(Attrib.) Gregor Fentzel, “Midday”, c. 1650, after Adriaen Collaert and Maarten de Vos

(Attributed to) Gregor Fentzel (also known as Gregorius Fentzel) (active 1640–1660)

“Afternoon” (also known as “Middag”), circa 1650

Technical Details & Condition:

Engraving on fine laid paper with wide margins, fully backed with a support sheet of archival-quality washi paper. This is the second plate from the celebrated four-part series “The Four Times of the Day”, published in Nuremberg by Paulus Fürst (active 1608–1666). It is engraved in the same direction after Adriaen Collaert’s original print (circa 1587–1588). As with Collaert’s original engraving, the composition is based on the related preparatory drawing by Maarten de Vos (aka Maarten de Vos; Maerten de Vos) (1532–1603) preserved in the École des Beaux-Arts, Paris.

This is a strong and well-printed impression. The sheet has been expertly stabilised on its backing sheet. There is professional restoration work to an old tear along the vertical centre-fold line, as well as to abrasions in the German text below the image. Light, even age-staining is visible throughout the margins, and a previous collector’s notations on the verso show through slightly in the lower-left margin.

Iconographic Descriptions

• The British Museum describes the composition: “Sol flying in the clouds above a midday landscape with a grand house and formal garden with fountain and peacock and scenes of harvesting and youthful figures resting under the shade of a tree” (BM 1901,0611.79).
• The Rijksmuseum inventories the scene as: “Afternoon. Allegory with Apollo in the clouds as Meridies, the personification of the afternoon. Below on earth, activities related to the life stage of youth or young adulthood: working the land and lovers in a garden. Part of the series of the four times of the day” (Rijksmuseum RP-P-OB-5121).

Dimensions:

• Sheet: 25.2 x 33.5 cm
• Plate: 21.8 x 27.1 cm
• Image borderline: 19 x 26.3 cm

In-Plate Lettering:

• Below the image in two columns of two lines: “Den Mittag laße dir des Tages Arbeit theilen, / mach mit ihr Stillestand. Was nit ruht unterweilen, // [Es da]uret selten lang. Der Tag es ſelbſt bekennt: / [Es iſt dur]ſchattet ex, ie heiſſer daß es brennt.”

English Translation:

“Let midday divide the day's work for you; make with it a standstill. What does not rest once in a while, rarely lasts long. The day itself confesses: It is cast in shadow, the hotter it burns.”

References:

• Hollstein Dutch 1455 (copy e)
• New Hollstein Dutch 1364

Price & Shipping:

AU$322 (approximately US$226.35 / €195.63 / £168.91), inclusive of worldwide express shipping. Please note that import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this rare 17th-century engraving exemplifying the mastery of the Netherlandish school, please contact me directly at oz_jim@printsandprinciples.com. A secure, itemised PayPal invoice will be generated to complete your purchase smoothly.

David Young Cameron, “Arran Peaks”, 1912

David Young Cameron (aka Sir David Young Cameron RA RSA RE) (1865–1945)—one of the leading practitioners of the Etching Revival

“Arran Peaks”, 1912

Technical Details & Condition:

Drypoint with etching and plate tone, printed in warm black ink on fine cream wove paper with small margins. The plate bears the artist’s initials (“DYC”) inscribed in the upper left corner. The print is pencil-signed by Cameron in the lower margin, alongside a notation (from another hand) stating: “Arran Peaks. [Early?] State before plate was cut.” Despite this note, the size of the platemark closely matches the dimensions of the plate when it was cut. 

This is state five (of six), with the artist’s initials inscribed in the sky at upper left. According to Frank Rinder’s 1932 catalogue raisonné of Cameron’s etchings, the edition size is estimated at “about 50 impressions” (p. 289). 

The impression is richly inked and thoughtfully wiped during printing, creating a poetic luminosity. The sheet has been slightly unevenly trimmed and has replenished corners at upper left and lower right. Aside from remnants of mounting tape verso and minor pale age-toning, the sheet is in good condition—free of tears, holes, folds, or significant stains.

Dimensions:

• Sheet: 27.6 x 38.1 cm
• Plate: 25 x 35.2 cm

In-Plate Lettering:

• Upper left corner: “DYC”

References:

• Rinder 436 v (Frank Rinder, 1912 [sup.1932], D.Y. Cameron, Glasgow, Wylie & Jackson, p. 249, cat. no. 436)—https://archive.org/details/dycameronillustr00rind/page/248/mode/2up  
• University of San Diego: https://collections.sandiego.edu/objects/4497/arran-peaks
• National Galleries of Scotland: https://www.nationalgalleries.org/art-and-artists/30981/arran-peaks

Price & Shipping:

AU$628 (approximately US$440.15 / €380.86 / £328.71), including worldwide express shipping. Please note that import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this poetically stark and even dramatic depiction of the mountain range in Scotland’s Isle of Arran—a landscape often considered to epitomise the Scottish terrain and known as “Scotland in miniature”—please contact me at oz_jim@printsandprinciples.com. I’m happy to provide a secure PayPal invoice for a smooth, protected transaction.

This print has been sold

Théodore Géricault & Eugène Lami, “Le Giaour”, 1823

Théodore Géricault (also known as Jean Louis André Théodore Géricault) (1791–1824) in collaboration with Eugène Lami (also known as Eugène Louis Lami, Eugène Lamy, and Eugène Lamie) (1800–1890)

“Le Giaour” (The Infidel), 1823

Technical Details & Condition:

Lithograph printed in black on heavy wove paper with wide margins. This print is from the celebrated series “Oeuvres de Lord Byron,” published in Paris by Gihaut Frères (active 1815–1871). This impression is from the third and final state (Delteil 95, III/III), following the erasure of the printer details for Villain (active 1822–1852).

The impression is strong, evenly inked, and well-pressed. The sheet is in pristine condition—entirely free of tears, pinholes, folds, abrasions, stains, or handling marks.

Narrative Subject:

The dramatic scene is based on Lord Byron's famous 1813 narrative Romantic poem, “The Giaour.” The Turkish leader, Hassan, is shown fallen in the foreground with his “back to earth, his face to heaven.” Above him on horseback, the vengeful anti-hero, the Giaour, brands his sabre and looks down upon his dying enemy “with brow / As dark as his that bled below.”

Dimensions:

• Sheet: 28.1 x 38.8 cm
• Image borderline: 15.3 x 21.1 cm

In-Plate / Stone Lettering:

• Above image (centre): “LE GIAOUR”
• Below image (left): “Géricault et Eug. Lami.1823.”
• Below the image (centre): “.... Cet ennemi est là qui le contemple..... son front est aussi sombre que celui qui est couvert / des ombres du trépas.......” (Translation: “...This enemy is there contemplating him... his brow is as dark as that which is covered by the shadows of death...”).
• Below the image (right): “chez Gihaut frères, éditeurs.”

References:

• Deteil 95 (Loÿs Delteil, Le Peintre-Graveur Illustré, Vol. 18 [Géricault], cat. no. 95)
• British Museum: https://www.britishmuseum.org/collection/object/P_1868-1114-313
• Yale University Art Gallery: https://artgallery.yale.edu/collections/objects/89632

Price & Shipping:

AU$363 (approximately US$255.17 / €221.08 / £190.76), including worldwide express shipping. Please note that import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this rare and important lithograph in pristine condition, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth, protected transaction.