Wenceslaus Hollar's etching, “A Recumbent Lion”, 1645, after Albrecht Dürer

Wenceslaus Hollar (aka Wenzel Hollar; Václav Hollar) (1607–77)

“A Recumbent Lion”, 1645, after Albrecht Dürer (1471–1528)

Etching on fine laid paper with small margins backed on a support sheet.

Size: (sheet) 11 x 14.5 cm; (plate) 9.5 x 12.9 cm                    

Inscribed on plate: (lower left) “Alb. Durer pinxit, / W. Hollar fecit, ex Collectione / Arundeliana 1645; (lower right) “1518 / “AD” [Dürer's monogram]

State i (of ii) Lifetime impression before the rework on the lower part of the lion’s body immediate behind its mane (compare this impression to the second state impression held by the British Museum: https://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?assetId=1312062001&objectId=3488064&partId=1)

Pennington 1982 2094 i/ii (Richard Pennington 1982, “A Descriptive Catalogue of the Etched Work of Wenceslaus Hollar, 1607–1677”, Cambridge, p. 329); New Hollstein (German) 819.I (Hollar).

The British Museum offers a description of this print:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3488060&partId=1&searchText=hollar+lion&page=1

See also the description offered by the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/361344

Condition: crisp and well-printed impression with small margins in near faultless condition for its age (i.e. there are no tears, folds, holes, abrasions, significant stains or foxing). The sheet is backed with a support of archival (millennium quality) washi paper.

I am selling this exceptionally rare and stunning lifetime/first state etching from 1645 of a lion with eyes that seem to stare into your soul, for the total cost of AU$320 (currently US$225.64/EUR197.79/GBP177.59 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 strong etching executed by one of the greatest printmakers of the 17th 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

Sir Lawrence Alma-Tadema’s etching, “Croquis”, 1878

Sir Lawrence Alma-Tadema (aka Alma Laurence Tadema) (1836–1912)

“Croquis” (sketch) (aka “Sketch for the Improviser” [Rijksmuseum’s alternative title]), 1878, printed and published in Paris by Alfred Cadart (1828–1875). Note that Alma-Tadema’s painting of this composition was exhibited in the Royal Academy in 1944 (see BM no. 1922,0722.3).

Etching with drypoint and light plate tone on cream laid paper with full margins as published.

Size: (sheet) 49 x 33.6 cm; (plate) 27.9 x 19.9 cm; (image borderline) 24.9 x 17.5 cm.

Numbered on plate above the image borderline: (indistinctly at upper right corner) “456.”

Lettered on plate below the image borderline: (left) “L.Alma-Tadema, del.et.sc.”; (centre) “CROQUIS”; (right) VveA.Cadart,Edit.Imp.56Bard.Haussmann,Paris.”

The British Museum offers the following description of this print:

“Young man standing on a field, looking upwards, his right arm stretched out at his side and holding a lyre on his left arm, three figures sitting in the background behind him.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1545860&partId=1&searchText=Lawrence+ALMA-TADEMA+&page=1)

The Rijksmuseum offers the following description of this print:

(transl.) “A man stands in a field, with a lyre on one arm, looking upwards. Three seated figures in the background.”

(http://hdl.handle.net/10934/RM0001.collect.71735)

Condition: crisp, well-printed impression in near pristine condition (i.e. there are no tears, folds, holes, abrasions, significant stains, foxing or signs of use—nevertheless the edge of the sheet have undulations that may be a “natural” attribute of the large sheet).

I am selling this exceptionally rare etching executed by the hand of one of the most famous painters of classical antiquity in the nineteenth century, for AU$224 (currently US$158.01/EUR138.55/GBP124.62 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 poetically minimal and very beautiful etching exemplifying the classical leaning of the Victorian 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

 

Allaert van Everdingen’s etching, “The Third Spring”, c1640

Allaert van Everdingen (aka Allart van Everdingen; Allaert Pietersz. van Everdingen; Aldert van Everdingen) (1621–1675)

“The Third Spring” (TIB title) (aka “Toisième morceau”; “View of the source of Geronstère”), c1640 (1631–75 Rijksmuseum), from the series, “Four water sources in and around Spa” [Rijksmuseum title]).

Etching on laid paper with narrow margins around the image borderline backed with a support sheet.

Size: (sheet) 13 x 17.6 cm; (image borderline) 12.7 x 17.3 cm.

Inscribed with the artist’s initials on plate: (on spa pedestal) “AVE”.

State ii (of ii)

TIB 2(2).98(215) (Mark Carter Leach & Peter Morse [eds.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 2., Abaris, New York, p. 195); Hollstein Dutch 97-2(2) (F W H Hollstein 1949, “Dutch and Flemish etchings, engravings and woodcuts c.1450-1700”, Amsterdam); Bartsch 2.215 (Adam Bartsch 1803, “Le Peintre graveur”, 21 vols, Vienna).

The Rijksmuseum offers the following description of this print:

(transl.) “Landscape with trees and a stone building in the background. At a tower-like building in the foreground, people wait for their turn to get water.”

(http://hdl.handle.net/10934/RM0001.collect.70660)

Condition: crisp and well-printed impression with narrow margins around the platemark in excellent (museum quality) condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or significant signs of handling).

I am selling this superb etching, sparkling with light and exemplifying the artist’s skill to bite the plate with varying depths of line to give a convincing portrayal of spatial depth, for AU$236 (currently US$166.75/EUR146.39/GBP131.58 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 exceptionally delicate and beautiful etching from the mid-1600s, 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

Christian Wilhelm Ernst Dietricy’s etching, “Rocky landscape with bathing nymphs”, 1741

Christian Wilhelm Ernst Dietricy (aka Christian Wilhelm Ernst Dietrich) (1712–74)

“Rocky landscape with bathing nymphs” (Rijksmuseum title) (aka "Rotslandschap met badende nimfen"; “Die badenden Nymphen in der Felshöhle” [Link title]), 1741, in the manner of Cornelis van Poelenburch (aka Cornelis van Poelenburgh) (1594/5–1667), early impression (first state?) before numbering as plate 74 from “Oeuvre de C.W.E. Dietrich”, published in Dresden, c1775.

Etching on laid paper with small margins around the image borderline and backed with a support sheet.

Size: (sheet/plate) 20 x 28.1 cm; (image borderline) 19.6 x 27.8 cm

Inscribed on plate below the image boderline: (centre) ‘“Dietricy" del & Aqua forti: Ao 1741: der 6 Octo’.

State i? (of iv) Note: I have not been able to compare the different states but this impression matchesl the first state impression held by the Rijksmuseum.

Linck 136 I (4) (JF Linck 1846, “'Monographie der von C. W. E. Dietrich radierten, geschabten und in Holz geschnittenen malerischen Vorstellungen”, Berlin, p. 224–26, cat.no. 136); see also the description of this print offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.105691; and by the British Museum:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1471276&partId=1&searchText=dietrich+bathing+nymphs&page=1

Condition: richly inked, crisp, faultless impression with a small margin around the image borderline in excellent conditions for the age of the print (i.e. there are no tears, holes, folds, abrasions, significant stains—close examination shows a few marks—or foxing). The sheet is laid on a support of archival (millennium quality) washi paper.

I am selling this outstanding, museum quality, impression glowing with tonal contrasts for the total cost of AU$320 (currently US$225.42/EUR198.16/GBP178.49 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this masterwork of etching showcasing not only the “borrowed” style of Cornelis van Poelenburch, but also the eroticised subject matter that appealed to Van Poelenburch (viz. naked nymphs seen bathing) and that earned him the nickname (or what his mates termed his “bent name”), “Satiro” (Satyr), 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

Orazio Borgianni's etching, “Eleazer and Joshua dividing the Promised Land among the Twelve Tribes”, 1615, after Raphael

Orazio Borgianni (aka Orazio Borgiani) (c.1578–1616)

“Eleazer and Joshua dividing the Promised Land among the Twelve Tribes” (“Le grand-prêtre Eléazar et Josué faisant le partage de la terre promise aux douze tribus”), 1615, plate 40 from the series of 52 plates after Raphael, “The Loggia Paintings” (Bartsch title).

Etching on fine laid paper trimmed with a small margin around the image borderline and backed with a support sheet.

Size: (sheet) 16.5 x 19.6 cm; (image borderline) 16 x 18.9 cm.

Inscribed on plate within the image borderline: (lower left) “1615/ [artist’s monogram]”; (lower right) "40".

Bartsch XVII.319.40; TIB 38 (17).40 (319) (Walter L Strauss Ed. 1979, “The Illustrated Bartsch”, vol. 38, p. 399).

The Rijksmuseum offers the following description of this print:
(transl.) “Eleazar and Joshua are under a canopy. For them are the leaders of the twelve tribes of Israel. They discuss the distribution of the Promised Land. In the foreground is a naked boy near a jug.”

(http://hdl.handle.net/10934/RM0001.COLLECT.85392) 

See also the description of this print offered by the British Museum:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3050226&partId=1&searchText=Orazio+BORGIANNI&page=1

Condition: crisp, well-printed impression showing minimal wear to the plate. The sheet is in excellent condition for its age (i.e. there are no tears, holes, folds, abrasions, stains or foxing), trimmed along the plate mark (or near the image borderline with a small margin) and backed with a support sheet of archival (millennium quality) washi paper.

I am selling this graphically strong etching executed in the last year of the artist’s life and based on the design of the legendary Raphael (1483–1520) who had passed away only 95 years before this print was created, for AU$257 (currently US$182.68/EUR159.39/GBP144.01 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 Renaissance period print with its marvellous freely laid strokes describing the distant landscape, 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