Johann Christoph Erhard’s etching, “The Russian Infantryman”, 1815

Johann Christoph Erhard (1795–1822)

“The Russian Infantryman” (aka “Kaisel Russ Infanterist”; “Der Russische Infanterist”), 1815, published in Nuremberg by Johann Friedrich Frauenholz (1758–1822).

Etching with plate tone printed in a warm black ink on buff coloured laid paper with full margins as published.

Size: (sheet) 28 x 22 cm; (plate) 13.5 x 5.7 cm.

Inscribed in plate at lower edge: “Kaisel Russ. Infanterist/ [artist’s monogram] Erha[rd fec]/ [1815.]”

State iii (of iii) with reduction in the height of the plate.

Apell 182.III (Aloys Apell 1866, “Das werk von Johann Christoph Erhard, maler und radirer ... mit einer biographie und dem bildness des künstlers”, Dresden, Apell, pp. 103–4, cat. no. 182, state III; see https://archive.org/details/daswerkvonjohann00apel/page/102/mode/2up).

See also the description of this print (state ii) offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.108443.

Condition: a strong and well-printed impression with generously wide margins in near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this historically important etching showing the issued military supplies for Russian infantryman (my apologies if there are more precise terms for the operational gear supplied to servicemen)—viz. long coat, flat cap, knapsack, ammunition pouch, rifle with bayonet and sabre— for AU$288 in total (currently US$153.32/EUR174.17/GBP153.32 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 this marvellously insightful portrayal of a cold Russian soldier—my eyes are drawn to the nervous energy contained in the man’s fingers peeping out of the long cuffs of his heavy coarse coat and how their slight animation links in with the spring of his moustache and squinting eyes … and I must mention the genuineness of how the weight of the man as he leans on his gun is captured by the single finger as it steadies him on the gun barrel—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Johannes Meyer II’s etching, “Cavalry Firing at Fleeing Opponents”, 1678

Johannes Meyer II (aka Johann Meÿer) (1655–1712)

“Cavalry Firing at Fleeing Opponents” (BM descriptive title only), 1678, from the series of six plates, “Equestrian Battles”, published in Nuremberg by David Funck (fl.1682–1709)—the well-known Nuremberg publisher who reissued impressions taken from Daniel, Hieronymus and Lambert Hopfer’s plates upon which he had inscribed his system of numbering (usually described as the “Funck number”).

Etching on laid paper with restorations, trimmed around the image borderline and backed with a support sheet.

Size: (sheet/image borderline) 5 x 17.4 cm.

Inscribed in plate along the lower edge: (left of centre) “David F[u]nck Exc.”; (right) “Jos Meÿer. f. 1678”

Hollstein German 39 (Robert Zijlma [comp.] 1980, “German Engravings, Etchings and Woodcuts c.1400–1700: Johannes Meyer der Jüngere to Johann Reinhard Mühl”, vol. 28, Amsterdam, Van Gendt & Co, cat. no. 39).

The British Museum offers the following description of this print: “Cavalry firing at fleeing opponents; at centre a soldier on horseback armed with a gun fighting another armed with a sword; the fleeing soldiers at right; from a series of six etchings” (https://www.britishmuseum.org/collection/object/P_Gg-4O-7).

Condition: a strong and well-printed impression, trimmed along the image borderline and laid upon two layers of archival support sheet of millennium quality washi paper. There are restorations to losses around the legs of the centre foreground horse (now not very noticeable).

I am selling this exceptionally rare (note that the Rijksmuseum does not hold a copy of this print), small and beautifully executed battle scene, for AU$293 in total (currently US$195.84/EUR177.20/GBP155.98 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 this lively battle scene, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Hans Burgkmair the Elder’s woodcut, “Standard Bearer”, c1517

Hans Burgkmair the Elder (1473–1531)

“Standard Bearer” (TIB title) (aka “Eberpach as Marshal of the Five Offices of Court”; “Standaarddrager”), c1517 (commissioned in 1512; executed between 1516 and 1519), a giant woodcut from the frieze of 139 plates extending to around 54 meters in length titled, “Triumphal Procession of Emperor Maximilian I”, cut by Jost de Negker's (aka Jost Dienecker) (c1485–1548) team of block-cutters (see https://collections.vam.ac.uk/item/O972923/triumph-of-the-emperor-maximilian-woodcut-maximilian-i-holy/). This impression may be from the 1777 edition of 192 plates published by Adam Bartsch (1757–1821).

The Rijksmuseum offers the following description of this print: (transl.) “Standard carrier with standard and rectangular shield that offers space for a verse. The stand is decorated with laurel wreaths and curly ribbons. An empty text band is shown at the height of the rider's head. This man precedes the group of five seneschal in the series of the triumph of Emperor Maximilian I. They are referred to in the text of the verse, which is missing here” (http://hdl.handle.net/10934/RM0001.COLLECT.30899).

Woodcut printed in black on fine buff coloured laid paper, trimmed slightly into the image at top.

Size: (sheet) 38.2 X 26.7 cm.

TIB 11.15 (Tilman Falk [ed.] 1980, “The Illustrated Bartsch: Sixteenth Century German Artists”, vol. 11, New York, Abaris Books, p. 166, cat. no. 15).

The Victoria and Albert Museum offers the following very interesting information about the “Triumphal Procession of Emperor Maximilian I” plates: … “This was one of three large-scale mural projects which together reflected Emperor Maximilian I's (1459-1519) status as Holy Roman Emperor and linked him symbolically with ancient Rome. The project was not finished by the time of Maximilian's death but the set was published later, in 1526.

Hans Burgkmair designed much of the procession, begun in about 1512, with contributions from Albrecht Altdorfer, Hans Springinklee, Hans Beck and Hans Scheufelein. The designs were cut by Jost de Negker's large team of block-cutters.

The two other mural projects include a large Triumphal Arch, about 12 feet high by 10 feet wide and made up of 192 blocks, and a Triumphal Carriage about 8 feet long made up of 8 blocks. These were designed by Albrecht Dürer, with assistance from Hans Springinklee, Wolf Traut and Albrecht Altdorfer.

The procession was not intended for sale. The city of Nuremberg apologised to the Emperor for some impressions from the blocks having been sold. The friezes were intended as gifts for wall display. According to surviving correspondence, Maximilian wanted the procession to 'grace the walls of council chambers and great halls of the empire, proclaiming for posterity the noble aims of their erstwhile ruler'” (http://collections.vam.ac.uk/item/O972804).

Condition: a strong and well-printed impression in an excellent condition for its considerable age, trimmed slightly within the image borderline with loss of the standard bearer’s upper finial. The upper and lower left corners are chipped and the verso of the sheet has pencil notations and shows traces of previous mounting in the sense that it must once has been glued to another sheet.

I am selling this extraordinarily large Renaissance period woodcut from from the famous series, “Triumphal Procession of Emperor Maximilian I”, for AU$430 (currently US$287.41/EUR260.05/GBP228.92 at the time of listing 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 woodcut, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Chaplin’s etching, “Les Bulles de Savon”, 1867

Charles Chaplin (aka Charles Joshua Chaplin) (1825–1891)

“Les Bulles de Savon” (Soap Bubbles), 1867, etching after Charles Chaplin’s painting in the Luxembourg Museum (see https://commons.wikimedia.org/wiki/File:Chaplin-The_Soap_Bubbles.jpg), plate 278 from the fifth volume of prints produced by the Société des Aquafortistes (Society of Etchers), printed in Paris by Alfred Cadart (1828–1875) (as lettered in plate), before/after the change of publication details to the printer, Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and publication by Cadart & Luquet (fl.1863–1867) in “Eaux-Fortes Modernes”, vol. 5 (1867).

Etching on laid paper with wide margins.

Size: (sheet) 25.5 x 20.1 cm; (plate) 15 x 11.7 cm; (image borderline) 12.1 x 9.3 cm.

Numbered in plate above the image borderline: (right) “278.”

Lettered in plate below the image borderline: (left) “Ch. Chaplin sculp.”; (centre) “LES BULLES DE SAVON.”; (right) “Imp. A. CADART, Paris.”

Beraldi 36 (Henri Beraldi 1886, “Les Graveurs du XIX Siecle”, Paris, Librairie L. Conquet, vol. 4, p. 92, cat. no. 36).

The British Museum offers a description of this print with the earlier/later printer and publisher details: https://www.britishmuseum.org/collection/object/P_1867-1214-41.

Condition: a strong and well-printed impression with wide margins in a near pristine condition with no tears, holes, folds, abrasions, significant stains (note that the back of the sheet is slightly dusty) or foxing.

I am selling this small and beautifully executed etching from the genre of vanitas prints—mindful that bubbles are often used in images to symbolise the notions of life’s transience, brevity and the spontaneity of death—and prints that draw upon the symbolism of women and their labours—mindful that the distaff shown here leaning on the spinning wheel has a history of being a symbolic weapon of women while the spinning wheel is a key symbolic tool of women’s industry—for AU$212 in total (currently US$141.70/EUR128.21/GBP112.86 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 wonderful etching—to my eyes it has the allure of a Vermeer! —please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Robert Strange’s engraving with etching, “Charles I and the Duke of Hamilton”, 1782, after Anthony van Dyck

Robert Strange (aka Sir Robert Strange) (1721–1792)

“Charles I and the Duke of Hamilton”, 1782, after Anthony van Dyck’s (aka Anthoni (Ridder) van Dijck; Anthony van Dijck; Antoon van Dijk; Anton van Dyck) (1599–1641) painting, “Charles I at the Hunt” (aka “Le Roi à la Chasse”), c1635, in the collection of the Louvre (see https://en.wikipedia.org/wiki/Charles_I_at_the_Hunt), showing Charles I (1600–1649), King of England, Scotland and Ireland, with James Hamilton (1606–1649), 1^st Duke of Hamilton—famous as a political and military leader during the Thirty Years' War.

Engraving with etching on laid paper trimmed along the platemark and backed with a support sheet.

Size: (sheet) 63 x 47.2 cm; (image borderline) 58.5 x 45.5 cm.

Lettered below the image borderline: (lert) “Antonius Vandiick Eques pinxit.”; (centre) “Carolo I^mo. MAGNÆ BRITANNIÆ REGI, &c./ [jaco]bus Hamiltonius, [M]archio ab Hamilton, [S]acri [S]tabuli Comes, adstat./ [e ta]bula [A]ntonii Vandiick [E]quitis, [8 pedes et 9 digitos alta, 6 pedes et 10 digitos] lata, in Pinacotheca R[eg]is Christianissimi conservata.”; (right) “Robertus Strange delint. atque sculpsit A.D. 1782.”

State iii (of iii) with the addition of the lettering.

LeBlanc 45 (Charles Le Blanc 1888, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 3 Paris, Emile Bouillon, p. 604, cat. no. 45).

The British Museum offers the following description of this print: “Charles I standing in profile, one hand on his hip on a hill overlooking a river with a ship sailing, and the Duke of Hamilton behind him, under a tree, with one hand on the mane of the king's horse; after Van Dyck” (https://www.britishmuseum.org/collection/object/P_S-1-12).

Note that the British Museum holds a preliminary drawing for this print: see  https://www.britishmuseum.org/collection/object/P_1861-0112-97.

Condition: a strong impression, trimmed along the platemark and laid upon an archival support sheet of millennium quality washi paper. There are numerous restorations and significant abraded areas (restored) on the left.

I am selling this huge and famous engraving for AU$694 in total (currently US$463.89/EUR419.71/GBP369.46 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 masterwork of engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.