Li Kuan, “Lily Pot”, c.1955

Li Kuan (fl.1950s—?)

“Lily Pot” (aka “Le Pot de Lis”), c.1955, an original woodcut in three colours published in Peking (now Beijing) in 1956 by Éditions en Langues Étrangères (Foreign Languages Press) (fl.1952–) as plate 2 to the folio of 40 original woodcuts printed in the People’s Republic of China, “Gravures sur Bois de la Chine Nouvelle.” Note that this print was featured in the second National Exhibition of Fine Arts (China) in 1955 and was chosen from this exhibition for its inclusion in the 1956 folio of prints representing the achievements of “la Chine Nouvelle” (the new China).

Woodcut in three colours (black, green and green-yellow/tan) printed on fine cream wove (China) paper with full margins and with printed title as published.

Size: (sheet) 34.8 x 25cm; (irregular image borderline) 25.6 x 18.1cm.

Condition: a strong and well-printed impression in a pristine condition.

I am selling this strong colour woodblock print of a seemingly simple potted lily until close examination shows the artist's ingenuity in creating the image—see for example his use of negative and positive lines seen in the outline of the pot and the flower pattern on the table—for AU $174 in total (currently US $108.16/ EUR104.88/ GBP 87.06 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $174) as this is my currency.

If you are interested in purchasing this original colour woodcut print from the founding period of the People's Republic of China, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jan Luyken, “Announcement to the Shepherds”, 1708

Jan Luyken (aka Johannes Luyken; Jan Luijken) (1649–1712)

“Announcement to the Shepherds” (aka “The Angel Announces the Birth of Jesus Christ to the Shepherds”, 1708, published by Jan Covens (aka Johannes Covens) (1697–1774) and his brother-in-law, Corneille Mortier (aka Cornelis Mortier) (fl.1688–c.1708) in c.1708 as plate 40 with Dutch and French captions to “Verbeeldingen der Historiën des Ouden en Nieuwen Testaments” (Representations of the History of the Old and New Testament), in Amsterdam.

Etching on fine laid paper with a flattened centrefold backed with a support sheet.

Size: (sheet) 42.1 x 51.5 cm; (plate) 34.5 x 45cm; (image borderline) 33 x 44cm.

Inscribed in faded ink by an old hand within the blank writing area at lower right corner: [possibly} “St Peter”.

Lettered below the image borderline: (left) “Edit. à J.Covens et C. Mortier.”; (left of centre) “De Engel verkondigt de Geboorte J:C:aan de Herders. Luc.II.v.8.”; (right of centre) “l'Ange' Annonce la Naissance de J:C: aux Bergers. Luc.II. v.8.”; (right) “Johannes Luyken Inv: et Fecit./ 40.”.

Van Eeghen 3722 (Pieter van Eeghen & Johan Philip van der Kellen 1905, “Het werk van Jan en Casper Luyken”, Amsterdam, Frederik Muller & Co., vol. 2, p. 663, cat. no. 3722 [see https://archive.org/details/hetwerkvanjanen01kellgoog/page/662/mode/2up]).

Van Eeghen (1905) offers the following description of this print: (transl.) “In the foreground on the left the cattle, on the right the shepherds, to whom the announcement is made by an angel who emerges from the cloud that occupies the upper left part of the print and that is completely occupied by innumerable inhabitants of heaven. On the right in the foreground a spot has been kept completely white, apparently to be used for an inscription.” (p.663).

See also the description of this print offered by the Rijksmuseum: https://id.rijksmuseum.nl/200396198.

Condition: a strong and well-printed (lifetime) impression showing no sign of wear to the printing plate with the centrefold of publication flattened and laid upon an archival support of millennium quality washi paper. Beyond the slight ridge of the flattened centrefold and an ink inscription by an old hand within the blank writing space at the lower right corner, the sheet is in an excellent condition for its large size and considerable age.

I am selling this huge and visually arresting etching showing heaven opening in a burst of light and the angel, Gabriel, announcing the birth of Jesus Christ to shepherds attending their flocks—note how many of the animals (viz. cows, sheep and goats) also turn their heads to the startling event—for AU $274 (currently US $170.44/ EUR 165.72/ GBP137.39 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $274) as this is my currency.

If you are interested in purchasing this remarkable etching executed with extraordinary detail, 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

Adolphe Appian, “Le Port de Monaco”, 1873

Adolphe Appian (aka Jacques Barhelemy `Adolphe` Appian), (1818–1898)

“Le Port de Monaco”, 1873, a first state (lifetime) impression before lettering for publication in “L'Eau-Forte en 1874”.

Etching with plate tone on heavy wove paper with wide margins.

Size: (sheet) 30 x 38cm; (plate) 16 x 23.9cm; (image borderline) 13.2 x 21.1cm.

Inscribed in plate: (upper left corner) “APPIAN 187[3]”.

State i (of ii) before lettering for publication.

Curtis & Prouté 36 i (Atherton Cutiis & Paul Prouté 1968, “Adolphe Appian son Oeuvre Gravé et Lithographié”, Paris, Paul Prouté, [n.p.] cat. no. 36 i); Jennings 32 (Herbert H Jennings 1925, Adolphe Appian (essay) in “Print Collector’s Quarterly,” vol. 12, no. 1, p. 115, cat. no. 32 [see https://digi.ub.uni-heidelberg.de/diglit/print_collectors_quarterly1925/0134/scroll [scroll to find the page 115]).

The British Museum offers the following description of this print: “View of the port of Monaco: a flotilla of boats at left, stationed near the port, beyond at left, a hill with buildings at the top; first state. 1873” (https://www.britishmuseum.org/collection/object/P_1876-0708-14 [inv. 1876,0708.14]).

In Hamerton’s 1876 edition of “Etching and Etchers”, Hamerton offers the following interesting insights about Appian’s prints: “…his [Appian’s] work is that each plate, however large or however small it may be, is conceived from the first as a whole, and the first conception is never departed from for the disproportionate realisation of some obtrusive detail.” Going further, “…Appian sees always in masses, and gives quite as much detail as is consistent with the preservation of the mass” (pp. 202–03).

Condition: a near faultless, richly inked and well-printed impression with generously wide margins. The sheet is in an excellent condition with no tears, holes, folds, stains or signs of handling

I am selling this rare first-state impression before lettering with title and publication details, for the total cost of AU $335 (currently US $207.80/ EUR 200.75/ GBP 166.03 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $335) as this is my currency.

If you are interested in purchasing this very beautiful etching executed by an artist with a strong personal vision of his surroundings and a 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.

This print has been sold

Charles Daubigny, “The Marsh with Storks”, 1851

Charles Daubigny (aka Charles François Daubigny) (1817–1878)

“The Marsh with Storks” (aka “Le Marais”; “Marais aux Cigognes”: “Moeras met Ooievaars”), 1851, proof on chine collé before the addition of the title, possibly printed in 1874 (state iv of vi) when the lettered publication details are shown as “Daubigny inv^t et sculp^t”. Note that Michel Melot (1978) advises that there is a related painting by Charles Daubigny executed in 1873 (see p. 278).

Etching on chine collé on heavy wove paper with wide margins.

Size: (sheet) 29.9 x 42.5cm; (plate) 14.8 x 21.7cm; (chine collé) 14.1 x 20.7cm; (image borderline) 12.5 x 19.9cm.

Lettered in plate below the image borderline: (left) “DAUBIGNY INV^T ET SCULP^T”.

State iv (of vi).

Melot D84 (Michel Melot 1978, “Graphic Art of the Pre-Impressionists”, New York, Harry N. Abrams, pp. 277–78, cat. no. D84 [4]); Delteil 84 (Loys Delteil 1921, “Le Peintre Graveur Illustré: Charles François Daubigny”, vol. 13, Paris, cat. no. 84); Henriet 77 (Frederic Henriet 1878, “C. Daubigny et Son Oeuvre”, Paris, cat. no. 77). IFF 38 (Jean Adhémar 1949, “Inventaire du Fonds Français après 1800: Cidoine–Daumier”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 5, p. 415, cat. no. 38 [see https://gallica.bnf.fr/ark:/12148/bpt6k54891736/f425]).

See also the description of this print offered by the Rijksmuseum and the Metropolitan Museum of Art: https://id.rijksmuseum.nl/200182014; https://www.metmuseum.org/art/collection/search/336865.

Condition: a richly inked, well-printed and near faultless impression with wide margins. Beyond a pencil inscription at the lower right corner, the sheet is in a near pristine condition with no tears, holes, folds, abrasions, significant stains or signs of handling.

I am selling this remarkably strong and near faultless impression in a near pristine condition for the total cost of AU $418 (currently US $258.76/ EUR 249.96/ GBP 206.78 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $418) as this is my currency.

If you are interested in purchasing this superb 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