Georg Pencz's engraving, “Tobit Buries One of the Children of Israel”, 1543

Georg Pencz (c1500–1550)

“Tobit Buries One of the Children of Israel” (Tobie donnant la sépulture à un des enfans d’Israel), 1543, second plate from the series of seven plates, “The Story of Tobit” (TIB 16.13[324]–19[325]).

Engraving on fine laid paper trimmed with a narrow margin around the plate-mark and backed with a support sheet.

Size: (sheet) 6.6 x 10.1 cm

Inscribed on plate: (lower left corner) “THOBIE . 2 . CAP [artist’s monogram, ‘P’ & ‘G’]”

Lifetime impression. State i (of i) (Note: TIB and Bartsch do not propose additional states, but Hollstein and Landau describe three states; compare BM’s no. E,4.253 [first state] with Rijksmuseum’s no. RP-P-OB-10,976 [second state] and BM’s no. 1850,0810.565 [third state].)

TIB 16(8).13(324) (Walter L Strauss & Robert A Koch [eds.] 1980, “The Illustrated Bartsch: Early German Masters”, vol.16, p. 90); Landau 1978 13 (David Landau 1978, “Catalogo completo dell' opera grafica di Georg Pencz”, Milan, p. 86); Hollstein 27 (F W H Hollstein 1954, “German engravings, etchings and woodcuts c.1400-1700”, Amsterdam); Bartsch VIII.324.14 (Adam Bartsch 1803, “Le Peintre graveur”, 21 vols, Vienna).

The Rijksmuseum offers the following description of this print:

(transl.) “Tobit and Tobias buried the body of a man who was strangled on behalf of the Assyrian king. Tobit is mocked by two men about the lack of his fear of being caught. According to the biblical text, Tobias is not present at this event and this scene takes place at night but that is not apparent … [in this engraving] (Tobit 2: 7-8).”

(http://hdl.handle.net/10934/RM0001.COLLECT.31386)

See also the description at the British Museum: (https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1519475&partId=1&searchText=Pencz+Tobit&page=1)

Condition: crisp and well-printed impression, trimmed with a narrow margin around the plate mark. There is a replenished nick in the narrow margin on the lower right side otherwise the sheet is in excellent condition (i.e. there are no tears, significant holes—there is a pin hole on the elbow of shrouded body—folds, abrasions, stains or foxing). The sheet has been laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this very small and exquisite masterpiece of engraving by Pencz—one of the famous German Little Masters—for AU$405 (currently US$294.52/EUR256.32/GBP224.44 at the time of this listing). Postage for this print is extra and will be the actual/true cost of shipping.

If you are interested in purchasing this precious and exceptionally rare print, 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

Lucas Vorsterman I's engraving, “Peter finds a coin in a fish”, c1620

Lucas Vorsterman I (aka Lucas Aemilius Vorsterman) (1595–1675)

“Peter finds a coin in a fish” (Rijksmuseum title) (aka “St Peter Finding the Tribute Money in the Mouth of a Fish”), c1620, illustration to the Gospel of St Matthew (New Testament) 17:27, after the left panel of Peter Paul Rubens’ (1577–1640) triptych, “The Miraculous Draught of Fishes” in the Onze-Lieve-Vrouw-over-de-Dijlekerk in Mechelen, published by Esnault & Rapilly (fl.c.1766–1804) with the original privilege from Archduchess Isabella of Austria (as noted on plate in the publication details). 

Regarding Rubens’ composition, the Curator of the British Museum advises: “A second painting with this subject is mentioned in Rubens' letter to Sir Dudley Carlton of 28 April 1618 (Renger, 1974, p.171)” (see BM no. R,3.62). Regarding the privilege Henri Hymans (1972), proposes that this print is the first published by Rubens after obtaining his privileges (p. 75).

Engraving on laid paper trimmed with thread margins around the plate mark and backed with a support sheet.

Size: (sheet) 28.6 x 36.7 cm; (plate) 28.9 x 36.6 cm; (image borderline) 27.6 x 36.2 cm

Lettered on plate below the image borderline: (left) “P.P. Rubens pinxit. / A Paris chez Esnauts et Rapilly, Rue St. Jacques à la Ville de Coutances”; (centre) “Vade ad mare et mitte hamum, et eum piscem qui primus ascenderit, tolle; et aperto. / ore eius, inuenies staterem. Mat.XVII.”; (right) “Cum privilegiis Regis Christianissimi, / Principum Belgarum, et Ord. Bataviæ.”

State iii(?) (of iii)

Hollstein Dutch 13-III(3) (F W H Hollstein 1993, “Hollstein's Dutch & Flemish Etchings, Engravings & Woodcuts, 1450-1700: Lucas Vorsterman I”, vol. 43, Amsterdam, p. 24, cat. no. 13); Schneevoogt 1873 33.188 (C G Voorhelm Schneevoogt 1873, “Catalogue des estampes gravées d'après P.P.Rubens”, Haarlem); Dutuit.VI.54.44 (Eugène Dutuit 1884, ”Manuel de l'amateur d'estampes”, Paris); Hymans.14 (Henri Hymans 1972, “Lucas Vorsterman 1595–1675, et Son Oeuvre Gravé”, Amsterdam, G W Hissink & Co, p. 75, cat. no. 14); Nagler.XX.92; Le Blanc.IV.105; Van den Wijngaert.717

The British Museum offers the following description of this print:

“St Peter finding the tribute money in a fish; the Apostle holding a fish in his hand and a coin in the other, surrounded by several men, one women at left carrying a basket with fish; after Peter Paul Rubens”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1632498&partId=1&searchText=vorsterman++tribute+money+&page=1)

See also the description offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.192229

Condition: richly inked and near faultless impression trimmed with thread margins around the plate mark and backed with a support sheet of archival (millennium quality) washi paper. The sheet shows minor signs of handling otherwise it is in very good condition (i.e. there are no tears, holes, folds, significant stains or foxing).

I am selling this masterpiece of early engraving for AU$260 (currently US$187.29/EUR163.84/GBP143.05 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this very strong engraving showing St Peter extracting a coin—Henri Hymans’ (1972) in his catalogue raisonné regarding this print advises that it is a four drachmas coin (p. 75)— from the head of a fish, 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

Orazio Borgianni's etching, “Joshua Commanding the Sun and the Moon to Stand Still”, 1615

Orazio Borgianni (aka Orazio Borgiani) (c1578–1616)

“Joshua Commanding the Sun and the Moon to Stand Still” (“Josué commandant au soleil et à la lune de s’arrêter, jusqu’ à ce que les Israëlites eussent défait les Amorrhéens”), 1615, plate 39 from the series of 52 plates after Raphael, “The Loggia Paintings” (Bartsch title).

Etching on fine laid paper trimmed with a thread margin around the plate-mark and backed with a support sheet.

Size: (sheet) 15.4 x 20.3 cm; (plate) 15.3 x 20.1 cm. (image borderline) 14.8 x 20 cm

Inscribed on plate within the image borderline: (lower left) "39"; (lower right) “1615 / [artist’s monogram]”

TIB 38 (17).39 (319) (Walter L Strauss [ed.] 1979, “The Illustrated Bartsch”, vol. 38, p. 398); Bartsch XVII.319.39

The Rijksmuseum offers the following description of this print:
(transl.) “In the foreground a tangle of warring Amorites and Israelites. Joshua is on horseback and leaves the sun and the moon stationary. In the background on the right is the Ark of the Covenant.”

(http://hdl.handle.net/10934/RM0001.COLLECT.85391) 

See also the description of this print offered by the British Museum:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3050168&partId=1&searchText=Joshua+Commanding+the+Sun+and+the+Moon+to+Stand+Still&page=1

Condition: crisp, well-printed impression—a superior impression to that held by either the British Museum or the Rijksmuseum—showing minimal wear to the plate. The sheet is in excellent condition for its age (i.e. there are no tears, holes, folds, abrasions, stains or foxing), trimmed near the plate mark and backed with a support sheet of archival (millennium quality) washi paper.

I am selling this superb etching executed in the last year of the artist’s life and based on the design of the legendary Raphael (1483–1520) who had passed away only 95 years before this print was created, for AU$257 (currently US$184.23/EUR160.96/GBP140.01 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this rare Renaissance period print that is arguably a finer impression than held by the British Museum or the Rijksmusuem, 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

Angele Delasalle's etchings, "Le Dejeuner” (1907) & "Etude de Nu" (1908)

Angele Delasalle (aka Mathilde Angèle Delasalle) (1867–1939/41)

(Left) “Le Dejeuner”, 1907, published in “Revue de l'Art Ancien et Moderne” (1907), Paris, printed (according to Istdbs) by Chardon-Wittman (fl.c.1884–1890/1907).

Etching printed in in brown ink on buff-coloured wove paper with full margins as published.

Size: (sheet) 29.4 x 21.5 cm; (plate) 18.8 x 14 cm.

Inscribed on plate: (lower right corner) “1907 A. Delasaille”

See a very good description and background contextualisation of this print at Istdibs:

https://www.1stdibs.com/art/prints-works-on-paper/nude-prints-works-on-paper/angele-delasalle-le-dejeuner/id-a_1238943/; and at Graves International Art:

http://gravesinternationalart.com/AngeleDelasalle.html

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(Right) "Etude de Nu", 1908, published in “Revue de l'Art Ancien et Moderne” (1908), Paris.

Etching (with drypoint?) on cream-coloured wove paper with full margins as published.

Size: (sheet) 29.5 x 22.5 cm; (plate) 17.9 x 13.9 cm.

Inscribed on plate: (lower right corner) “08 A Delasaille”

See a description of this print at Art of the Print:

http://www.artoftheprint.com/artistpages/delasalle_angele_etudedenu.htm; and at AffordableArt101:

https://www.affordableart101.com/Angele-Delasalle-Etude-de-nu-original-etching-p/5415.htm

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Condition: both etchings are near faultless impressions in near pristine condition apart from slight age-related darkening towards the edges of the margin in “le Dejeuner” and there are minor printer’s creases in “Eude de Nu.”

I am selling this pair of female nude studies by one of the remarkably rare well-documented Parisienne female printmakers during the Belle Époque for [deleted] including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing these very beautiful nudes that hint at Delasalle’s reverence for Rembrandt, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy. 

These etchings have been sold

Paul Sandby's etching, "Ruined Abbey with Cattle and a Man Chopping Wood”, 1758

Paul Sandby (1731–1809)

“Ruined Abbey with Cattle and a Man Chopping Wood”, 1758, from a series of six etchings.

Etching (unsigned) on heavy laid paper trimmed with a small margin around the image borderline, backed with a support sheet.

Size: (sheet) 14.2 x 20.1 cm; (image borderline) 13.5 x 19.3 cm

Proof before the addition of horizontal lines in the sky and added marks to the shadow area towards the lower left corner.

Gunn 2015 106 (Ann V Gunn 2015, “The Prints of Paul Sandby (1731-1809): a catalogue raisonné”, New York, Brepols N.V.)

The British Museum offers the following description of this print:

“Rural landscape, showing a ruined overgrown abbey with a low arched doorway in the wall running from the corner of the building to left, with a shepherd approaching in the left foreground, two cows grazing behind him, another man on the path below the ruin and a third leading a horse and cart in the opposite direction in the far right.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3281983&partId=1&searchText=paul+sandby+etching+&images=true&page=4)

See also the brief description of this print at the National Gallery of Art (Washington DC):

https://www.nga.gov/collection/art-object-page.54466.html

Condition: richly inked and well-printed impression with light signs of use (i.e. minor abrasions, a flattened fold on the right side and superficial marks) and laid upon a support sheet of archival (millennium quality) washi paper.

I am selling this jewel-like glowing etching by “the father of English watercolour” revealing Sandby’s romantic interest in ruins—especially those festooned with plants as shown here—and the everyday activities of rural folk (viz. chopping down trees, trekking around the countryside with a staff and hauling wagons to an undisclosed destination), for AU$180 (currently US$129.28/EUR113.35/GBP97.88 at the time of posting this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this graphically strong composition by the first printmaker to create an aquatint, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.