Wenceslaus Hollar, “Portrait of Johannes van Malderus”, 1645, after Anthony van Dyck

Wenceslaus Hollar (aka Václav Hollar; Wenzel Hollar) (1607–1677)

“Portrait of Johannes van Malderus” (aka “Portrait of Jan van Malderen”)— (1563–1633) the fifth bishop of Antwerp from 1611 until his death, 1645, from the series, “Icones Principum Virorum”, after Anthony van Dyck’s (aka Anthoni [Ridder] van Dijck; Antoon van Dijk; Anton van Dyck; Anthony van Dijck) (1599–1641) painting, a copy of which is held in the Koninklijke Musea voor Schone Kunsten, Antwerp. A later impression printed by the Louvre Chalography.

Etching on wove paper with wide margins and the Louvre Chalcography blind stamp below the image borderline at left.

Size: (sheet) 39.5 x 28.9 cm; (plate) 26.9 x 20.5 cm; (image borderline) 24.6 x 20.1 cm.

Lettered in plate below the image borderline: (right) “Antoniius van Dyck pinxit”; (cemtre) “PERILL:^ris et REVEREN:^mus DOMINVS IOANNES MALDERVS/ EPISCOPVS ANTVERPIENSIS et./ wHollar fecit aqia forti, Antuerpiæ A:^o 1645.”; (right) “xcudit.”

State iii (of iii) with the address of the previous publisher, Jan Meyssens (1613–1670) erased.

Pennington 1463 (Richard Pennington 1982, “A Descriptive Catalogue of the Etched Work of Wenceslaus Hollar 1607–1677”, Cambridge, Cambridge University Press, p. 254, cat. no. 1463); New Hollstein German (Hollar) 730 (Giulia Bartrum [ed.] 2009-, “The New Hollstein: German engravings, etchings and woodcuts 1400-1700: Wenceslaus Hollar”, vol. III, Ouderkerk aan den Ijssel, Sound and Vision, cat. no. 730); Nagler 91.

The British Museum offers the following description of this print: “Portrait of Jan van Malderus, seated half-length to right, with head turned to look to left; wearing clerical gown, hat and cross, holding a book in his right hand; after Van Dyck …” (https://www.britishmuseum.org/collection/object/P_1888-0612-27 [inv. 1888,0612.27]).

Condition: a strong and well-printed impression with wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this marvellous etching by one of the most famous of the 17^th century printmakers, for AU$296 (equivalent to approximately US$187.99, EUR 179.44, or GBP 148.79 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$296).

If you are interested in purchasing this sensitively executed portrait after Van Dyck, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Félix Bracquemond, “La Récolte des Pommes de Terre”, 1868, after Jules Breton

Félix Bracquemond (aka Joseph Auguste Félix Bracquemond) (1833–1914)

“La Récolte des Pommes de Terre” (aka “The Potato Harvest”), 1868, after Jules Breton’s (aka Jules Adolphe Aimé Louis Breton) (1827–1906) painting shown in the Salon of 1868 (see https://www.artrenewal.org/artworks/the-potato-harvest/jules-adolphe-breton/3172), printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “Gazette des Beaux-Arts” (1^st August, 1868) between pages 10 and 11.

Etching and drypoint with pale plate tone on laid paper with a small margin around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 19.1 x 14.8 cm; (image borderline) 16.3 x 13.3 cm.

Lettered in plate below the image borderline: (left) “JULES BRETON PINX./ Gazette des Beaux-Arts.”; (centre) “LA RÉCOLTE DES POMMES DE TERRE.”; (right) “BRACQUEMOND SCULP./ Imp. A. Salmon_Paris.”

State iii (of iii) with the addition of publication details.

Beraldi 290 (Henri Béraldi 1888, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: BRACQUEMOND”, vol. 3, Paris, Librairie L. Conquet, pp. 102–03, cat. no. 290 [state 3]); IFF 245 (Jean Laren & Jean Adhémar 1942, “Inventaire du Fonds Français après 1800: BOCQVIN–BYON”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, p. 372–73, cat. no. 245 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488545z/f381.item]).

The British Museum offers the following description of this print: “Two peasant women in a field; the woman at right stands holding a sack, into which the other woman, at left, pours potatoes from her woven basket, while kneeling on the ground; in the immediate foreground, pebbles at left and a spade a right; after Jules Breton … 1868/ Etching with drypoint” (https://www.britishmuseum.org/collection/object/P_1924-1126-24

Condition: a strong and well-printed (near faultless) impression with a small margin around the image borderline and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent (near pristine) condition with no tears, holes, folds, abrasions or stains.

I am selling this elegantly simple and powerful image by one of the major printmakers of 19^th century France, for AU$207 (equivalent to approximately US$132, EUR 125.48, or GBP 104.15 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$207).

If you are interested in purchasing this sensitively executed and exceptionally beautiful etching, 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

Gustave Greux, “Sainte Barbe”, 1875, after Hans Memling

Gustave Greux (aka Gustave Marie Greux) (1838–1919)

“Sainte Barbe” (aka “Saint Barbara), 1875, printed by François Liénard (fl.c.1860s–1880s), after Hans Memling’s (aka Johannes Memmelinc; Jan van Mimnelinghe) (c.1433–1494) painting (possibly an illuminated manuscript such as the Grimani Breviary at the Biblioteca Nazionale Marciana in Venice) and published in Paris in the art periodical, “L'Art.”

Etching on laid paper with full margins as published.

Size: (sheet) 43.8 x 29.1 cm; (plate) 27.4 x 20 cm; (image borderline) 22.4 x 16.8 cm.

Lettered in plate below the image borderline: (left) “Memling, pinx./ L'Art .”; (centre) “SAINTE BARBE”; (right) “G. Greux, sc./ F,^çois Liénard, Imp. Paris.”

Beraldi (not numbered but listed with Greux’s prints from 1875) (Henri Béraldi 1888, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: GAVARNI–GUÉRARD”, vol. 7, Paris, Librairie L. Conquet, p.230, see “Estampes Diverses” for 1875); IFF 34 (Jean Adhémar & Jacques Lethève 1960, “Inventaire du Fonds Français après 1800: GAVARRET–GUILLARD”, vol. 9, Paris, Bibliothèque Nationale de France, p 186, cat. no. 34 [see “Douze pl. chez Glémarec, 1858”; https://gallica.bnf.fr/ark:/12148/bpt6k5489301d/f120.image]).

The British Museum offers the following description of this print: “St Barbara kneeling on the grass, reading a small book; scene showing the tower and her martyrdom in the background; in decorative frame with foliate scrolls and flowers; after Hans Memling; published in 'L'Art'/ Etching” (https://www.britishmuseum.org/collection/object/P_1877-0210-522  [BM inv. 1877,0210.522). 

Condition: a richly inked and well-printed (near faultless) impression in a near pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this superbly rich impression of Greux’s etching after a manuscript leaf painted by Hans Memling, for AU$207 (equivalent to approximately US$131.64, EUR 125.82, or GBP 104.17 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$207).

If you are interested in purchasing this sensitively executed and exceptionally beautiful etching, 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

Jost Amman, “July”, c.1573

Jost Amman (aka Jost Ammon) (1539–1591)

“July”, c.1573, from the series of twelve plates in the format of semicircular segments, “The Months with Signs of the Zodiac” (aka “Les douze mois de l’année”), that I understand may have been designed for goldsmiths to use “in the decoration of the area bordering the rim of a bowl” (see https://www.britishmuseum.org/collection/object/P_1845-0809-1596).

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

Size: (extremities of curved sheet) 6 x 26.7 cm.

New Hollstein (German) e.121; Andresen 1.168.192

The British Museum offers the following description of this print: “July/ Leo; segment of a circle with a stag hunt, two women on horseback on the far right, on the left a field being harvested. Leo as a lion in the clouds, top left./ Etching” (https://www.britishmuseum.org/collection/object/P_1845-0809-1603).

Condition: a richly inked and well-printed impression, trimmed around the image borderline and laid onto a support of archival (millennium quality) washi paper providing larger margins. Beyond thinning in areas, a few losses and restored holes, the sheet is in relatively good condition for its considerable age.

I am selling this remarkable fine lifetime impression of an exceptionally rare etching, for AU$383 (equivalent to approximately US$243.56, EUR 232.80, or GBP 192.77 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$383).

If you are interested in purchasing this fascinating image of everyday activities associated with July in Germany in the late 1500s by one of the most famous of the old master printmakers, 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

William Smedley, “Saturday Night in George Street”, 1886

William Smedley (aka William Thomas Smedley) (1858–1920)

“Saturday Night in George Street” (Sydney, Australia), 1886 (as inscribed in plate), an original wood engraving published in Sydney, Melbourne and London in 1886 by the Picturesque Atlas Publishing Company, edited by Andrew Garran, as an illustration on page 89 to the first volume (of three), “The Picturesque Atlas of Australasia.”

Wood-engraving with letterpress title and letterpress text verso on heavy wove paper with a small margin around the image borderline and backed with a support sheet.

Size: (sheet) 20.5 x 26.7 cm (plate); 17.9 x 24.8 cm.

Inscribed in plate: (lower left corner) “W. T. SMEDLEY/ JULY 4.86”

Condition: a well-printed (faultless) impression in a pristine condition with no tears, holes, folds, abrasions, stains or signs of handling. The sheet has been trimmed with a small margin and laid upon a sheet of millennium quality washi paper providing wide margins.

Interestingly, Andrew Garran (1886), the editor of the “Atlas,” offers the following insights about the crowd represented in this wood-engraving: “This is not the promenade for the wealthier classes; there is nothing in Sydney approaching to the character of a fashionable Parisian boulevard …It is a stream of people a mile long, and very seldom indeed is it stirred boisterously and rudely by any exhibition of passion or blackguardism” (p. 89).

I am selling this historically important wood-engraving from 1886 revealing the dress styles and manners of a Saturday evening crowd milling around George Street in the centre of Sydney, for AU$180 (equivalent to approximately US$115.10, EUR 109.63, or GBP 90.92 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$180).

If you are interested in purchasing this fascinating and finely executed wood-engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.