Giovanni Benedetto Castiglione, “Head of a Man with Turban and Fur Hat”, 1645–50

Giovanni Benedetto Castiglione (aka Il Grechetto) (1609–1664)

“Head of a Man with Turban and Fur Hat” (aka “Man with a Long Beard, Wearing a Headdress and Fur Cap, Facing Right” [TIB title]; “Un homme à barbe assez longue …”), 1645–50, from the series of six plates (according to the Rijksmuseum and Bartsch, or five plates according to Bellini), “Large Studies of Heads in Oriental Headdress”, printed from the original plate and published in 1816 in London by John McCreery in the album, “200 Etchings”.

Etching on fine wove (China?) paper trimmed along the platemark (as published by McCreery) and backed with a support sheet

Size: (sheet) 19 x 13.7 cm.

Inscribed on plate at upper right: “CASTILIONE”.

TIB 46.48 (Paolo Bellini [ed.] 1982, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol 46, New York, Abaris Books, p. 51, cat. no 48 [32]); Bellini 1982 41 (Paolo Bellini 1982, “L'Opera incisa di Giovanni Benedetto Castiglione”, Milan, Comune di Milano, p. 133, cat. no. 41); Bartsch XXI.32.48.

The Curator of the British Museum offers the following interesting insights about the series in which this print features: “They were originally etched with small landscapes along the short sides (a very early remarque). …the landscapes were cut away and separately printed” (https://www.britishmuseum.org/collection/object/P_1871-0812-42).

See also the following insight about the series offered by the Rijksmuseum: This series of heads with oriental headdresses is inspired by similar etchings by Rembrandt and Lievens” (https://id.rijksmuseum.nl/200123985).

For those who love insights into the lives of the old masters, the following insights about Castiglione may be fascinating:

1. Castiglione invented the monotype process (i.e. “A single print taken from a design created in oil paint or printing ink on glass or metal” [Oxford Dictionary]);

2. Castiglione “discovered” Rembrandt and “is the first artist in Italy known to have borrowed directly from the Dutch master” (Timothy J Standring & Martin Clayton, 2013, “Castiglione: Lost Genius”, Royal Collection Trust, p. 43);

3. He purportedly threw his sister off a rooftop (Standring & Clayton, 2013);

4. He accused his brother of being a thief and an assassin and sent him to jail. (Standring & Clayton, 2013);

5. He almost killed his nephew with relentless punches (Standring & Clayton, 2013);

6. Castiglione “pioneered the development of the oil sketch” (Wikipedia).

Condition: a well-printed impression with no sign of wear to the printing plate, trimmed along the platemark (as published by McCreery) in an excellent condition with no tears, holes, folds, abrasions, or stains and laid upon an archival support sheet of millennium quality washi paper.

I am selling this superb etching by the artist argued to be the inventor of the monotype for the total cost of AU$392 (approximately US$256.08, EUR 218.51 or GBP 186.66), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this near faultless (albeit late) impression by one of the most important of the old masters, 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

Ferdinand Gaillard, “Sister Rosalie”, 1886

Ferdinand Gaillard (aka Claude Ferdinand Gaillard) (1834-87)

“Sister Rosalie” (“La Sœur Rosalie”)—aka Jeanne-Marie Rendu (1787–1856) famous for her charitable works and awarded the Cross of the Legion of Honor in 1879, 1886, printed in Paris by Chardon et Sormani (1880–1890; Charles Chardon [fl.1850–1880]) and published in the final state in 1886 with a small engraved a head of Saint Vincent de Paul (1581–1660) in the manner of a remarque at lower centre.

Engraving on cream chine collé on heavy wove paper backed with a support sheet.

Size: (sheet) 32.4 x 24.4 cm; (chine collé) 26.6 x 20.8 cm; (plate) 25 x 19.1 cm; (image borderline) 19.2 x 15.3 cm.

Lettered in plate below the image borderline: (centre) “F. GAILLARD DEL ET SCULP./ SŒUR ROSALIE”; (right) “Imp. Chardon et Sormani”.

State xix (of xix [Beraldi]/xxiv [IFF]) with the addition of the title and publication details.

Beraldi 48 (Henri Beraldi 1887, “Les Graveurs du Dix-Neuvième Siècle: DORÉ –GAVARD”, vol. VI, Paris, Librairie L. Conquet, pp. 211–12, cat. no. 48 [see https://archive.org/details/lesgraveursdu19e06berauoft/page/210/mode/2up]); IFF 77 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds, Français: Graveurs du XVIIe Siècle”, Paris, Bibliothèque Nationale, Département des Estampes, vol. 8, p. 319, cat. no. 77 [see https://gallica.bnf.fr/ark:/12148/bpt6k5489221t/f331]).

Condition: a strong and well-printed (near faultless) impression laid upon a sheet of millennium quality washi paper providing wide margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions or stains.

I am selling this technically outstanding and very beautiful engraving by one of the most skilful of the 19^th century engravers—the world needs a major publication devoted to this amazing but sadly overlooked engraver! —for a total cost of AU$242 (approximately US$158.09, EUR 134.90 or GBP 115.20), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this breathtakingly fine engraved portrait that Henri Beraldi (1887) describes (in transl.) as an “exceptional work, created almost intuitively on imperfect documents” (p. 212), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Thomas Landseer, “Hand and Wrist of ‘Duncan’”, 1817, after Benjamin Robert Haydon

Thomas Landseer (1795–1880)

“Hand and Wrist of ‘Duncan’”, 1817, from a series of seven soft-ground etchings after Benjamin Robert Haydon (1786–1846), published in 1817 by Thomas Landseer in “Haydon's drawing-book”. See this etching and another plate showing two hands described by the British Museum: https://www.britishmuseum.org/collection/object/P_1866-1013-420-420-. Although I may be wrong, the subject possibly relates to Hadon’s studies for “The Murder of Duncan – Macbeth Stabbing Duncan” (see https://collections.britishart.yale.edu/catalog/tms:28274).

Soft-ground etching on chine collé on wove paper, trimmed with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 17.8 x 30.5 cm; (plate) 15.2 x 28 cm; (chine collé) 15 x 28 cm.

Lettered in plate along the lower edge: (left) “DUNCAN/ B. R. Haydon. del^t.”; (centre) “Pub. May 1. 1817 by T. Landseer 33 Foley Str: London.”; (right) “T. Landseer Sc^t”.

Condition: a strong and well-printed impression, trimmed around the platemark and laid onto a support of archival (millennium quality) washi paper providing wide margins. Beyond slightly dusty margins to the original sheet, the sheet is in a good condition with no tears, holes, folds, significant stains or foxing.

I am selling this simply magnificent and exceptionally rare study of a hand executed as a soft-ground etching for the total cost of AU$251 (approximately US$163.97, EUR 139.91 or GBP 119.48), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this very fine hand study, 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

Albert Meyeringh, “Landscape with a Mule Driver at a Fountain”, c.1695

Albert Meyeringh (aka Aelbert Meyeringh) (1645–1714)

“Landscape with a Mule Driver at a Fountain” (TIB title) (aka “L’ânier près de la Fontaine”), c.1695, plate 4 from a series of twenty-seven etchings showing classical landscapes.

Etching on fine laid paper with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 25.7 x 21.4 cm; (plate) 24.6 x 20.9 cm; (image borderline) 23.7 x 19.9 cm.

Inscribed in plate below the image borderline: (left) “A: Meyeringh Inv:– et fec:”.

TIB 7.4 (Otto Naumann [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 7, New York, Abaris Books, p. 172, cat. no. 4 [359]), Hollstein 4.

The British Museum offers the following description of this print: “Landscape with a man leaning over the basin of a large stone fountain at right, his mule grazing beneath tall trees at left, a figure with two mules on the bank of a river behind; on the further bank, trees and buildings at the foot of rocky hills; from a series of twenty-seven prints showing classical landscapes” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-2325 [BM inv. no. Sheepshanks.2325]).

Condition: a strong and well-printed impression with a small margin around the image borderline and laid upon a generously wide archival support sheet of millennium quality washi paper. Beyond a printer’s crease in the upper right, the sheet is in an excellent condition with no tears, holes, abrasions or significant stains.

I am selling this interesting etching following the 17^th century tradition of alluding to a classical past—the ancient water fountain and the classically-dressed figures—and possibly the vanitas theme of life’s transience, for AU$294 (approximately US$192.62, EUR 164.65 or GBP 140.28), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this strong impression of a rare etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.