Adolphe Appian’s etching, “Cabanes de Pêcheurs sur les Côtes d'Italie”, 1876

Adolphe Appian (1818–1898)

“Cabanes de Pêcheurs sur les Côtes d'Italie” (Huts of fishermen on the Italian coast), 1876, printed and published in Paris by Alfred Cadart (1828–1875) for Une Société de Peintres-Graveurs a L'Eau-Forte as Plate 350  in “L'Illustration Nouvelle, yr. & vol. 8, 1 September 1876. Gallica – BnF offers an online view of all the prints (including this etching) featured in this publication: https://gallica.bnf.fr/ark:/12148/btv1b8527603b/f35.item.

Etching with plate tone on fine laid paper (watermarked) with full margins as published.

Size: (sheet) 31 x 48.5 cm; (plate) 14.8 x 23.9 cm; (image borderline) 11.8 x 19.8 cm.

Inscribed in plate within the image borderline: (upper left corner) “Appian”.

Numbered in plate above the image borderline: (right) “350.”

Lettered in plate below the image borderline: (left) “A.Appian, del. et sculp.”; (centre) “CABANES DE PÊCHEURS SUR LES CÔTES D'ITALIE.”; (right) “Vve A. Cadart, Edit. Imp. 56, Bard Haussmann, Paris.

State iii (of v) before the change of publisher address to Deloriere of state iv and reduction in the plate size of state v.

Curtis & Prouté 42iii (Atherton Cutiis & Paul Prouté 1968, “Adolphe Appian son Oeuvre Gravé et Lithographié”, Paris, Paul Prouté, cat. no. 42 iii); Jennings 37 (Herbert H Jennings 1925, Adolphe Appian (essay) in “Print Collector’s Quarterly,” vol. 12, no. 1, p. 115, cat. no. 37 [see https://digi.ub.uni-heidelberg.de/diglit/print_collectors_quarterly1925/0134/scroll]).

The British Museum offers the following description of this print (from state iv):

“Landscape, with boats moored by the coast, including a boat at right with a fisherman; at left, a building; beyond at centre, mountain ranges; clouds fill the sky ...” (https://www.britishmuseum.org/collection/object/P_1913-1213-10).

Condition: a richly inked, strong, near faultless impression in near pristine condition with full margins (as published) with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this poetically beautiful scene inviting the eye to follow the sweep of the bay from dilapidated fishermen huts and simple fishing boats lining the shoreline to the distant horizon—note that the everyday details of the fishing village are rendered in a diagonal band of what I see as a mysterious shadow—for the total cost of AU$335 (currently US$223.91/EUR202.60/GBP178.34 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 superb etching executed by an artist with a strong personal vision and close connection with the Barbizon School please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Watermark of the laid paper

Georg Pencz’s engraving, “The Triumph of Eternity”, c1539

Georg Pencz (c1500–1550)

“The Triumph of Eternity” [TIB title] (aka “Le triomphe de l’éternité”; “The Triumph of Eternity on Death, from The Triumph of Petrarch”), c1539 (1537–1541), the final print in the series, “The Six Triumphs of Petrarch”.

Engraving on laid paper trimmed irregularly around the platemark and backed with a support sheet.

Size: (sheet) 14.9 x 20.8 cm.

Lettered in plate below the image borderline: (centre) “VT VENTO RAPITVR FVANTIS SIC GLORIA MVNDO/ OMNIA RRETEREVNT PRETERE AVTARE DEVM// PG [ligature monogram of Pencz]”.

TIB 16 (8).122 (358) (Walter L Strauss & Robert A Koch [eds.] 1980, “The Illustrated Bartsch: Early German Masters”, vol.16, p. 132, cat. no. 122 [358]); Bartsch 122; Hollstein 102; Nagler 123.

The Rijksmuseum offers the following description of this print:

(Transl.) “Triumph of the Christian faith with Christ standing in heaven with a banner of the cross between the symbols of the four evangelists while appearing to be addressing scholars. Angels blow trumpets. Beneath this scene the earth burns and the other triumphs, Love (Amor), Chastity (wise virgin with banner), Fame, Time and Death lie defeated on the ground” (http://hdl.handle.net/10934/RM0001.COLLECT.31532).

See also the descriptions offered by the British Museum and the Metropolitan Museum of Art: https://www.britishmuseum.org/collection/object/P_E-4-270 & https://www.metmuseum.org/art/collection/search/432578.

Condition: a well-printed impression, trimmed slightly unevenly and laid upon an archival support sheet of millennium quality washi paper. There is a small replenished loss at the upper right corner and a few a pale stains (the most significant stain is on Christ’s cloak), otherwise the sheet in in very good condition for its considerably age.

I am selling this veritable masterwork of engraving—and one of the larger engravings by Pencz—showing Christ in heaven holding the flag of his triumphant resurrection surrounded by prophets and the attributes of his four evangelists, while on earth, depicted below, is a fiery cleansing of temporal concerns—my apologies for any inaccuracies—for the total cost of AU$633 (currently US$476.62/EUR401.46/GBP344.71 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 major engraving by one of the leading "Little Masters" (Kleinmeister), 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 

Pieter Nolpe’s etching, “Hercules Unifies the Split French Empire”, 1638, after Nicolaes Cornelisz. Moyaert

Pieter Nolpe (1613/14 - c.1652/3)

“Hercules Unifies the Split French Empire” (“Hercules smeedt het gespleten Franse Rijk tot een eenheid” [Rijksmuseum title]), 1638, after Nicolaes Cornelisz. Moyaert (aka Claes Cornelisz Moeyaert;  Nicolaes Cornelisz. Moeyart) (1590/1600–1655), plate 12 from the series of 16 plates, “Festivities at the visit of Maria de' Medici to Amsterdam in 1638” published in Amsterdam by Johannes Blaeu (Joan Blaeu; Johannes Willemszoon Blaeu; Johan Blaeu; Jan Willemsz Blaeu) (1596–1673) and Cornelis Blaeu (aka Cornelius Blaeu) (1610–1648) in 1638 as a folded insert between pages 48 and 49 in Kaspar van Baerle’s (aka Caspar van Barlaeus) (1584–1648), “Medicea hospes, sive Descriptio pvblicæ gratvlationis: qua Serenissimam, Augustissimamque reginam, Mariam de Medicis, excepit Senatvs popvlvsqve Amstelodamensis.”

Archive.org offers an online view of this print in its context in Van Baerle’s publication: https://archive.org/details/mediceahospessiv00baer/page/n85/mode/2up.

Etching on laid paper with a small margin around the platemark, backed with a support sheet.

Size: (sheet) 32.1 x 41.2 cm; (plate) 30 x 39 cm; (image borderline) 29 x 38.3 cm.

Inscribed in plate within the image borderline: (lower right) “CL [ligature initials] M. Inv:”

State iii? (of iii) Note that plate number (“12”) signifying state iii seems to be in pencil rather than inscribed in the plate suggesting that this impression is from an earlier state or the number has been erased. Note that the Orn Cat II does not make a distinction between states ii and iii.

Orn Cat II 10050 (Peter Fuhring; transl. from the Dutch by Jennifer Kilian and Katy Kist 2004, “Ornament prints in the Rijksmuseum II: the seventeenth century”, Amsterdam, Rijksmuseum Sound and Vision, vol. 3, p. 71, cat. no. 10050); Hollstein Dutch 102.

The British Museum offers the following description of this print:

“Plate 12: Allegory on the Discord in France; Henri IV as Hercules repairing the broken globe representing 'Gallia' by forging a band around it, Minerva and Mars at left assisting him, Marie de Medici standing at right, a female personification of France at left, the Olympian Gods onlooking from the clouds above; after Nicolaes Moyaert; illustration to Caspar Barlaeus' ‘Medicea Hospes’ (Amsterdam: 1638) Etching” (https://www.britishmuseum.org/collection/object/P_1871-1209-4805).

See also the description offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.163307.

Condition: a strong impression with small margins around the platemark (approx. 1 cm) and laid upon an archival support sheet of millennium quality washi paper which has flattened the publication centrefold so that it is almost invisible. The upper right corner of the margin is lost and there are are fractures to the left margin, otherwise the image area is in a very good condition with no holes, stains or foxing.

I am selling this remarkable etching showing Henry IV cast in a tableau vivant as Hercules repairing the world that had been broken in halves (see my previous listing which shows the world as a broken globe and Marie de Medici pleading for the gods to help), for the total cost of AU$354 (currently US$266.55/EUR224.51/GBP192.78 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 marvellous amalgam of classical antiquity with politics and the Baroque Age—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

Pieter Nolpe’s etching, “Marie de Medici Begs the Gods for Help”, 1638, after Nicolaes Cornelisz. Moyaert

Pieter Nolpe (1613/14 - c.1652/3)

“Marie de Medici Begs the Gods for Help” (aka “Allegory on the Discord in France”; “Franse maagd smeekt de goden om hulp” [French virgin begs the gods for help] [Rijksmuseum title]), 1638, after Nicolaes Cornelisz. Moyaert (aka Claes Cornelisz Moeyaert;  Nicolaes Cornelisz. Moeyart) (1590/1600–1655), plate 10 from the series of 16 plates, “Festivities at the visit of Maria de' Medici to Amsterdam in 1638” published in Amsterdam by Johannes Blaeu (Joan Blaeu; Johannes Willemszoon Blaeu; Johan Blaeu; Jan Willemsz Blaeu) (1596–1673) and Cornelis Blaeu (aka Cornelius Blaeu) (1610–1648) in 1638 as a folded insert between pages 48 and 49 in Kaspar van Baerle’s (aka Caspar van Barlaeus) (1584–1648), “Medicea hospes, sive Descriptio pvblicæ gratvlationis: qua Serenissimam, Augustissimamque reginam, Mariam de Medicis, excepit Senatvs popvlvsqve Amstelodamensis.”

Archive.org offers an online view of this print in its context in Van Baerle’s publication: https://archive.org/details/mediceahospessiv00baer/page/n81/mode/2up).

Etching on laid paper with a small margin around the platemark, backed with a support sheet.
Size: (sheet) 32.4 x 41.1 cm; (plate) 30.1 x 38.9 cm; (image borderline) 29.5 x 38.2 cm.

Inscribed in plate within the image borderline: (lower right) “CL [ligature initials] M Inv.”

Numbered in plate below the image borderline: (lower right) “10”.

State iii (of iii) with the addition of the plate number (“10”). Note that the Orn Cat does not make a distinction between states ii and iii.

Orn Cat II 10046 (Peter Fuhring; transl. from the Dutch by Jennifer Kilian and Katy Kist 2004, “Ornament prints in the Rijksmuseum II: the seventeenth century”, Amsterdam, Rijksmuseum Sound and Vision, vol. 3, pp. 70–71, cat. no. 190046); Hollstein Dutch 100.

The Rijksmuseum offers the following description of this print:

(Transl.) “Tableau vivant with the French virgin, proposed by Maria de' Medici, begging the gods for help. Henry IV, dressed as Hercules, is ordered to unify the country again. Peace, Amor and Venus look in horror at the globe of the French Empire, which has been split in two. Justice is on the ground. Behind Maria de' Medici stands Bacchus. Performance used in the water theater on the Rokin. Numbered lower right: 10. Plate 10 of the illustrations with the description of the festivities surrounding the visit of Maria de' Medici to Amsterdam from 31 August to 5 September 1638” (http://hdl.handle.net/10934/RM0001.COLLECT.163305).

See also the description offered by the Metropolitan Museum of Art: www.metmuseum.org/art/collection/search/698754.

Condition: a strong impression with small margins around the platemark (approx. 1 cm) and laid upon an archival support sheet of millennium quality washi paper which has flattened the publication centrefold so that it is almost invisible. The upper left margin is fractured and has been restored otherwise the sheet is in a very good condition with no holes, stains or foxing.

I am selling this remarkable etching showing Henry IV cast in a tableau vivant as Hercules while Marie de Medici pleads to the gods of classical mythology to repair the world broken in halves, for the total cost of AU$354 (currently US$266.55/EUR224.51/GBP192.78 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 marvellous amalgam of classical antiquity with politics and the Baroque Age—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 Bluck’s hand-coloured aquatint (as publ.), “Tomb of Lewis Stuart, Duke of Richmond”, 1812

John Bluck (fl.c1791–1832)

“Tomb of Lewis Stuart, Duke of Richmond”, 1812 (inscribed in plate), after a drawing by Thomas Uwins (1782–1857), plate 36 (insert between pp.152–53, vol. 2) to William Combe’s (1742–1823) “The History of the Abbey Church of St. Peter's Westminster: Its Antiquities and Monuments: In two volumes”, published in 1812 in London by Rudolph Ackermann (fl. 1797-1825).

Archive.org offers and online view of this plate in its context in the second volume: https://archive.org/details/historyofabbeych02comb/page/152/mode/2up.

See also the descriptions of two other plates from the same publication offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1889-0409-302; https://www.britishmuseum.org/collection/object/P_1889-0409-297.  

William Combe (1812) describes the portrayed tomb:

“This tomb, which is of brass, almost fills the chapel to the north of Henry Vll.th’s monument. The figures of the duke and duchess are finely cast; but the caryatides which support a canopy, of various ornamental, pierced scroll-work, in the characters of Faith, Hope, Charity, and Prudence, possess superior excellence. The figure of Fame, on the top, is represented in the act of taking her flight; and the urns are copied after antique forms” (p. 152).

Hand-coloured aquatint and etching on cream wove paper with small margins around the platemark.

Size: (sheet) 34.3 x 27 cm; (plate) 29.8 x 25 cm; (image borderline) 26.5 x 19.7 cm.

Numbered in plate above the image borderline: (upper right) “Plate 36”.

Lettered in plate below the image borderline: (left) “T. Unwins del’t.”; (centre) “163. LEWIS STUART, DUKE OF RICHMOND/ HENRY THE SEVENTH’S CHAPEL./ Publishe’d 1 Octr. 1812. for R. Ackermann’s Westmr. Abbey, at 101 Strand London.”; (right) J. Bluck sculpt.”

Condition: a superb impression with luminously strong hand-colouring in near pristine condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this visually arresting hand-coloured aquatint exemplifying the amazing skill of the artist in handling this technically demanding medium, for the total cost of AU$194 (currently US$144.85/EUR122.27/GBP105.18 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 stunningly aquatint—a perfect example of this medium and how it can be employed to show even the finest architectural details—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