Cornelis Bloemaert, “A Resting Pedlar”, 1620–25, after Abraham Bloemaert

Cornelis Bloemaert (1603–1692)

“A Resting Pedlar” (Roethlisberger title), 1620–25, plate 5 from the series of sixteen plates, “Leisure Series: Genre Scenes”. A strong and well-printed impression from a later edition printed in c.1790/1800 with text erased and numbered at upper right, “5”, after the design by Cornelis’ father, Abraham Bloemaert (1564-1651).

Engraving on fine laid paper, trimmed with a small margin around the platemark.

Size: (sheet) 12.2 x 16.7cm: (plate) 10.9 x 15.4cm; (image borderline) 10 x 15cm.

Numbered in plate: (upper right) “5”.

Roethlisberger 301 (Marcel G. Roethlisberger 1993, “Abraham Bloemaert and His Sons: Paintings and Prints”, vol. 1, Davaco, Doornspuk, p. 232, cat. no. 301).

The British Museum offers the following description of this print: “Plate 5: A resting pedlar. Landscape with a man seated on a rock, holding a walking stick and carrying a crate on his back, his dog at his feet in lower right corner; after Abraham Bloemaert” (BM inv. no. D,7.202).

Condition a strong and well-printed impression in a near faultless condition. Note that there is a mark below the dog which I believe may be an intrinsic flaw in the printing plate as I see traces of the mark in the impression of this print from the lettered state held by the British Museum (inv. no. D,7.202). The sheet is in a pristine condition with no tears, holes, folds, abrasions, stains or signs of handling and is trimmed with a small margin (approx. 6mm) around the platemark.

I am selling this very beautiful engraving for AU$251 in total (currently US$166.27/ EUR 152.57/ GBP128.05 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$251) as this is my currency.

If you are interested in acquiring this marvellous image of country-life in the early 1600s, where a travelling salesman holding a walking stick and with large wicker basket that he must have to carry on his back rests for a moment beside his well-fed dog, 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

Circle of Marco Sadeler, “The Massacre of the Innocents”, c.1660, after Aegidius Sadeler II

Unidentified engraver from the circle of Marco Sadeler (aka Marcus Sadeler; Marc Sadeler) (fl.1660s), “The Massacre of the Innocents” (aka “Infanticide in Bethlehem”), c.1660, copy in the reverse direction after Aegidius Sadeler II’s (aka Ægedius Sadeler; Egidius Sadeler; Gillis Sadeler; Gillis Sadler) (c.1570–1629) engraving of the same composition (TIB 7201.036), that, in turn, is a copy in reverse after (possibly) Philippe Thomassin (1562–1622) reproducing Jacopo Tintoretto’s (aka Jacopo Robusti) (1519–1594) painting at the Scuola of San Rocco, Venice, published by Marco Sadeler.

Engraving on laid paper backed with a support sheet.

Size: (sheet) 24.9 x 29.8cm; (plate) 21.4 x 25.9cm; (image borderline) 19.2 x 25.4cm.

Lettered in plate below the image borderline: (left) “Jacobus Tinctoretus [sic] Ïnuentor.”; (center in three columns of two lines) “Pvgna ardet …/ …// …// …// …/ … inualidos”; (right) “Marco Sadeler excudit.”

TIB 7201.036 C2 (Isabelle de Ramaix [ed.] 1997, “The Illustrated Bartsch: Ægidius Sadeler II”, vol. 72, Part 1 [Supplement]), New York, Abaris Books, p. 59, cat. no. [7201] .036 C2).

Condition: a strong and well-printed impression. There is a wormhole in the text lines at lower right and a replenished hairline printer’s crease in the lower centre, otherwise the sheet is in a good condition with no tears or significant stains and has been laid onto a sheet of archival (millennium quality) washi paper.

I am selling this sensitively executed engraving reproducing Tintoretto’s famous oil painting (see https://www.wga.hu/html_m/t/tintoret/3b/3ground/4massac.html) —interestingly, the engraving portrays the arm of the woman protecting her child in the foreground at centre, whereas her arm in Tintoretto’s painting is cropped at the lower edge of the painting and possibly, as the Web of Art proposes (see URL above), “Tintoretto may have attached an arm made of plaster or stucco to the picture, as many Baroque painters later did”—for the total cost of AU$279 (currently US$177.41/EUR163.06/GBP136.90 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$279) as this is my currency.

If you are interested in purchasing this minutely detailed engraving published in the 1660s, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print is still available

Adolphe Joseph Huot, “The Virgin of Deliverance”, 1877, after Ernest Hébert

Adolphe Joseph Huot (1839–1883)

“The Virgin of Deliverance” (aka “La Vierge de la Délivrance”), 1877, a pencil-signed proof with the Printsellers Association's blindstamp, before lettering with title and publication details, after the painting by Ernest Hébert (aka Ernest Antoine Auguste Hébert) (1817–1908) in the collection of the Walters Art Museum, Baltimore (see https://art.thewalters.org/detail/31086/virgin-of-the-deliverance/).

The Curator of the British Museum offers the following insights regarding this rare print: “Declared to the Printsellers Association on 10 December 1875. The plate has been hailed as Huot's masterpiece, and earned him a Médaille d'honneur at the Exposition Universelle, 1878. The print was first exhibited at the Paris Salon in 1877 (no.4440)” (see BM inv. no. 1879,0614.655).

Engraving, on chine collé on heavy wove paper before lettering, signed in pencil at lower right and with the blindstamp of the Printsellers Association in the chine collé margin at lower left.

Size: (sheet) 56.3 x 37.5cm; (plate) 48 x 32cm; (chine collé) 46.1 x 30cm; (image borderline) 35.2 x 21.7cm.

State iii (of v) with the addition of the radiant halo.

Beraldi 17 (Henri Béraldi 1889, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Guérin–Lacoste”, vol. VIII, Paris, Librairie L. Conquet, p. 146, cat. no. 17 [see https://archive.org/details/lesgraveursdu19e08berauoft/page/146/mode/2up]); IFF 25 (Jean Adhémar & Jacques Lehëve 1960, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale, vol. 11, p. 4, cat. no. 25 [see https://gallica.bnf.fr/ark:/12148/bpt6k5489301d/f16.item]).

The British Museum offers the following description of this print: “Our Lady of Deliverance, after Hébert: seated Virgin, facing front, with halo, white veil and dark mantle, supporting Child Christ seated on her right knee; ornate background; signed proof, with halo now detailed, before letter. 1877” (BM inv. no. 1879,0614.655).

Condition: a richly inked and near faultless impression. Beyond a few minor scuff marks and a partly closed small hole in the margin of the chine collé, the large sheet is in an excellent/near pristine condition with no tears, folds or significant stains.

I am selling this exceptionally beautiful pencil-signed, proof-state masterpiece of engraving in a near pristine condition for AU$312 in total (currently US$206.23/EUR189.18/GBP158.75 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$312) as this is my currency.

If you are interested in purchasing this outstanding engraving acknowledged by the British Museum as Huot’s masterwork/masterpiece, 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

François Dequevauviller, “Portrait de Nicolas Kratzer Astronome”, after Hans Holbein the Younger

François Dequevauviller (aka Nicolas Barthélemi François Dequevauviller) (1745–1807)

Although the British Museum attributes of this print to Nicolas Barthélemi François Dequevauviller, there may be a case to attribute the engraving to Nicolas Barthélemi François Dequevauviller’s son, François Jacques Dequevauvillier (1783–1848).

“Portrait de Nicolas Kratzer Astronome”—(1486/7–after 1550) a mathematician, astronomer and maker of sundials, appointed as the royal astronomer to Henry VIII (see National Portrait Gallery inv. no. 5245), c.1798 (BM dates, 1789–1807), after the intermediary design by Giuseppe Anastasi (c.1732–after 1810?), after the painting in the Musée du Louvre (as inscribed in plate) of Nicolas Kratzer dated in the painting, 1528. by Hans Holbein the Younger (c.1497–1543), published in the second half of the 1800s in Paris by Félix Hermet. (1845–1894) as plate 2 in a series of 73 engravings

Engraving on buff coloured chine collé on heavy wove paper.

Size: (sheet) 58.5 x 39.7cm; (plate) 50.3 x 36cm; (chine collé) 28.8 x 34.7cm; (image borderline) 25 x 20.1cm.

Lettered in plate below the image borderline: (left) “Peint par Holbein (Jean)/ FÉLIX HERMET Imprimeur Editeur PARIS.”; (centre) “Dessiné par Anastasi./ PORTRAIT DE NICHOLAS KRATZER ASTRONOME./ ECÖLE ALLEMANDE/ 2”;  (right) “Gravé par Dequevauvillers./ MUSÉE DU LOUVRE.”

O'Donoghue 1 (Marius Freeman O'Donoghue 1908, “Catalogue of engraved British portraits preserved in the Department of Prints and Drawings in the British Museum”, vol. 2, London, British Museum, Dept. of Prints and Drawings, p. 714, cat. no. 1 [ KRATZER, NICHOLAS] [see https://archive.org/details/catalogueofengra02brit/page/n723/mode/2up]).

The British Museum offers the following description of this print before the publisher details for Félix Hermet: “Portrait of Nicholas Kratzer, half-length, slightly turned to the right, seated at a table with a decagon in one hand and a pair of compasses in the other, dressed in an academic gown over his doublet with a soft cap on his head, other scientific instruments hung on the wall behind and lying on the table, illustration to the 'Musee Royal'” (BM inv. no. 1853,1008.185).

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

I am selling this huge engraving in a near pristine condition showing Nicolas Kratzer surrounded with the tools of his trade (e.g., measuring devices, bits of a gnomon [sundial], a burin and scissors)—for those wondering about the  letter beside him, the Latin inscription in Holbein’s painting reads: (transl. [NPG 5245])  “The portrait of Nicolaus Kratzer of Munich, a Bavarian, taken from life when he was completing his forty-first year./ 1528”—for AU$279 in total (currently US$183.08/EUR168.84/GBP141.70 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$279) as this is my currency.

If you are interested in purchasing this simply magnificent engraving executed with the highest order of skill, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Francis Seymour Haden, “Scotch Firs, Inveroran”, 1873

Francis Seymour Haden (aka Sir Francis Seymour Haden; H Dean [used for RA exhibitions]) (1818–1910)

“Scotch Firs, Inveroran”, 1873, a pencil signed second state impression (or three states). I understand that the coarsely etched linework was intended as preparation for later mezzotinting (see Schneiderman [1983], p. 185 cat. no. 140), but this plan was not explored and the plate was cancelled in the third state. Note that the Metropolitan Museum of Art holds a first state impression of this print showing a distant mountain (see https://www.metmuseum.org/art/collection/search/705935). Interestingly, this mountain was erased in the second state (as shown here), but faint traces of it may still be seen.

Etching with plate tone on heavy cream wove paper, signed and dated in the plate (1873) and signed in pencil at lower right.

Size: (sheet) 30.2 x 43.4cm; (plate) 25.2 x 38cm.

Inscribed in plate at lower left: "Seymour Haden 1873"; signed in pencil below the platemark at right.

State ii (of iii)

Schneiderman 140 (Richard S Schneiderman 1983, “A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden”, Wiltshire, Robin Garton Ltd, p. 285, cat. no. 140 II).

See also the description of this print offered by the British Museum (inv. no. 1910,0421.151).

Condition: a richly inked and near faultless impression. Beyond toning and minor marks (recto and verso) where the print was once framed, the sheet is in an excellent condition with no tears, holes, folds, foxing or significant stains.

I am selling this richly inked and bold panoramic landscape by arguably one of the finest printmakers of the nineteenth century for AU$396 in total (currently US$259.86/EUR239,64/GBP201.13 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$396) as this is my currency.

If you are interested in purchasing this large and confidently inscribed etching, no doubt, made directly in front of his subject during his usual self-imposed three-hour time limit, 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