John Cousen, “A Fire at Sea”, 1859, after JMW Turner

John Cousen (1804–1880)

“A Fire at Sea”, 1859, after a painting by Joseph Mallord William Turner (1775–1851) (see “A Disaster at Sea”, c.1835, held by the Tate Gallery: https://www.tate.org.uk/art/artworks/turner-a-disaster-at-sea-n00558), published in the art periodical, “Art Journal”, 1861.

Engraving and etching on heavy wove paper trimmed with a small margin around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 23.3 x 28.7 cm; (image borderline) 18.9 x 24.9 cm

Lettered in plate below the image borderline: (left) “J. M. W. TURNER, R. A. PINX^T.”; (centre) “A FIRE AT SEA./ FROM THE PICTURE IN THE NATIONAL GALLERY.”; (right) “J. COUSEN, SCULP^T.”

The British Museum offers the following description of this print: “Moonlit view of sea, with many figures floating on wreckage in the right foreground, women holding their children, men holding sticks, crescent moon in the left sky; after JMW Turner (Butlin & Joll 460); later edition, illustration to the Art Journal of 1861. 1859-61/ Engraving and etching” (https://www.britishmuseum.org/collection/object/P_1872-1012-6099).

Condition: a strong and well-printed (near faultless) impression trimmed with a small margin around the image borderline and laid onto a support of millennium quality washi paper providing wide margins.

I am selling this simply magnificent engraving for AU$224 (equivalent to approximately US$202.80, EUR 134.01, or GBP 110.63 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$224).

If you are interested in purchasing this 19^th century masterwork of engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Bernard Picart, “The House of Sleep”, 1733

Bernard Picart (1673–1733)

“The House of Sleep” (aka “Le Palais du Sommeil”), 1733, Plate 60 (LX)—the final plate in the series of sixty plates—from the series, “Le Temple des Muses” (Neu-Eröfneter Musen-Tempel), first published in Amsterdam in 1733 by Zacharie Chatelain (fl.1700–50), facing page 151.

Archive.org offers an online view of this print in its context in the publication, “Le Temple des Muses”: https://archive.org/details/gri_33125012263162/page/n281/mode/2up

Etching and engraving printed from two plates on laid paper with full margins as published.

Size: (sheet) 45.4 x 28.8 cm; (outer plate) 36 x 25.7 cm; (outer image borderline) 34.9 x 25 cm

Lettered in plate below the inner image borderline: (left) “B. Picart sculp. dir..”; (centre with title in four languages [French, English, German and Dutch]) “LE PALAIS DU SOMMEIL./ The House of Sleep.// …./ …”.

LeBlanc 85–146 (J.Ch. Brunet & Ch. Leblanc 1854[–1889], “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire”, vol. 3, Paris, p. 192, cat. nos. 85–146).

The Rijksmuseum offers the following description of this print: (Transl.) “The House of Sleep. On top of the building Diana and Night, in her arms her children Sleep (Hypnos) and Death (Thanatos). In the middle in the niche Sleep, with his attribute poppy in his hand. The house is teeming with Oneiroi (beings responsible for human dreams). In the margin the title in French, English, German and Dutch. The representation is decorated with an ornamental border.” (https://id.rijksmuseum.nl/200370068).

Condition: a strong and well-printed (faultless) impression in a near pristine condition for its size and considerable age.

I am selling this curiously wonderful symbolic representation of sleep as a house separating true from false dreams at the entrance to the Underworld—"a deep Cavern, where the Sun’s rays never penetrate”—for AU$336 (equivalent to approximately US$208.78, EUR 200.91, or GBP 165.94 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$336).

If you are interested in purchasing this museum quality engraving printed from two plates—an outer “frame” plate and the inner “image” plate—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

Simon Frisius, “Village in a Mountain Landscape”, 1614, after Matthijs Bril

Simon Frisius (aka Simon Wynhoutsz Frisius; Simon de Vries) (c.1580–1628)

“Village in a Mountain Landscape”, 1614, a lifetime impression from the first state (of three) before numbering (as plate 6?) from the series of twenty-seven plates, “Topographia Variarum Regionum” (Various topographical views), after the design by Matthijs Bril (aka Mattheus Bril; Mattheus Brill; Mattheus Brillo) (c.1550–1583) and (following the description by the Rijksmuseum) Josse van Liere (aka Joos van Lier; Jodocus Lireus) (?–1583), published in The Hague by Hendrik Hondius I (1573–1650).

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

Size: (unevenly trimmed sheet) 10.6 x 15.5 cm; (image borderline) 9.7 x 15.5 cm.

Lettered in plate below the image borderline: (centre) “Mathias bril Inventor Hhondius excudit.”

State i (of iii) before numbering

New Hollstein (Dutch & Flemish) 143.I.

The Rijksmuseum and the British Museum offer descriptions of this print: https://id.rijksmuseum.nl/200193124; https://www.britishmuseum.org/collection/object/P_1947-0319-7-15.

Condition: a strong and well-printed impression unevenly trimmed. The lower right edge has been replenished, otherwise there are with no significant stains. The sheet is laid onto a support of millennium quality washi paper providing wide margins.

I selling this exceptionally rare first state impression of this marvellous jewel of a small etching for AU$322 (equivalent to approximately US$202.80, EUR 193.61, or GBP 160.15 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$322).

If you are interested in purchasing this superb and seldom seen old-master print on the art market, 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 Louis Kratke, “Stranded Vessel of Yarmouth”, c.1885, after JMW Turner

Charles Louis Kratke (aka Charles Louis Kratké) (1848–1921)

“Stranded Vessel off Yarmouth”, c.1885, pencil-signed proof with remarque on parchment before lettering for publication, after Joseph Mallord William Turner (1775–1851).

Note that Robert Brandard (aka Robert P Brandard) (1805–1862) also made an etching with engraving of the same composition after Turner in 1859; see https://www.britishmuseum.org/collection/object/P_1872-1012-6144.

Etching with engraving on parchment. A pencil signed proof with a remarque of a woman and children looking out to sea and a scratched dedication, before lettering for publication.

Size: (sheet) 42.9 x 57.0 cm; (image borderline) 34.6 x 47 cm.

Scratch inscribed in plate below the image borderline: (centre) “[…?] for the proprietor [Boussod et Valadon?] Paris.” Note that my reading of the inscription may be incorrect and the “d” in “Valadon” is reversed to read as a “b”, nevertheless, if my reading is correct, then the inscription is possibly for the art dealers in Paris, Galerie Boussod et Valadon (1884–1919).

Pencil signed by the artist below the image borderline: (right) “L. Kratke”.

Condition: a richly inked and near faultless impression with generous margins around the image borderline. The parchment sheet has the intrinsic faults of a skin, otherwise it is in a good condition with no tears, folds, abrasions or significant stains.

I am selling this huge and superb etching translating the colours, tones and textures of Turner’s painting into a darkly glowingly web of lines, for AU$313 (equivalent to approximately US$197.95, EUR 188.65, or GBP 156.60 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$313).

If you are interested in purchasing this richly worked and very beautiful etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.