Matthaeus Merian, “Patagonian Succarath & Mythic Beasts”, 1655

Matthaeus Merian (also known as Matthäus Merian I) (1593–1650), or possibly Theodoor de Bry (aka Théodore de Bry, Dietrich de Bry, and Dirk de Bry) (1528–1598)

“Patagonian Succarath & Mythic Beasts”, 1655

Depicted Animals— based on early Spanish colonial descriptions of real South American wildlife with legendary creatures invented or misunderstood by early European mapmakers:

• The Succarath / Su (lower-left): a legendary monster of Patagonia described as having a human-like face, wolfish body, backwards-curving horns, and a massive, palm-like tail. Legend held that it carried its young on its back and would destroy them if hunted rather than let them be captured.
• The Manticore-like Beast / Patagonian Lioness (lower-right): A large, bear-headed predator with humanised facial features shown nursing two cubs, blending Renaissance bestiary style with early explorer descriptions of South American pumas.
• The Patagonian Unicorn (in the distance at upper-right): A slender, long-necked beast with a single spiralling horn on its head. It is seen standing on the hill below the smoking volcano.
• The Giant Crocodile / Caiman (upper-centre): A massive, armour-skinned crocodilian.
• The Jaguar / Ocelot (centre-right): Two predatory wild cats representing South America's native felines, depicted with classic heraldic, lion-like features popular in 17th-century European art.
• The Armadillo (below and closest to the crocodile): A banded armadillo foraging.
• The Anteater / Coati (at centre below the armadillo and behind the lizards): A long-nosed mammal
• Large Ground Iguana / Lizard (lower-centre): A spiked reptile resting near a twisted snake.
• The Giant Constrictor Snakes (foreground): Interlocking, coiled serpents representing the terrifyingly large snakes described by early explorers in the tropical swamps.

Technical Details & Condition:

Etching on fine laid paper with full margins and German letterpress text on both recto and verso. This original book-leaf was published in Frankfurt am Main in 1655 by the Merian heirs, as part of Johann Ludwig Gottfried’s “Newe Welt und Americanische Historien.” The featured etching appears on page 614. See: https://archive.org/details/neweweltvndameri00gott/page/614/mode/2up.

The impression is strong, showing minimal signs of wear to the printing plate, indicative of an early impression. Aside from minor age-toning and a few surface marks, the sheet is in excellent condition—free of tears, holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet: 30.7 x 19.3 cm
• Platemark: 15.5 x 18 cm
• Image borderline: 15 x 17.3 cm

Letterpress text (recto):

• Above image: (left) “614”; (centre) “West Indianischer Historien” (Translation: “West Indian histories”)
• Main text paragraph directly below image begins: “In der Insul ein grob steinern Bild gefunden / wie ein Weib gestaltet / ...” (Translation: “On the island a large stone image [statue] was found, shaped like a woman...”)

Summary of Topics Covered in the Text:

• Indigenous Idols & Spanish Conquest: Discusses the discovery of a large stone statue of a woman on an island. It notes that the indigenous people made offerings to it, but when the Spanish overthrew it without facing divine retribution, the locals realised they had been deceived by a false idol.
• Volcanic Activity in El Salvador: Details a massive, active volcano in the province of San Salvador with a crater deep enough to walk down into, warning of deadly, fainting-inducing sulphur smoke venting from lime-kiln-like fissures.
• The Destruction of Nicaragua: Mentions a devastating volcanic eruption in Nicaragua that completely collapsed a mountainside, burying and destroying the homes of the native inhabitants in the valley below.
• Natural Wonders & Unique Waters: Chronicles unusual geological anomalies, including a toxic night-flowing stream near the village of Nixapa, a river in Choluteca that vanishes entirely by afternoon, and a pair of springs in Mimilla where one runs boiling hot and the other ice cold.
• The Secret to Native Ink: Describes the volcano of Nicaragua near the capital of Leon, noting that mixing its volcanic earth with the juice of a local fruit called Nacolo produces an exceptionally high-quality black writing ink.

Price & Shipping:

AU$279 (approximately US$193.71 / €169.32 / £145.10), including worldwide express shipping. Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this historically significant 17th-century leaf capturing European imagination of South American animals and landscapes—please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

This print has been sold 

Jules Héreau, “Un Maréchal Ferrant”, 1863

Jules Héreau (1839–1879)

“Un Maréchal Ferrant” (A Farrier), 1863

Technical Details & Condition:

Etching with drypoint on fine laid paper with generously wide margins as issued. Plate 79 from the second volume of Eaux-fortes modernes, produced by the Société des Aquafortistes (Society of Etchers, active 1862–1867). It was published and printed in Paris by Cadart & Luquet (Alfred Cadart and Jules Luquet).

The impression is richly inked with strong contrasts and is structurally faultless. The sheet is in near-pristine condition—free of tears, holes, folds, abrasions, significant stains, or handling marks.

Dimensions:

• Sheet: 31.9 x 44.1 cm
• Platemark: 23.8 x 31.9 cm
• Image borderline: 15 x 19.5 cm

In-Plate Lettering:

• Above the image at right: “79.”
• Within the image at lower left: “J. H 63”
• Below the image at left: “J. Héreau sculp.^t”
• Below the image at centre: “UN MARÉCHAL FERRANT. / Paris, Publié par A. CADART & LUQUET, Editeurs, 79, Rue Richelieu.”  
• Below the image at right: “Imp. Delâtre, Rue S^t. Jacuqes, 303, Paris.”

References:

• IFF 1 (Jean Adhémar, et al., “Inventaire du Fonds Français après 1800: GUILLAUME–HUMBERT”, vol. 10, Paris, Bibliothèque Nationale de France, 1958, p. 297, cat. no. 1) IFF 1—https://gallica.bnf.fr/ark:/12148/bpt6k5489209c/f309.item
• British Museum: Museum No. 1864,1008.289 (Note: The British Museum archives translate the title as “A Blacksmith”)—https://www.britishmuseum.org/collection/object/P_1864-1008-289

Price & Shipping:

AU$238 (approximately US$165.24 / €144.34 / £123.64), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this intimate glimpse into the rhythmic, everyday workspace of a French farrier's shop during the mid-nineteenth century—note the watchful black dog sitting to the left, a traditional woven wicker basket on the floor alongside a dropped horseshoe, and the thick, acrid plume of smoke rising as two men set a hot shoe to the hoof—please contact oz_jim@printsandprinciples.com. Secure payment is handled via PayPal invoice for a smooth, protected transaction.

Franz von Stadler, “Madonna and Child”, c. 1790, after Titian

Franz von Stadler (active 1790–1829)

“Madonna and Child”, circa 1790

Technical Details & Condition:

Etching with engraving on heavy wove paper with wide margins around the image borderline, professionally backed with a support sheet. The composition is based on a design by Titian (also known as Tiziano Vecellio) (c.1488/90–1576) and was published in a later printing by one of the most prominent German publishing houses of the nineteenth century, the Bibliographisches Institut (founded by Joseph Meyer in 1826).

The etching bears the inscription, “Propietá del Instituto Bibliografico” at the lower centre, indicating copyright protection and distribution rights held by the publisher. The Italian lettering confirms that the series was specifically tailored for export into the Italian market.

The impression is richly inked, crisp, and near faultless, showcasing the exceptional tonal range characteristic of the Bibliographisches Institut’s high-quality printing. The sheet has been trimmed within the platemark but remains well outside the image borders. Aside from light, natural speckling—an integral feature of the period paper due to its even distribution—the sheet is in excellent condition, completely free of tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 44.9 x 56.2 cm
• Image borderline: 37.4 x 51.7 cm

In-Plate Lettering (below the image borderline):

• Left: “Tiziano dipinse.”
• Centre: “Propietá del Instituto Bibliografico.”
• Right: “Franz von Stadler incise.”

References:

• Thieme-Becker, Allgemeines Lexikon der Bildenden Künstler, Leipzig (for biographical details on Franz von Stadler and his years at the Dresden Academy).
• Nagler, GK, “Neues allgemeines Künstler-Lexicon”, München (documenting early 19th-century German copper and steel engravings after Old Masters).
• Bibliographisches Institut Archive, Hildburghausen/Leipzig (for nineteenth-century legal publishing inscriptions and international distribution stamps marked “Propietá del Instituto”).

Price & Shipping:

AU$262 (approximately US$180.63 / €158.41 / £135.65), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this large and remarkably fine nineteenth-century etching (with engraving)—please contact oz_jim@printsandprinciples.com. Secure payment is handled via PayPal invoice for a smooth, protected transaction.

James Squire Morgan, “The Lakeside”, 1923

James Squire Morgan (1886–1974) —an Australian artist born in Sydney, who studied under Sydney Long (1871–1955)

“The Lakeside”, 1923 —a period when Morgan concentrated heavily on the hinterland of regional New South Wales lagoons and northern beaches (including Dee Why)

Technical Details & Condition:

Etching with plate tone delicately wiped to draw the ink from the lines to add richness—a technique known as retroussage. It is printed in dark brown ink on fine buff-coloured laid paper. The hand-signed by the artist in pencil in the lower right margin and hand-numbered “38/80” in pencil at the lower left. 

Note: While this specific impression is clearly numbered from an intended edition of 80, the National Gallery of Australia’s database records an alternate intended edition size of 50; see https://www.printsandprintmaking.gov.au/works/13246/.

The impression is richly inked and near faultless. The impression is in excellent condition, free of tears, holes, folds, abrasions, stains, or handling marks.

Dimensions:

• Sheet: 38.3 x 27.5 cm
• Platemark: 22.5 x 17.5 cm

References:

• National Gallery of Australia (NGA): The print database holds an exhaustive archive documenting eighty-nine of Morgan’s prints accessible via the NGA Artist Index—https://www.printsandprintmaking.gov.au/artists/11497/works/  
• Roger Butler, “Printed Images in Australia: Century of Printmaking 1801-1901”, National Gallery of Australia Archives (for institutional context on the artist's print portfolio)
• The Australian Painter-Etchers' Society, Annual Exhibition Catalogues (1920s–1930s), wherein Morgan regularly exhibited comparable native tree and lakeside studies
• Art Gallery of New South Wales, “Australian Etchings & Engravings 1880s–1930s”, Sydney, Curatorial Records (referencing the stylistic lineage of Sydney Long's students)

Price & Shipping:

AU$588 (approximately US$405.13 / €355.46 / £306.17), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this poetically atmospheric etching—where one can truly sense the stillness of the shoreline and the crispness of the open air—please contact oz_jim@printsandprinciples.com. Secure payment is handled via PayPal invoice for a smooth, protected transaction.