Anthonie Waterloo, “Path by a Large Oak”, c.1645

Anthonie Waterloo (aka Anthoni Waterloo; Antoni Waterlo) (1609–1690)

“Path by a Large Oak” (aka “Le chemin près du grand chêne”; “Grote eik naast een pad”), c.1645 ([Rijksmuseum dates] 1630–1663), from a series of six landscapes, “Forest scenes, series B” (aka “Bosgezichten, serie B”; “Six Landscapes”).

This impression is from the Pierre-François Basan (1723–1797) edition of eighty-eight Waterloo prints published in Paris c.1785 (1784–1786) with the paper of this sheet watermarked with the year 1779 (or possibly 1772)—interestingly, the chain-line separation (30mm) and the lettering of the watermark lies outside the three paper types often used by Basan, as described by Morse (1992) (see pp. xvii–xviii).

Etching with drypoint on fine laid paper (partial watermark dated 177[2/9?]) with wide margins.

Size: (sheet) 20.3 x 20.7cm; (plate) 13.2 x 14.6cm.

Inscribed in plate: (upper left): “A.W.f”; (upper right) “2”.

State iii (of iii) with “Regular cross-hatching added on the lower section of the stump at the left …” (Morse [1992], p. 86).

TIB 0201.066 S3 (Peter Morse [ed.] 1992, “The Illustrated Bartsch: Antoni Waterloo”, vol. 2, Commentary, Part 1, New York, Abaris Books, pp. 84–6, cat. no. [0201.066 S3); Hollstein Dutch 66 (Christiaan Schuckman 1997, “Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Antoni Waterloo,” vol. 50, Rotterdam, Sound and Vision, p. 156, cat. no. 66).

The British Museum and the Rijksmuseum offer descriptions of this print: https://www.britishmuseum.org/collection/object/P_Sheepshanks-1658 (BM inv. no. Sheepshanks.1658);  http://hdl.handle.net/10934/RM0001.COLLECT.193760.

Condition: a strong impression showing no sign of wear to the printing plate with wide margins. Beyond minor imperfections intrinsic to the paper and a faint pencil notation by a previous collector in the right margin, the sheet is in a near pristine condition with no tears, holes, folds, stains or signs of handling.

I am selling this superb impression of a beautiful etching (with drypoint) by the largely self-taught landscape artist of the Dutch Golden Age, Anthonie Waterloo, showing in great clarity travellers on a country road, for the total cost of AU$288 (currently US$187.84/ EUR177.43/ GBP147.81 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$288) as this is my currency.

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

Salvator Rosa’s etching, “Three Soldiers in Conversation”, c.1656/7

Salvator Rosa (1615–1673)

“Three Soldiers in Conversation”, c.1656/7, from the series, “Figurine”. This is the only print in the series that is not signed in the plate with the artist’s monogram and is based on a brown ink and wash drawing in the reverse direction in the collection of Principe Urbano Barberini in Rome (see Wallace [1997], p. 187, 52a).

Etching with drypoint on laid paper (with partial watermark) with wide margins. Based on the deckle edges of the sheet and the placement of the image, this is possibly the full sheet when published.

Size: (sheet) 25.3 x 20.2cm; (plate) 14.3 x 19.1cm.

State ii (of ii) Note that there is only one impression known of the first state.

TIB 4512.072 [B.55 [284]) S2 (Paolo Bellini & Richard W Wallace [eds.] 1990, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 45 [Commentary], New York, Abaris Books, pp. 400–01, cat. no. [4512].072); Wallace 52 (Richard W Wallace 1979, “The Etchings of Salvator Rosa”, Princeton, Princeton University Press, pp. 186–87, cat. no. 52/II).

The British Museum offers the following description of this print: “Figurine; three warriors at a low wall, one seated on a rock and seen from behind, the other two facing front behind the wall. c.1656-1657/ Etching with drypoint” (https://www.britishmuseum.org/collection/object/P_W-7-80 [BM inv. no. W,7.80]).

Condition: a richly inked and strong impression with signs of wear to the printing plate. The sheet has wide margins around the platemark and is in an excellent condition (even a near pristine condition for its considerable age) with no tears, holes, folds, abrasions, stains or signs of significant handling.

I am selling this marvellous etching (with drypoint) by Salvator Rosa—note how the artist has used the angle of the foreground soldier’s leg and sword to link the two background figures in a flowing rhythm to bind and balance the composition—for the total cost of AU$328 (currently US$213.55/ EUR201.67/ GBP168.53 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$328) 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

Karel Dujardin, “The Pack Horse”, c.1655

Karel Dujardin (aka Carel Dujardin; Carel du Jardin; Karel du Jardin; Bokkebaart) (1626–1678)

“The Pack Horse” (aka “Italianiserend landschap met man, hond, herder en paard” [Rijksmuseum title]; “Italianate landscape with man, dog, shepherd and horse”), c.1655 (1652–59), from the series, “Small Landscapes” (aka “Kleine landschappen”), originally printed in a sheet of eight small etchings (see http://hdl.handle.net/10934/RM0001.COLLECT.38397).

Etching on laid paper with the plate number, “49”, trimmed with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 5.6 x 6.7cm; (plate) 4.8 x 5.9cm.

Numbered in plate: (lower right corner) “49”.

State iii (of iii).

TIB 1.49 (Leonard J. Slatkes [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 1, New York, Abaris Books, p. 209, cat. no. 49); Hollstein Dutch 49.

The British Museum offers the following description of this print (but the reproduction is poor): “The Packhorse. Landscape with a horse led by a man at centre, seen from the rear, a woman seated in the left foreground and holding a staff, also seen from the rear and a dog by her side, figures and horses walking into the distance” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-927 [BM inv. Sheepshanks.927).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.38393.

Condition: a strong and well-printed impression showing no sign of wear to the printing plate with a small margin (approx. 4mms) around the platemark. The small sheet is in a very good condition with no tears, holes, folds or significant stains and is laid upon a support sheet of archival/millennium quality washi paper providing wide margins.

I am selling this strong impression of a small and very beautiful etching for the total cost of AU$289 (currently US$186.65/ EUR176.97/ GBP147.87 at the time of posting this print) 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$289) as this is my currency.

If you are interested in purchasing this remarkable etching showcasing Dujardin’s skill in representing light and deep space within a very small image, 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

Fernand Desmoulins, “Sperata”, c.1890, after Jean Jacques Henner

Fernand Desmoulins (1858–1914)

“Sperata”, c.1890, drypoint with aquatint after Jean Jacques Henner (1829–1905), a proof before lettering for publication with the details for the printer, L Eudes (fl.1876–1888), in the supplement to the Paris-Noël Journal in Paris (see a lettered state impression offered by Pamono: https://www.pamono.com.au/fernand-desmoulin-sperata-etching-late-19th-century).

Drypoint with aquatint printed in umber coloured ink on buff-coloured wove paper, titled and signed in the plate before lettering with publication details.

Size: (sheet) 38.2 x 30.5cm; (platemark [soft]) 32 X 24.7cm; (image borderline) 27.1 x 21.5cm.

Inscribed in plate: (above the image borderline at centre) “HENNER”; (within the image borderline at upper left) “HENN[E]R”; (within the image borderline at lower right) “f Desmoulin”: (below the image borderline at centre) “SPERATA”.

IFF 27 (Jean Adhémar & Jacques Lethève 1953, “Inventaire du Fonds Français après 1800: Daumont-Dorange”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 6, p. 413, cat. no. 27 [see https://gallica.bnf.fr/ark:/12148/bpt6k54891736/f425]). Note that the IFF catalogue entry for this print has references to additional artists involved in this print that may need to be explored (viz. Maurice Dussolier and L Abbema).

See also the British Museum’s description of this print with a remarque before lettering; see BM inv. no. 1931,1008.12.

Condition: a strong and well-printed impression. Beyond minor chips and bumps to the edges, the sheet is in an excellent condition with no significant stains.

I am selling this very beautiful and sensitively executed portrait of a young woman, for AU$212 (currently US$137.23/ EUR130.14/ GBP108.62 at the time of posting this print) 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$212) as this is my currency.

If you are interested in purchasing this exceptional drypoint where the modelling of the portrayed young woman is so finely handled that the portrait seems almost to be in soft focus, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Alphonse Leroy, “Young Boy”, c1858, after Agostino Carracci (formerly Annibale Carracci)

Alphonse Leroy (aka Alphonse Alexandre Leroy) (1820–1902)

“Young Boy” (aka “Jeune Garçon”), c.1858, after the chalk study “Portrait de Jeune Homme”, 1585/1592, in the collection of the Musée du Louvre (inv. no. 7381, Recto [see https://collections.louvre.fr/ark:/53355/cl020004306]) by Agostino Carracci (aka Augustin Carrache) (1557–1602), plate 17 (XVII) from the series of 31 plates commissioned under the patronage of Count Alfred Émilien O'Hara van Nieuwerkerke (1811–1892) after old master drawings transcribed as engravings to be used as drawing lesson studies (“Cours de Dessin”) in “Collection de dessins originaux de grands maîtres gravés en fac-simile par Alphonse Leroy; avec texte explicatif par MM. F. Reiset et F. Villot, conservateurs du Musée Imperial du Louvre”, printed by L Eudes (fl.1876–1888) and published in 1857–1859 (for plates 1–20) and 1860 (for plates 21 to 31) by Dusacq & Cie (fl.1864–1869) in Paris.

Note that the inscription in the plate along the lower edge attributes the original drawing to Annibale Carracci with the life dates of 1560–1618 (instead of 1560–1609). This is a former attribution proposed by the renowned connoisseur, Pierre-Jean Mariette (1694–1774), and the drawing is now attributed to Agostino Carracci (see inv. no. 7381, Recto).

Crayon-manner engraving with dot roulette, aquatint and plate tone, printed in a sanguine-coloured ink on buff-coloured chine collé (China paper) on light blue wove paper.

Size: (sheet) 43.5 x 38.5cm; (platemark) 44.5 X 30.8cm; (chine collé unevenly cut) 42.5 x 29cm; (image borderline) 36.5 x 24.9cm.

Lettered and numbered in plate above the image borderline: (centre) “COURS DE DESSIN/ FAC-SIMILE DES GRANDS MAÎTRES.”; (right) “Pl. XVII.”.

Lettered in plate below the image borderline: (left) “Dessiné par Annibal Carrache.”; (left of centre) “Carrache (Annibal) Peintre Bolonais, né en 1560, mort en 1618.”; (centre) “Imp^e. Eudes, Paris.”; (right) “Gravè par Alphonse Leroy./ DUSACQ & C^ie, B^t Poissonnière,14, Paris”.

Guermonprez & Lothe 60 (Paul Guermonprez & José Lothe 2007, “Alphonse Leroy Graveur 1820–1902”, Paris, Héritage Architecturel, p. 154, cat. no. 60).

Condition: a well-printed impression in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this large crayon-manner engraving designed as a study for copying by art students, for AU$245 (currently US$158.37/EUR150.21/GBP125.49 at the time of posting this print) 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$245) as this is my currency.

If you are interested in purchasing this exceptionally beautiful engraving after a chalk study by Agostino Carracci (in the collection of the Louvre), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

John Watkins, “Truth and Falsehood”, 1880, after Alfred Stevens

John Watkins (1854[?]–1908)

“Truth and Falsehood”, 1880, after what the British Museum describes as the “Model of sculpture group for the Wellington Monument at St. Paul's Cathedral, London”, by Alfred Stevens (aka Alfred George Stevens) (1817–1875) (see this model at the V&A: https://collections.vam.ac.uk/item/O127118/model-for-wellington-monument-truth-model-stevens-alfred-george/), showing “Truth seated on a bench, her foot on the chest of Falsehood, reclining below, wearing a mask, tearing out his double tongue” (see BM inv. no. 1881,0813.57), printed by Alfred Salmon (fl.1863–1894) and published in Paris in 1880 in the French art review, “L’Art.”

Etching with pale plate-tone printed on buff coloured laid paper.

Size: (sheet) 42 x 29.1cm; (plate) 32.3 x 22.5cm; (image borderline) 29.4 x 20.4cm.

Lettered in plate below the image borderline: (left) “Alfred Stevens sculp./ L' Art.”; (centre) “TRUTH AND FALSEHOOD./ Group in bronze for the Wellington Monument.”; (right) “John Watkins aqua f./ Imp. A. Salmon.”

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

I am selling this large and visually arresting etching of the life-size plaster model of Alfred Stevens’ sculpture group in the collection of the V&A (inv. no. 321A-1878) showing an allegorical fight in which Truth pulls out the tongue of Falsehood—for those wondering about the swirling rhythms beneath the seated figure of Truth, this is the serpent’s tail of Falsehood—for AU$212 in total (currently US$137.04/ EUR129.98/ GBP108.57 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$212) as this is my currency.

If you are interested in acquiring this superb etching in a museum quality pristine condition, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.