Hieronymus Cock, “Flight into Egypt”, c.1555

Hieronymus Cock (aka Jérome Cock) (c.1517/18–1570)

“Flight into Egypt”, c.1555 (c.1551–before 1558 [Rijksmuseum]), intermediary design by Hieronymus Cock’s elder brother, Matthijs Cock (aka Matthys Cock; Matthys Cock; Matthias Cock; Matthijs Wellens de Cock; Matthijs Kock) (c.1510/15–1548), from the series of twelve plates, “Landscapes with Biblical and Mythological Scenes”, published in 1558 by Hieronymous Cock.

Etching on laid paper trimmed around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 21.8 x 30.8cm.

Inscribed in plate: (lower left corner) “H COCK FE./ Deipara uirgo in Aegptum fugit”.

Hollstein 40 (F.W.H. Hollstein 1951, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Brun–Coques: text”, vol. 4, Amsterdam, Menno Hertzberger, p. 179, cat. no. 40); Riggs 11 (Timothy Allan Riggs 1977, “Hieronymus Cock: Printmaker and Publisher”, New York, Garland Publishing, pp. 273–279, cat. no. 11).

The Rijksmuseum offers the following description of this print: (transl.) “Landscape with a watermill by a river. On the left on the path Mary and Joseph fleeing into Egypt. Mary holds Christ in her arm and rides on a donkey. Joseph wears a hat and a stick and holds Mary's hand” (http://hdl.handle.net/10934/RM0001.COLLECT.96307).

See also an interesting essay regarding the series in which this print features (but not reproduced) in the exhibition catalogue from the Royal Library of Belgium: Joris van Grieken et al. 2013, “Hieronymus Cock: The Renaissance in Print", New Haven and London, pp. 344–47.

At the time that this etching was executed, artists leaned towards two different approaches to portraying the landscape.

The first approach—as employed here—is to portray a largely imagined landscape from a great height as if it were an exemplary extraction of the cosmos with allegorical and religious narratives being played out. This first approach is known by the German world, “Weltlandschaft”, or “World Landscape” (see https://en.wikipedia.org/wiki/World_landscape), initiated by Joachim Patinir (c1480–1524). Joris van Grieken et al. (2013) propose that this approach to landscape was “… to stimulate the imagination, sometimes at the expense of all visual plausibility” (p. 343).

The second approach, which also plays a role in this etching, but to a lesser extent, is driven by the idea of a “Lady Landscape”—a not so politically correct mindset in which the landscape’s natural forces are perceived as femininely evil with a façade of beauty (see Udo Becker 2000, “The Continuum Encyclopedia of Symbols”, Continuum, p. 169). Artists who approach the landscape with this mindset tend to employ focal points in the landscape where the veil of external appearance is stripped bare, such as the underground watercourse leading to the watermill inviting a viewer to contemplate the subterranean depths of a landscape where natural forces interact with everyday activities.

Condition: a strong lifetime impression (based on the quality of line showing no sign of wear to the printing plate and even the lightly scratched guides to lettering before etching are still clear). Beyond a clipper upper corner, the sheet is in an excellent condition for its considerable age with no tears, folds or significant stains. The sheet has been laid onto a support of archival (millennium quality) washi paper.

I am selling this exceptionally rare lifetime impression of a magnificent etching by one of the most important 16th century printmakers, for the total cost of AU$672 (currently US$448.63/EUR413.41/GBP345.57 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$672) as this is my currency.

If you are interested in purchasing this important Renaissance period etching from the start of the Western landscape tradition, 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

Heinrich Guttenberg, “The Pythoness of Endor”, c.1805, after Salvator Rosa

Heinrich Guttenberg (1749–1818)

“The Pythoness of Endor” (aka “La Pythonisse d'Endor”; “The Witch of Endor”), c.1805, after Salvator Rosa (1615–1673) with the intermediary design by Charles Abraham Chasselat (aka Chasselas; Charles Abraham Chasselats) (1782–1843).

Etching with engraving on wove paper backed with a support sheet.

Size: (sheet) 56.1 x 42.5 cm; (plate) 48.7 x 34.3 cm; (image borderline) 34.7 x 24.6 cm.

Lettered below the image borderline: (left) “Peint par Salvator Rosa.”; (centre) “Dessiné par Ch. Chasselat./ LA PYTHONISSE D'ENDOR”; (right) “Gravé par H. Guttenberg.”

The British Museum offers the following description of this print: “Saul consulting the witch of Endor, who summons the ghost of Samuel, after Salvator Rosa. c.1803/18” (BM inv. no. 1853,1008.113).

From my understanding of the scene (and, of course, I may be wrong), the ghost of the prophet Samuel is the glowing shroud-cloaked figure on the right summoned by the bare-breasted sorceress from the village of Endor. Saul, the first monarch of ancient Israel, is shown in the foreground bowing/supplicating to the ghost who has bad news for Saul: Israel’s armies will be defeated and Saul is to die.

Condition: a strong and near faultless impression in an excellent /near pristine condition with wide margins and no tears, holes, folds, abrasions or significant stains. The sheet has been laid onto a support of archival (millennium quality) washi paper.

I am selling this darkly dramatic image of an awakened ghost summoned by a sorceress, for the total cost of AU$263 (currently US$203.89/EUR176.05/GBP161.61 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$263) as this is my currency.

If you are interested in purchasing this superb etching (with engraving), 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

Nicolas van Aelst, “Joseph and Potiphar’s Wife”, c.1600, after Marcantonio Raimondi and Raphael

Nicolas van Aelst (aka Nicolaus van Aelst; Nicolo van Aelst) (c.1550s–1613)

Note that the National Gallery of Prague attributes this print to Marcantonio Raimondi (see https://sbirky.ngprague.cz/en/dielo/CZE:NG.R_6346), but the Rijksmuseum advises that it is a copy after Raimondi by Nicolas van Aelst (see http://hdl.handle.net/10934/RM0001.COLLECT.34468). Based on the inscription at lower left, “Nicolo uan aelst formis” (Nicolas van Aelst formed it), I believe that the Rijksmuseum is correct.

“Joseph and Potiphar’s Wife”, c.1600 (1588–1612), after Marcantonio Raimondi’s (1470/82–1527/34) engraving (see BM inv. no. H,1.11) after Raphael’s (1483–1520) fresco (1518–19) on the ceiling of the Logge di Raffaello in the Vatican, published in Rome by Nicolas van Aelst between 1588 and 1612 when the artist was active in Rome.

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

Size: (sheet) 23.1 x 27.2 cm; (plate) 20.9 x 24.7 cm; (image borderline) 21.6 x 24.4 cm.

Inscribed in plate: (lower left corner) “Nicolo uan aelst formis”: (lower right corner) Marcantonio Raimondi’s tablet monogram.

(Marcantonio Raimondi) TIB 26.9 (Konrad Oberhuber [ed.] 1978, “The Illustrated Bartsch: The Works of Marcantonio Raimondi and of his School”, vol. 26, New York, Abaris Books, p. 18, cat. no. 9).

Condition: a well-printed impression, trimmed with a small margin (approx. 1.2 cm) around the platemark. The upper-left corner of the margin has been restored and the sheet has many stains (mainly in the margin) and has been laid onto a support of archival (millennium quality) washi paper.

I am selling this dramatic engraving showing the tension filled episode of the biblical story of Joseph and Zuleika (Potiphar’s Wife) when Joseph loses his cloak after repelling Zuleika’s lustful advances—note the devil of impropriety in the distance—for the total cost of AU$304 (currently US$203.89/EUR187.17/GBP156.28 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$304) as this is my currency.

If you are interested in purchasing this early engraving based on Raphael’s fresco, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Kono Bairei, “Sky”, volume 1 of “Picture Book of Hundreds of Birds”, 1881

Kono Naotoyo Bairei (幸野楳嶺) (aka Choando; Hoppo; Kakurokuen; Kinsen Charryo; Koun Shinsho; Kumo no Ie; Musei Shioku; Nyoi Shansho; Rokuryu; Sanshu Kashitsu; Seika Zembo; Seiryukan; Shijun; Shumpuro; Zaigoan) (1844–1895)

“Sky” (天 [Ten/Tyen]), 1881, the first volume of “Bairei's Picture Book of Hundreds of Birds” (aka “Bairei Hyakuchô Gafu”), featuring 36 different birds depicted on 43 pages. Baxley Stamps (George C. Baxley) offers an online view of all the pages of this volume and a description of the volume; see http://www.baxleystamps.com/litho/meiji/bairei_1881.shtml#ten.

Size: 24.6 x 16.5 x 1 cm.

Condition: the outer covers show wear with handling marks, but the internal plates are mostly in an excellent condition with no tears or significant stains.

I am selling this complete volume of extraordinarily fine colour woodblock prints for AU$737 in total (currently US$496.73/EUR454.51/GBP380.24 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$737) as this is my currency.

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

Note that this is the second copy of this volume that I have listed. The previous copy has been sold.

Louis Monziès, “Saint Sébastien, Martyr”, 1879, after Théodule Ribot

Louis Monziès (1849–1930)

“Saint Sébastien, Martyr” (aka “Le Martyre de Saint Sébastien” [as titled when this print was exhibited in the Paris Salon of 1879, inv. no. 5764]), 1879, after the painting, “St Sebastian”, by Théodule Ribot’s (aka Augustin Théodule Ribot) (1823–1891) in the collection of the Musée d'Orsay, (RF 105), printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “L’Art”, 1879 (vol. XVI), facing page 326.

Etching on laid paper (partial Arches watermark) with full margins as published.

Size: (sheet) 30.1 x 43 cm; (plate) 23.7 x 30.9 cm; (image borderline) 20.3 x 27.2 cm.

Lettered in plate below the image borderline: (left) “Th. Robot, pinx./ L’Art.”; (centre) “SAINT SÉBASTIEN, MARTYR.”; (right) “L.Monziès sculp./ Imp. A. Salmon.”

Beraldi 13 (Henri Béraldi 1890, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. X, Paris, Librairie L. Conquet, p. 114, cat. no. 13).

See also the description of this print offered by the British Museum (inv. no. 1880,0214.137)—Sadly the BM is blocking my URL links to prints, but the museum number should give access to this specific print

Condition: a richly inked and faultless impression in a near pristine condition with no tears, holes, folds, abrasions or significant stains.

I am selling this simply magnificent etching (grim as the portrayed subject may be) showing St Irene and another woman (possibly her maid?) attending to the wounds of St Sebastian, for the total cost of AU$249 (currently US$168.14/EUR153.68/GBP128.70 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$249) as this is my currency.

If you are interested in purchasing this startlingly strong image of St Sebastian—to my eyes the image is so drenched in drama and gravitas that I can now fully understand the subheading, “A delicious darkness” (“Une délicieuse obscurité”), given to the 2021 exhibition at the Musée des Augustins in Toulouse focused on the work of Théodule Ribot (whose painting this etching translates)—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

Ernest Deluermoz, “Autumn Landscape in Lyon”, c.1930

Ernest Deluermoz (1881–1935)—French painter active around Lyon. Mutual Art offers an online view of other paintings by this artist: https://www.mutualart.com/Artist/Ernest-Deluermoz/75B24C9A1553BBB3/Artworks  

“Autumn Landscape in Lyon”, c.1930, gouache, chalk and thin oil paint on a pale red-ochre coloured cardboard panel, pencil-signed at lower right.

Size: (panel) 24 x 32.9 cm.

Condition: a well-preserved painting with minor dustiness and sight rounding of the corners, but without tears, holes or significant stains.

I am selling this mist shrouded landscape—I was advised by the French dealer from whom I purchased this interesting curved topped panel that the scene shows Autumn in Lyon and so the hint of snow and winter stripped trees has me wondering about the weather in Lyon during Autumn … the view looks freezing!— for the total cost of AU$304 (currently US$205.28/EUR187.63/GBP157.08 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$304) as this is my currency.

If you are interested in purchasing this softy beautiful landscape painted with creative invention and an insightful eye—note in particular the artist’s placement of the patch of light in the sky at right and the halo of light in the sky around the corner of the building that I see as illuminating the scene perfectly—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.