Anthonie Waterloo's etching, “The Leaning Tree”, c.1665

Anthonie Waterloo (aka Antoni Waterlo) (1609–90)

“The Leaning Tree” (L’arbre cru de biais), 1640–90, from the series, “Six Landscapes” (H.53-58), published between 1784 and 1786 by Pierre-François Basan (1723–1797) with amendments to the printing plate such as “a new branch, a single line, is drawn through an open area in the foliage forty-five millimetres from the top margin and twenty-nine millimetres from the right margin” (see Peter Morse’s commentary for TIB 0201.058 S3).

Etching on laid paper trimmed with small margins (approx. 7 mm) and backed with a support sheet.

Size: (sheet) 14.2 x 15.4 cm; (plate) 13 x 14.2 cm; (image borderline) 12.5 x 13.6 cm

Inscribed on plate at lower right corner: "AW.F."

State iii (of iii)
See the two ealier states at the Rijksmuseum:

State i http://hdl.handle.net/10934/RM0001.COLLECT.193739

State ii http://hdl.handle.net/10934/RM0001.COLLECT.193740

The British Museum offers the following description of this print:

“The leaning tree; the trunk stretching from the mound at left towards the centre; reeds and grasses growing on the edge of the pond at right; a forest in left background, view of a mountain at right; from a series of six landscapes.” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3129261&partId=1&searchText=1982,U.1228&page=1)

TIB 0201.058 S3 (Peter Morse [ed.] 1992, “The Illustrated Bartsch: Antoni Waterloo”, vol. 2, Part 1, Commentary, New York, Abaris Books, p. 76, cat. no. .058 S3; see also vol. 2, p. 49, cat. no. 58 [64]); Hollstein 58.III (Christiaan Schuckman [comp.] 1997, “Dutch and Flemish Etchings, Engravings and Woodcuts c.1450–1700: Antoni Waterloo”, vol. 50, Rotterdam, Sound and Vision Rijksprentenkabinet, p. 140, cat. no. 58); Bartsch II.64.58 (Adam Bartsch 1803, “Le Peintre Graveur”, 21 vols, Vienna).

Condition: a well-printed impression showing minor wear to the printing plate. The sheet is in very good condition (i.e. there are no stains, tears, abrasions, holes, abrasions, losses, significant stains or foxing) and is laid upon an archival support sheet of millennium quality washi paper.

Note that this is the second copy of this print that I have listed (the earlier listing that was trimmed at the platemark has been sold).

I am selling this superb impression by Waterloo—one of the well-known masters from the 17^th century—for the total cost of AU$273 (currently US$184.68/EUR167.58/GBP142.80 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this carefully considered composition that has undergone many subtle changes in its evolution to this final state (e.g. the tree in the middle distance once had a trunk that extended down to the water reeds—and traces of the trunk’s original lines can still be seen—and the far distant tree on the right evolved from having a rounded foliage mass to its present rather spiky form), 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

Alfred Alexandre Delauney's etching, “The Water Mill”, 1883, after Meindert Hobbema

Alfred Alexandre Delauney (1830–1895)

“The Water Mill” (Le Moulin a Eau), 1883 (as dated on plate), after Meindert Hobbema’s (1638–1709) painting (1692) in the collection of the Louvre Museum (MI 270; see https://commons.wikimedia.org/wiki/File:Meindert_Hobbema_004.jpg), pencil signed proof impression

Etching on heavy buff-coloured wove paper trimmed along or within the platemark, pencil signed, and backed with a support sheet.

Size: (sheet trimmed slightly unevenly) 59 x 34.4 cm; (image borderline) 47.3 x 38.2 cm.

Inscribed on plate below the image borderline: (left) “Hobbema pin[x]”; (right) “Delauney sc. 1883”.

Signed in pencil below the image borderline: (right) “Delauney”.

Condition: richly inked and well-printed, pencil signed impression with 2.5 cm margins around the image borderline at the top and sides and a 5.8 margin on the lower edge and laid upon an archival support sheet of millennium quality washi paper. The sheet is in excellent condition (i.e. there are no tears, holes, folds, abrasions and foxing) with only a few specks and minor signs of handling in the margins.

I am selling this large, rare and sparklingly luminous etching after the most famous of Hobbema’s paintings featuring the watermill at Singraven in Overijssel—Hobbema must have been fascinated by this mill as he made around three dozen paintings of it—for AU$246 (currently US$166.42/EUR151.01/GBP128.68 at the time of posting this print) 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 superbly executed etching capturing the complexity of natural patterns and tonal relationships, such as the way the tree limbs seem to be woven into foliage and how the shapes of shadows in the clouds parallel the shapes of the shadows in the trees, 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

Jean Lepautre's etchings, Plates 1, 2 & 5 from "Ancient and Modern Marine Friezes, Foliage or Tritons", c1664

Jean Lepautre (aka Jean Le Pautre; Jean Lepotre; Jean Le Potre) (1618–1682)

“Plate 1” (upper title plate), “Plate 2” (middle plate) and “Plate 5” (lower plate), c.1664, after the designs of Jean Lepautre, from the series, “Frizes, Feuillages ou Tritons Marins Antiques et Modernes” (Ancient and Modern Marine Friezes, Foliage or Tritons), published by Pierre Mariette II (1634–1716) in Paris with privilege from Louis XIV (King of France).

Etchings on fine laid paper with margins.

Size (with slight variations between plates): (sheet) 19.7 x 25.5 cm; (plate) 14.8 x 21.9 cm; (image borderline) 14.2 x 21.3 cm.

Inscribed on plate:

“Plate 1” (on banner in lower frieze): “Frizes Feuillages ou Tritons marins/ antiques et modernes nouuellement des/ signees et grauées par I le Pautre Ce ven/ dent a Paris chez P. Mariette Rue/ St. Iacqaues a lésperance. Auec priuil. du Roy.”; (lower right corner) “I”.

“Plate 2” (between the two friezes): “Ce vendent a Paris ches Pierre Mariette rue St Iacque a Lesperance auec priuilge du Roy”; (lower right corner) “I Le Pautre fecite 2”.

“Plate 5” (between the two friezes): “Ce vendent a Paris ches Pierre Mariette rue St Iacque a Lesperance auec priuilge du Roy”; (lower right corner) “I Le Pautre fecite 5”.

References:

“Plate 1”: Orn Cat II 953 (Peter Fuhring 2004, “Ornament Prints in the Rijksmuseum II: the Seventeenth Century”, vol. 3 in the series, “Studies in Prints and Printmaking”, Amsterdam, Rijksmuseum Sound and Vision, part 1, p. 182, cat. 953).

The Rijksmuseum offers the following description of this print:

(transl.) “The title is in the lower frieze on a cartouche in the shape of a drapery.”

(http://hdl.handle.net/10934/RM0001.COLLECT.414013)

“Plate 2”: Orn Cat II 954; IFF 1568 (Inventaire du Fonds Français: Bibliothèque Nationale, Départment des Estampes. Bibliothèque nationale de France, Paris, 1930-).

The Rijksmuseum offers the following description of this print:

(transl.) “In the upper frieze there is a round medallion with Pan that surprises Syrinx among the reeds.”

(http://hdl.handle.net/10934/RM0001.COLLECT.414014)

“Plate 5”: Orn Cat II 957

Although I have been unable to find a description of this print offered by the major museums, from my reading of the double friezes I wish to propose the following:

- the ornamental design of the upper panel features Hercules fighting with the Nemean lion;

- the lower panel features the eagle as a symbol of Vulcan who is tied to the two lovers that I assume might be Venus and Mars by a cord carried by the airborne amor/cupid—traditionally the child of Venus and Mars. (Forgive me if I my proposal is incorrect.)

Condition: richly inked, near faultless early/lifetime impressions in near pristine condition (i.e. there are no tears, holes, folds, abrasions, significant stains, foxing or signs of use).

I am selling these marvellously rich etchings of ornamental frieze designs for the total cost of AU$350 (currently US$237.30/EUR215.50/GBP183.84 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 set of etchings by one of the most famous—and certainly one of the most prolific—French designers of ornament in the 17^th century, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This set of prints has been sold

Carlo Maratti's etching, “The Mystic Marriage of St Catherine”, c.1650

Carlo Maratti (aka Carlo Maratta) (1625–1713)

“The Mystic Marriage of St Catherine”, 1645–1660, an early state (ii of v) still showing tentatively inscribed traces of a child’s leg at lower-left and other exploratory strokes below the incompletely drawn oval borderline.

Note that there are five copies in reverse of this etching by other hands (TIB 4703.010 C1–C5).

Etching on laid paper trimmed along the platemark with thread margins and backed with a support sheet.

Size: (sheet) 17.5 x 13.1 cm; (plate) 17.4 x 12.9 cm.

Inscribed on plate below the oval image borderline: (left) “Carolus Maratus inue.”; (right) “et fecit Romæ.”

State ii (of v) showing the inscription and “Traces of the marking at lower left of the first state” and the incomplete “the upper right contour of the oval” (TIB 4703.010 S2).

The British Museum holds an impression of state i of this print:

https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1552320&partId=1&searchText=Carlo+Maratti+&page=2

TIB 47(21).10(93) Bellini (Paolo Bellini, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 47, New York, Abaris Books, cat. no. 10 [93], p.20 & vol. 47, Part 1 [Commentary], New York, Abaris Books, cat. no. 4703,010 S2, p. 33), 1977 2.I (Paolo Bellini 1799, “L'Opera Incisa di Carlo Maratti”, Pavia); Bartsch XXI.93.10.

Condition: a slightly grey early impression trimmed along the platemark and laid upon an archival support sheet of millennium quality washi paper. The sheet is in very good condition for its considerable age (i.e. there are no tears, holes, folds, abrasions, significant stains or foxing).

I am selling this extremely rare and early impression of an etching by an artist that the British Museum describes as “the last exponent of the great classical tradition of Roman painting that had originated with Raphael” (https://research.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=115939) for the total cost of AU$403 (currently US$272.65/EUR247.43/GBP210.80 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 seldom seen etching on the art market, 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

Jacques Granthomme's engraving, “Saint Peter”, c1600, after Hendrik Goltzius

Jacques Granthomme (aka Jacobus Granthomme; Jaques Grandhomme; Jacob Grandhomme; Jaques Grandhomaerus, Jaques Grandhom; Jaques Granthomaeus; Jacobus Grandhommes; Jac Grant) (1588–1622)

“Saint Peter”, 1588–c.1622, plate 1 from the series of thirteen plates, “Christ, the Twelve Apostles”, deceptive copy after the engraving (1589) by Hendrik Goltzius (1558–1617).

Engraving on fine laid paper (with watermark) trimmed unevenly close to the plate mark on the top and sides and with a small margin on lower side.

Size: (sheet) 15.6 x 9.9 cm; (image borderline) 11.9 x 9.8 cm.

Inscribed on plate within the image borderline: (lower left) “HGoltzius/ Inuentor.”; (lower right beneath book) “… [indistinct initials]”.

Numbered and lettered on plate below the image borderline: (centre) “I. / CREDO IN DEVM PATREM / OMNIPOTENTEM, CREATOREM / COELI & TERRÆ" (I BELIEVE IN GOD / ALMIGHTY, CREATOR / HEAVEN AND EARTH); (lower-left corner) “1”.

TIB 3.044 C1 (Walter L Strauss [ed.] 1980, “The Illustrated Bartsch: Netherlandish Artists: Hendrik Goltzius”, vol. 3, Commentary, New York, Abaris Books, p. 53, cat. no. .044 C1)

See the Rijksmuseum description of this print:

http://hdl.handle.net/10934/RM0001.COLLECT.118191

Condition: richly-inked, faultless, lifetime impression (based on the crispness of the line showing no sign of wear to the printing plate and the retention of fine printing-plate scratches below the lettered text associated with early impressions), trimmed unevenly close to the platemark on the top and sides and with a small margin below the platemark. The sheet is in excellent condition (i.e. there are no tears, holes, folds, abrasions, significant stains, foxing or signs of handling).

I am selling this small engraved masterpiece copy of Goltzius engraving showing technical virtuosity of the highest order for the total cost of AU$350 (currently US$237.48/EUR215.49/GBP184.59 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 remarkably beautiful early engraving reproducing Goltzius’ engraving of the same image with (arguably) even greater disciplined sensitivity, 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