William Strang, “Potato Lifting”, 1882

William Strang (1859–1921)

“Potato Lifting”, 1882, published in London in 1882 by Seeley & Co as an original etching to Philip Gilbert Hamerton’s “The Portfolio”— one of the most important art periodicals during the Etching Revival.

Etching with plate tone printed in a dark umber ink on cream laid paper (watermarked The Portfolio) with full margins as published.

Size: (sheet) 34.5 x 24.2 cm (plate); 25 x 17.5 cm; (image borderline) 23 x 16 cm.

Inscribed in plate: (lower right corner) “W. Strang”.

State iii (of iii) published state.

David Strang 12 (David Strang 1962, “William Strang: Catalogue of his Etching and Engravings”, Glasgow, University of Glasgow, p. 2, cat. no. 12).

The British Museum offers the following description of this print: “Two women in the foreground, lifting baskets of potatoes from a cart. Other workers in the background to right; final state; illustration to 'The Portfolio', October 1882. 1882/ Etching” (https://www.britishmuseum.org/collection/object/P_1931-0511-27 [inv. 1931,0511.27]).

Condition: a richly inked and well-printed (near faultless) impression in a near pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this very powerful etching of barefoot female farm workers that, to my eyes, is an iconic image of the physically demanding work required of women farm labourers in the 19^th century—note the juxtaposition of these tolling women beside the man in the distance straightening his back while resting on a fork—for AU$207 (equivalent to approximately US$131.29, EUR 125.93, or GBP 104.31 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$207).

If you are interested in purchasing this pictorially arresting and memorable 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

Benigno Bossi, “Head of a Man Wearing a Hat, Facing Right”, 1755

Benigno Bossi (1727–1792)

“Head of a Man Wearing a Hat, Facing Right” (Harvard title) (aka “Testa d'Uomo con Cappello”), 1755 (as dated in plate), plate 11 from the series of forty-three numbered plates (including the title plate), “Raccolta di Teste” (Collection of Heads). Following the inscription, I understand that this etching was executed in Dresden (Dresdae) where the artist was introduced to etching.

Size: (sheet) 12.9 x 9 cm; (plate) 9.6 x 7.5 cm.

Inscribed in plate: (upper right) “11”; (lower right) “Bossi f Dresdae/ 1755.”

The Harvard Art Museums offer a description of this print from an earlier state: https://hvrd.art/o/275536.

Condition: a strong and well-printed impression with small margins laid upon a sheet of millennium quality washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions, losses or stains.

I am selling this sensitively executed etching of a man’s head, for AU$249 (equivalent to approximately US$158.60, EUR 151.58, or GBP 125.63 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$249).

If you are interested in purchasing this insightful study of a man’s head, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Luigi Calamatta, “The Vow of Lous XIII”, 1837, after Ingres

Luigi Calamatta (1801–1869)

“The Vow of Lous XIII” (aka “Louis XIII dedicating the Kingdom of France to the Virgin and Child”; “Voeu de Louis XIII”) 1837, after the painting by Jean Auguste Dominique Ingres (1780–1867), printed by F. Chardon, Ainé (fl.1820–1860) and published in Paris by Rittner et Goupil (fl.1829–1841).

Etching with engraving on wove paper, trimmed with a small margin around the image borderline and backed with a support sheet.

Size: (sheet) 61.2 x 41.5 cm; (image borderline) 59.5 x 39.9 cm.

Lettered in plate below the image borderline: (left) “PEINT PAR INGRES.”; right) “CALAMATTA DIS. E INCISE.”

Beraldi 22 (Henri Béraldi 1886, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: BRASCASSAT–CHÉRET”, vol. 4, Paris, Librairie L. Conquet, pp. 54–56, cat. no. 22); Le Blanc 4 (Calamatta); Courboin 3220 (Ingres).

Interestingly, Henri Beraldi (1886) testifies to the importance of this print by quoting a letter sent to him from one of Calamatta’s more famous students, Léopold Flameng. The following is an extract from this letter in translation: “… the Vow of Louis XIII, of the most beautiful print I know; here is the one to be admired: he [Calamatta] knew how to give his burin style and grandeur, he raised the art of burin engraving to its highest expression!” (p.56).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1877-1013-270 (inv. 1877,1013.270).

A strong and well-printed impression, trimmed with a small margin around the image borderline and backed with a sheet of millennium quality washi paper. There is a significant, but restored/replenished, scrape mark through the centre of the image. Beyond this important issue there are no tears, holes, folds or significant stains.

I am selling this huge and famous etching acclaimed by the 19^th century French printmaker, Léopold Flameng, as being “the most beautiful print I know”, for AU$340 (equivalent to approximately US$216.18, EUR 206.54, or GBP 171.36 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$340).

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

Paul Rajon, “Salomé”, 1870, after Henri Regnault

Paul Rajon (aka Paul Adolphe Rajon) (1843–1888)

“Salomé”, 1870 (as inscribed in plate), after Henri Regnault’s (aka Alexandre George Henri Regnault) (1843–1871) painting executed in the 1870 in the collection of the Metropolitan Museum of New York (inv. 16.95), printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “Gazette des Beaux-Arts” (1^st January, 1872) between pages 78 and 79.

Etching with drypoint on buff-coloured chine collé on heavy wove paper, trimmed with a narrow margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 22.2 x 14.1 cm; (plate) 20.7 x 13.8 cm; (image borderline and chine collé) 16 x 10.1 cm.

Inscribed in plate within the image borderline: (at left following the inscription on the painting) “HRegnault/ Rome 1870”; (right) “Rajon/ 1870”.

Lettered in plate below the image borderline: (left) “REGNAULT PINX^T./ Gazette des Beaux-Arts.”; (centre) “SALOMÉ”; (right) “RAJON SC./ Imp. A. Salmon_Paris.”

Beraldi 24 (Henri Béraldi 1891, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: PILLEMENT–SAINT-ÈVRE”, vol. 11, Paris, Librairie L. Conquet, p. 159, cat. no. 24).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1871-0610-1286 (inv. 1871,0610.1286).

The MET offers the following interesting discussion about Henri Regnault’s painting that this etching transcribes into line: “Regnault initially represented this Italian model as an African woman, but later enlarged his canvas at the bottom and right and transformed it into a representation of the biblical temptress Salome. Hair ruffled, clothes in disarray, she has just danced for her stepfather Herod, governor of Judea. The platter and knife allude to her reward: the severed head of John the Baptist. Just months after this picture’s sensational debut at the Salon of 1870, the young Regnault was killed in the Franco-Prussian War. His posthumous fame was such that an outcry arose when the painting left France for America in 1912” (https://www.metmuseum.org/art/collection/search/437384).

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

I am selling this amazingly animated etching of great beauty—to my eyes this print almost breathes with life—for AU$214 (equivalent to approximately US$136.14, EUR 1120.62, or GBP 108.08 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$214).

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

Abel Jamas, “The Poet’s Inspiration”, 1925, after Nicolas Poussin

Abel Jamas (1862– fl.c.1941)

“The Poet’s Inspiration” (aka “L'inspiration du Poète”), 1925, a pencil-signed artist’s proof on parchment after Nicolas Poussin’s (1594–1665) painting (c.1629) in the collection of the Musée du Louvre (https://collections.louvre.fr/ark:/53355/cl010065494 [inv. RF 1774]).

Etching and engraving on parchment with remarque of a mask at lower centre, pencil-signed with an inscribed note (possibly by another hand?) advising that the impression is an artist's proof on parchment (“Epreuve d'artiste parchemin”).

Size: (sheet) 36 x 44.8 cm; (plate) 34.1 x 39.2 cm; (image borderline) 29.1 x 34.2 cm.

Inscribed in pencil below the image borderline: (right) “Epreuve d'artiste parchemin/ [artist’s signature] Abel Jamas”.

The Louvre offers a description of this print: http://arts-graphiques.louvre.fr/detail/oeuvres/1/529815-Linspiration-du-poete & https://collections.louvre.fr/ark:/53355/cl020529815.

Condition: a strong and well-printed impression (near faultless) with wide margins around the image borderline. Beyond minor marks in the margins, the parchment sheet is in an excellent condition for its large size with no significant stains.

I am offering this large and exceedingly rare pencil-signed etching on parchment after Poussin's famous painting showing a poet seeking inspiration, pen in hand and gazing skyward, assisted by Apollo, the god of the arts, with Calliope, the Muse of epic poetry, standing behind him. The price is AU$302 (equivalent to approximately US$191.89, EUR 182.83, or GBP 152.45 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$302)

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

Note that I have previously listed another large etching by Abel Jamas that is currently still available: “Portrait of Chopin”, c.1938, after Delacroix (seehttps://www.printsandprinciples.com/2024/04/abel-jamas-portrait-of-chopin-c1938.html).