John Sturt, “He that Loveth Pleasure”, 1698, after John Ayers

John Sturt (1658-1730)

“He that Loveth Pleasure”, 1698, an original engraving after the design by John Ayres (fl. 1680–1700).  This piece served as an illustration in Ayres’ “A Tutor to Penmanship,” a two-part copybook published in London in 1698, with a dedication to King William III. The designs in the copybook were crafted for Ayres’ instruction in the art of fine penmanship, conducted at “Hand and Pen” within the vicinity of St. Paul’s Churchyard in London.

This engraving features a quotation from the Book of Proverbs (Proverbs 21:17 and Proverbs 23:31–32), as inscribed in the plate as “CH. XXI. 17.” and “CH. XXIII. 31.” at the lower left). This plate and the publication may be viewed online on Archive.org: https://archive.org/details/bim_early-english-books-1641-1700_a-tutor-to-penmanship_ayres-john_1698/page/n31/mode/2up.

Engraving on fine laid paper with small margins.

Size: (sheet) 21.7 x 34.7 cm; (platemark); 19.5 x 31.8 cm.

Condition: a strong and faultless impression with small but adequate margins. There is a closed puncture/tear in the upper margin, otherwise the sheet is in an excellent condition with no significant stains.

Price & Shipping: AU$242 (approx. US$158.73 / €137.0 2/ £121.01), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you're interested in acquiring this exceptionally rare and remarkable example of 17th-century engraved penmanship, featuring intricate flourishes and a stunningly ornate initial capital “H,” please contact me at oz_jim@printsandprinciples.com. I’ll be happy to provide a secure and convenient PayPal invoice for your purchase.

This print has been sold 

Eugène André Champollion, “Neptune and Amymone”, c. 1896, after Boucher

Eugène André Champollion (1848–1901)

“Neptune and Amymone”, c. 1896, after the painting by François Boucher (1703–1770) in the Palais de Trianon (as inscribed in the plate), printed and published in Paris by Albert Quantin (1850–1930).

Although the IFF does not describe this print by Champollion, the date that I have attributed to it is based on two other etchings by Champollion after Boucher, “Le Nid” (IFF 67) and “La Guirlande” (IFF 68), that were both executed in 1896 (see Jean Adhémar 1949, “Inventaire du Fonds Français après 1800: CABANE–CICÉRI”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 4, p. 276: https://gallica.bnf.fr/ark:/12148/bpt6k5510949t/f298).

Etching on fine laid paper with wide margins as published.

Size: (sheet) 45 x 31 cm; (platemark); 31.5 x 23.9 cm; (image borderline) 25.8 x 19.5 cm.

Lettered in plate below the image borderline: (left) E. Champollion d’après Boucher”; (centre) “NEPTUNE ET AMYMONE”; (right) “A. Quantin. Imp. Edit.”

Condition: a strong and near faultless impression with generous margins. The sheet is in an almost pristine condition with no tears, holes, folds, abrasions, stains, or signs of handling.

Price & Shipping: AU$226 (approx. US$147.73/ €127.49/ £112.30), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you're interested in purchasing this finely crafted and rare etching, which depicts Neptune with his trident raised—and notably features a cupid somewhat awkwardly balanced upon it! —scaring away a satyr attempting to seduce the beautiful Amymone, please contact me at oz_jim@printsandprinciples.com. I will gladly provide a secure and convenient PayPal invoice for your purchase.

Herman van Swanevelt, “Balaam and the Ass”, c. 1635

Herman van Swanevelt (aka Herman Swaneveld) (1603–1655)

“Balaam and the Ass” (TIB title) (aka “Balaam”; “Bileam en de ezel met de engel” [Balaam and the donkey with the angel]), c. 1635 (1629–1641), from the series, “Old Testament Representations” (“Oudtestamentische voorstellingen”), published in Paris by Pierre Mariette I (1596–1657) with royal privilege from Louis XIV (King of France). 

Etching on laid paper (grape watermark [French]) with reasonably wide margins.

Size: (sheet) 27.7 x 34.8 cm; (plate); 25.3 x 32 cm; (image borderline) 22.7 x 31.2 cm.

Hand-inscribed numbers in ink: (upper right corner) “40”; (lower right corner) “2”.

Lettered in plate within the image borderline: (upper right): “H Swaneûelt Fecit Rom.”.

Lettered in plate below the image borderline: (left) “Auec Priuil du Roy”; (centre) “A Paris chez Pierre Mariette Rue S^t Iacques a lésperance.”

State v (of viii) showing the publication details for Pierre Mariette before they were changed with publication details for Nicolas Jean Baptiste de Poilly in the sixth state.

TIB 2.111 (Mark Carter Leach & Peter Morse [eds.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 2, Abaris Books, New York, p. 315); Hollstein Dutch 5

The Rijksmuseum offers the following description of this print: (transl.) “In a hilly landscape with trees, Balaam is depicted in the left foreground, seated on a recoiling donkey. In his right hand, he holds a sword, and before him stands an angel drawing a sword from its sheath” (https://id.rijksmuseum.nl/200261014).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_Sheepshanks-2299.

Condition: a strong and well-printed impression with good margins (approx. 1.5 cm). Beyond an area of thinness in the margin at upper right and partial erased pencil notations along the lower margin, the sheet is in an excellent condition with no significant stains or other issues.

Price & Shipping: AU$394 (approx. US$257.53/ €222.84/ £195.59), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in purchasing this rare and superb 17th-century impression of a beautiful etching by one of the foremost Dutch masters of the Baroque era—highlighting the luminous quality characteristic of the artist’s work and the dramatic interaction between Balaam and the angel, emphasised by a burst of light surrounding them—please contact me at oz_jim@printsandprinciples.com. I will gladly provide a secure and convenient PayPal invoice for your purchase.

This print has been sold 

Isidore Laurent Deroy, “Récolte du Café” (Coffee Harvest), 1835, after Johann Moritz Rugendas

Isidore Laurent Deroy (aka Deroi; Laurent Deroy) (1797–1886)
“Récolte du Café” (Coffee Harvest), 1835, after a drawing by Johann Moritz Rugendas (1802–1858). Printed by Godefroy Engelmann I (1788–1839) and published by Engelmann, Graf, Coindet & Co in Paris as plate 8 to Johann Moritz Rugendas’ “Voyage Pittoresque dans le Brésil” (Picturesque Voyage in Brazil), part of the fourth issue (division), “Sitten und Gebräuche Neger” (Customs and Tradition of the Negroes).

This scene, rooted in Rugendas’ sketches from his nearly three-year journey across Brazil—culminating in the publication of the four-section/division, “Voyage Pittoresque dans le Brésil”, between 1826 and 1835—captures a vivid Romantic European perspective on life in nineteenth-century Latin America. Beyond its beauty, this lithograph subtly advocates against slavery. Through its visual and contextual narratives, it challenges the dehumanisation inherent in the institution, inviting reflection on themes of freedom, dignity, and social justice.

An online view of the publication and the context of this illustration can be found on Archive.org: https://archive.org/details/gri_33125012637993/page/n397/mode/2up.

Lithograph on wove paper with small margins around the image borderline and writing edge.

Size: (sheet) 28.8 x 33.9 cm; (image borderline) 24.6 x 31 cm.

Lettered in plate above the image borderline: (left) “4^e. Div.”; (right) “Pl. 8.”

Lettered in plate below the image borderline: (left) “Dess: d'ap: nat: par Rugendas.”; (centre) “Lith: de Engelmann, rue du faub: ^g Montmartre N^o. 6 a Paris./ RÉCOLTE DU CAFÉ.”; (right) Deroi del:”.

Teuscher 1106 (Andrea Teuscher 1998, “Die Künstler familie Rugendas 1666–1858: Werkverzeichnis zur Druckgraphik”, Augsburg, Wißner, p. 278, cat. no. 1106).

Condition: a strong and well-printed impression with small margins. There are pin holes and small closed tears in the upper margins, otherwise the sheet is in a good condition with no significant stains.

Price & Shipping: AU$374 (approx. US$244.24/ €211.22/ £185.72), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in purchasing this historically significant lithograph depicting a rare view of nineteenth-century life on a coffee plantation at harvest time in the Tijuca Forest outside Rio de Janeiro, Brazil, please contact me at oz_jim@printsandprinciples.com. I will gladly send you a PayPal invoice for a secure and convenient transaction.