incorrect) restoration of Laocoön’s outstretched arm before it was later removed in the 1980s, for AU$233 in total (currently US$152.27/EUR137.66/GBP118.72 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 early study of the Laocoon group—note how the artist has created tonal transitions in the modelling of the figures from black dotes in the lit areas to white dots in the shadows and the juxtaposition of visually calm horizontal lines of the background with animated contour strokes rendering the 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

Charles Émile Jacque’s etching, “Monsieur Jules Luquet, Directeur de la Société des Aqua-Fortistes”, 1866

Charles Émile Jacque (1813–1894)

“Portrait of Monsieur Jules Luquet, Directeur of the Société des Aqua-Fortistes”, 1866, plate 241 from the fifth volume of prints produced by the Société des Aquafortistes, “Eaux-Fortes Modernes” (Modern Etchings), published in September 1866 by Cadart & Luquet (fl.1863–1867) and printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907).

Etching with aquatint on grey chine collé on cream laid paper.

Size: (sheet) 37 x 28.4 cm; (plate) 31.5 x 23.5 cm; (chine collé/image borderline) 25.5 x 20.5 cm.

Numbered on plate above the image borderline: (right) “241”.

Inscribed on plate within the image borderline: (upper left corner) “ch. Jacque 1866”.

Lettered on plate below the image borderline: (left) “Ch. Jacque sculp.”; (centre) “M. J. LUQUET/ DIRECTEUR de la Société des Aqua-Fortistes./ Paris, Publié par CADART & LUQUET, 79, Rue Richelieu.”; (right) “Imp. Delâtre, Rue St. Jacques, 303, Paris.”

State ii (of ii?) with the addition of publication details.

IFF 332 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris, 1930); Beraldi 437 (enri Beraldi 1885, “Les Graveurs du dix-neuvième siècle”, 12 vols, Paris, p. 189).

The British Museum and the National Gallery of Australia offer descriptions of this print: https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1346277&partId=1&searchText=Luquet&people=119978&page=1;

https://cs.nga.gov.au/detail.cfm?irn=35036.

Condition: richly inked and near faultless impression in excellent condition (i.e. there are no tears, holes, folds, stains, abrasions, losses, foxing or significant signs of handling).

I am selling this superb, large and historically important etching by one of the luminaries of the Barbizon School portraying the Director of the Society of Etchers—a key figure in the promotion of etching as a fine art at a time when hand-crafted prints were becoming sidelined by photographic processes of printing (e.g. photogravure)—for AU$260 (currently US$169.22/EUR153.38/GBP131.96 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 superb impression of a very beautiful etching capturing the divided spirit of a man who wishes to be seen as confidently strong—note his left hand resting on his hip—but at the same time betraying a slightly timid demeanour—note the index finger of his right hand tucked into his waistcoat and his other fingers curled in constrained way—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